Chords for Dave Wyndorf - Monster Magnet talks about his "Rock Scene"
Tempo:
91.025 bpm
Chords used:
C
D
G
Db
Ab
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
The Rock scene when I was a kid, when I first started going to shows, was cheap.
It was inexpensive and there was a lot of it.
Sunshine Inn and Asbury Park, places not there anymore, $4 a ticket.
1972, 1973, $4 a ticket.
The Academy of Music on 14th Street, which was totally old.
Vaudeville Theater, later became the Palladium.
That place was out of control.
It was an old Vaudeville Theater, beautiful place.
The kind of way those theaters get when they're kind of messed up from rock shows, but together a good place to see a show.
Tickets, $5.50.5 and $7. Two shows a night. Two shows a night. So if I went up to see Roxy Music, I could see Roxy Music twice in one night and they do different sets. The whole crowd would get kicked out. You know, first show was at 7 and the second show was like at 11. It was awesome and relatively speaking, it was a lot more inexpensive. It was awesome. The whole place was a trip. I saw Hawkwind, Iggy and the Stooges, the first show of Kiss, all at that one place on 14th Street. It was a different world. Concerts were automatically more geared towards halls. I think it was the whole leftover festival mentality from Woodstock. That kind of made concerts bigger than they were. So there were really cool theaters everywhere. In Passaic, there was Capital Theater. In Asbury Park, this is just in my childhood, let's see, there was. The Sunshine Inn in Asbury Park. Convention Hall, Casino. And then further on in New Jersey, there was the Capital Theater. Five or six places in New York. Three or four places in Philly. You could go anywhere and see shows. And the shows ran all week. It wasn't just weekends and stuff. It was a really good time. When I was a kid, I thought that time would last forever. I had no idea that the rock market would shrink. That it would shrink and the ticket prices would go up and up. I first discovered the whole concert thing in New York where you take the train up. Of course, in those days, you could still smoke on the train. And the train, New Jersey Transit, was like this hell ride for concerts. Just this long, basically a submarine on wheels filled with freaks, smoking pot and lighting firecrackers off inside the train, scaring everybody else. So this whole acid-dosed, drunk, stoned, drugged-out crowd would get off and then file on straight up into Madison Square Garden to see Bowie Diamond Dogs [C] or Alice Cooper's Billion Dollar Babies. It was awesome. The bands at the time kept trying to outdo each other for big stage shows. So the stage shows got bigger and bigger and more ridiculous and more ridiculous. It was just great. Like I said, I saw Bowie Diamond Dogs, Heroes. So we started up a band called Shrapnel. It was Shrewsbury and Red Bank, New Jersey. We started playing CBs. What's interesting to note is that all the time that punk rock thing was going on, the famous punk rock CBGBs, the old school rock was still going on around the corner. People started choosing their sides. The original days of CBGBs wasn't as punk rock as people think it was. The guys on stage looked punk rock. They had short hair, but the crowd was kind of these disenfranchised freaks like hippies left over from a couple of years ago. I mean, we're only talking 76 here. [G] It took a long time for the crowd to actually start looking like the bands. Actually, it wasn't until England, Sex Pistols, made it a fascist statement that people [N] started actually getting their hair cut short. I mean, you're an average person. New York went like that. Weird, New York was really cool at that time because there was all kinds of stuff going on. Max's Kansas City was still open. You could get in a cab and go to Max's and see one band. I remember seeing the first tour of Devo and the B-52s and then going downtown to see Dead Boys and then going around the corner to see It was like the beginning of the Stray Cats when the Stray Cats first started. All at the same time, eventually, [D] it kind of ate itself up. Of course, at the same time all this stuff was going on, disco was huge. Disco was king. It was all in the same city. Disco is the winning thing, and the club scene revolved around disco [Db] even more so than the punk rock scene did. It just made more money, it brought more people, [D] and eventually the punk rock club scene kind of melted in with the disco scene to open places like Mud [Ab] Club that were dance joints, basically. I mean, [C] they called themselves hipster joints and cool, and were going to be punk rock, but really, by any other name, it was a dance joint. And all the punk bands started dying, I mean, physically dying. Guys were ODing all over the place. New Wave came in, New Wave was on the radio. Ramones had kind of [D] peaked at that point, [C] and [Am] the art crowd came in and [B] started claiming all these old punk rock places. You know, New [Eb] Wave music, Lydia Lunch, Teenage Lunch, [G] James Chance and the Impossibles or whatever the hell. And it was like New Wave music, basically not very rock and roll, it was more like art thing. [N] And with that, I mean, I remember watching it before my eyes, so all of a sudden there was nothing to go see. It was like this art had taken over, and the punters, your average guys, had nowhere to go except for the discos, which was unfortunate. It's like, where do we go to rock? And I think it's never been the same in New York and since then. I mean, the garden shows still went on. The Academy of Music turned into the Palladium, and that ran shows for a while. Judas Priest, Motorhead, stuff like that. But by the time the late 80s came along, it was gone. The Palladium turned into a disco. And again, they just kind of like, alright, that's it. You know, the people have spoken, mass audiences have spoken. Hey, hey, this is Dave Wendler from Monster Magnet. Come back to rockscene.com. You can see lots and lots of cool stuff. Watch how I be a part of a scene of journalism and a music scene that was so potent that it still resonates today. I mean, we're talking like a renaissance of music and journalism. It doesn't exist now. I know the stuff is flashier and shinier now, but I mean, this is well worth taking a look into. It's an education in how to love music and portray music and to actually make some money on it at the same time. Yes, it is possible to be good and to make money. Okay? So, come back.
It was inexpensive and there was a lot of it.
Sunshine Inn and Asbury Park, places not there anymore, $4 a ticket.
1972, 1973, $4 a ticket.
The Academy of Music on 14th Street, which was totally old.
Vaudeville Theater, later became the Palladium.
That place was out of control.
It was an old Vaudeville Theater, beautiful place.
The kind of way those theaters get when they're kind of messed up from rock shows, but together a good place to see a show.
Tickets, $5.50.5 and $7. Two shows a night. Two shows a night. So if I went up to see Roxy Music, I could see Roxy Music twice in one night and they do different sets. The whole crowd would get kicked out. You know, first show was at 7 and the second show was like at 11. It was awesome and relatively speaking, it was a lot more inexpensive. It was awesome. The whole place was a trip. I saw Hawkwind, Iggy and the Stooges, the first show of Kiss, all at that one place on 14th Street. It was a different world. Concerts were automatically more geared towards halls. I think it was the whole leftover festival mentality from Woodstock. That kind of made concerts bigger than they were. So there were really cool theaters everywhere. In Passaic, there was Capital Theater. In Asbury Park, this is just in my childhood, let's see, there was. The Sunshine Inn in Asbury Park. Convention Hall, Casino. And then further on in New Jersey, there was the Capital Theater. Five or six places in New York. Three or four places in Philly. You could go anywhere and see shows. And the shows ran all week. It wasn't just weekends and stuff. It was a really good time. When I was a kid, I thought that time would last forever. I had no idea that the rock market would shrink. That it would shrink and the ticket prices would go up and up. I first discovered the whole concert thing in New York where you take the train up. Of course, in those days, you could still smoke on the train. And the train, New Jersey Transit, was like this hell ride for concerts. Just this long, basically a submarine on wheels filled with freaks, smoking pot and lighting firecrackers off inside the train, scaring everybody else. So this whole acid-dosed, drunk, stoned, drugged-out crowd would get off and then file on straight up into Madison Square Garden to see Bowie Diamond Dogs [C] or Alice Cooper's Billion Dollar Babies. It was awesome. The bands at the time kept trying to outdo each other for big stage shows. So the stage shows got bigger and bigger and more ridiculous and more ridiculous. It was just great. Like I said, I saw Bowie Diamond Dogs, Heroes. So we started up a band called Shrapnel. It was Shrewsbury and Red Bank, New Jersey. We started playing CBs. What's interesting to note is that all the time that punk rock thing was going on, the famous punk rock CBGBs, the old school rock was still going on around the corner. People started choosing their sides. The original days of CBGBs wasn't as punk rock as people think it was. The guys on stage looked punk rock. They had short hair, but the crowd was kind of these disenfranchised freaks like hippies left over from a couple of years ago. I mean, we're only talking 76 here. [G] It took a long time for the crowd to actually start looking like the bands. Actually, it wasn't until England, Sex Pistols, made it a fascist statement that people [N] started actually getting their hair cut short. I mean, you're an average person. New York went like that. Weird, New York was really cool at that time because there was all kinds of stuff going on. Max's Kansas City was still open. You could get in a cab and go to Max's and see one band. I remember seeing the first tour of Devo and the B-52s and then going downtown to see Dead Boys and then going around the corner to see It was like the beginning of the Stray Cats when the Stray Cats first started. All at the same time, eventually, [D] it kind of ate itself up. Of course, at the same time all this stuff was going on, disco was huge. Disco was king. It was all in the same city. Disco is the winning thing, and the club scene revolved around disco [Db] even more so than the punk rock scene did. It just made more money, it brought more people, [D] and eventually the punk rock club scene kind of melted in with the disco scene to open places like Mud [Ab] Club that were dance joints, basically. I mean, [C] they called themselves hipster joints and cool, and were going to be punk rock, but really, by any other name, it was a dance joint. And all the punk bands started dying, I mean, physically dying. Guys were ODing all over the place. New Wave came in, New Wave was on the radio. Ramones had kind of [D] peaked at that point, [C] and [Am] the art crowd came in and [B] started claiming all these old punk rock places. You know, New [Eb] Wave music, Lydia Lunch, Teenage Lunch, [G] James Chance and the Impossibles or whatever the hell. And it was like New Wave music, basically not very rock and roll, it was more like art thing. [N] And with that, I mean, I remember watching it before my eyes, so all of a sudden there was nothing to go see. It was like this art had taken over, and the punters, your average guys, had nowhere to go except for the discos, which was unfortunate. It's like, where do we go to rock? And I think it's never been the same in New York and since then. I mean, the garden shows still went on. The Academy of Music turned into the Palladium, and that ran shows for a while. Judas Priest, Motorhead, stuff like that. But by the time the late 80s came along, it was gone. The Palladium turned into a disco. And again, they just kind of like, alright, that's it. You know, the people have spoken, mass audiences have spoken. Hey, hey, this is Dave Wendler from Monster Magnet. Come back to rockscene.com. You can see lots and lots of cool stuff. Watch how I be a part of a scene of journalism and a music scene that was so potent that it still resonates today. I mean, we're talking like a renaissance of music and journalism. It doesn't exist now. I know the stuff is flashier and shinier now, but I mean, this is well worth taking a look into. It's an education in how to love music and portray music and to actually make some money on it at the same time. Yes, it is possible to be good and to make money. Okay? So, come back.
Key:
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D
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Db
Ab
C
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_ _ _ _ _ _ _ _
_ _ _ _ _ _ The Rock scene when I was a kid, when I first started going to shows, _ was cheap.
It was inexpensive and there was a lot of it.
_ Sunshine Inn and Asbury Park, places not there anymore, $4 a ticket.
1972, 1973, $4 a ticket.
_ The Academy of Music on 14th Street, which was totally old.
Vaudeville Theater, later became the Palladium.
That place was out of control.
It was an old Vaudeville Theater, beautiful place.
The kind of way those theaters get when they're kind of messed up from rock shows, but together a good place to see a show. _
Tickets, $5.50.5 and $7. Two shows a night. Two shows a night. So if I went up to see Roxy Music, I could see Roxy Music twice in one night and they do different sets. The whole crowd would get kicked out. You know, first show was at 7 and the second show was like at 11. _ _ It was awesome and relatively speaking, it was a lot more inexpensive. It was awesome. The whole place was a trip. I saw Hawkwind, Iggy and the Stooges, the first show of Kiss, all at that one place on 14th Street. It was a different world. Concerts were _ automatically more geared towards halls. I think it was the whole leftover festival mentality from Woodstock. That kind of made concerts bigger than they were. So there were really cool theaters everywhere. In Passaic, there was Capital Theater. In Asbury Park, this is just in my childhood, let's see, there was. The Sunshine Inn in Asbury Park. Convention Hall, Casino. _ And then further on in New Jersey, there was the _ _ _ _ Capital Theater. _ Five or six places in New York. Three or four places in Philly. You could go anywhere and see shows. And the shows ran all week. It wasn't just weekends and stuff. _ It was a really good time. When I was a kid, I thought that time would last forever. I had no idea that the rock market would shrink. That it would shrink and the ticket prices would go up and up. I first discovered the whole concert thing in New York where you take the train up. Of course, in those days, you could still smoke on the train. And the train, New Jersey Transit, was like this hell ride for concerts. Just this long, _ basically a submarine on wheels filled with freaks, smoking pot and lighting firecrackers off inside the train, scaring everybody else. So this whole acid-dosed, drunk, stoned, drugged-out crowd would get off and then file on straight up into Madison Square Garden to see Bowie Diamond Dogs [C] or Alice Cooper's Billion Dollar Babies. It was awesome. _ The bands at the time kept trying to outdo each other for big stage shows. So the stage shows got bigger and bigger and more ridiculous and more ridiculous. It was just great. Like I said, I saw Bowie Diamond Dogs, Heroes. So we started up a band called Shrapnel. It was Shrewsbury and Red Bank, New Jersey. We started playing CBs. What's interesting to note is that all the time that punk rock thing was going on, the famous punk rock CBGBs, the old school rock was still going on around the corner. _ _ People started choosing their sides. The original days of CBGBs wasn't as punk rock as people think it was. _ The guys on stage looked punk rock. They had short hair, but the crowd was kind of these disenfranchised freaks like hippies left over from a couple of years ago. I mean, we're only talking 76 here. _ _ [G] _ It took a long time for the crowd to actually start looking like the bands. Actually, it wasn't until England, Sex Pistols, made it a fascist statement that people [N] started actually getting their hair cut short. I mean, you're an average person. _ New York went like that. Weird, New York was really cool at that time because there was all kinds of stuff going on. Max's Kansas City was still open. _ You could get in a cab and go to Max's and see one band. I remember seeing the first tour of Devo and the B-52s and then going downtown to see Dead Boys and then going around the corner to see_ It was like the beginning of the Stray Cats when the Stray Cats first started. _ All at the same time, eventually, _ [D] _ it kind of ate itself up. _ Of course, at the same time all this stuff was going on, disco was huge. Disco was king. It was all in the same city. Disco is the winning thing, and the club scene revolved around disco [Db] even more so than the punk rock scene did. _ It just made more money, it brought more people, [D] and eventually the punk rock club scene kind of melted in with the disco scene to open places like Mud [Ab] Club that were dance joints, basically. I mean, [C] they called themselves hipster joints and cool, and were going to be punk rock, but really, by any other name, it was a dance joint. _ _ And all the punk bands started dying, I mean, physically dying. Guys were ODing all over the place. New Wave came in, New Wave was on the radio. _ _ Ramones had kind of [D] peaked at that point, [C] and [Am] the art crowd came in and [B] started claiming all these old punk rock places. _ You know, New [Eb] Wave music, Lydia Lunch, Teenage Lunch, _ [G] James Chance and the Impossibles or whatever the hell. And it was like New Wave music, basically not very rock and roll, it was more like art thing. _ [N] And with that, I mean, I remember watching it before my eyes, so all of a sudden there was nothing to go see. It was like this art had taken over, and the punters, your average guys, had nowhere to go except for the discos, which was unfortunate. It's like, where do we go to rock? _ _ And I think it's never been the same in New York and since then. I mean, the garden shows still went on. _ The Academy of Music turned into the Palladium, and that ran shows for a while. Judas Priest, Motorhead, stuff like that. But by the time the late 80s came along, it was _ gone. The Palladium turned into a disco. And again, they just kind of like, alright, _ that's it. You know, the people have spoken, mass audiences have spoken. Hey, hey, this is Dave Wendler from Monster Magnet. Come back to rockscene.com. You can see lots and lots of cool stuff. Watch how I be a part of a scene of journalism and a music scene that was so potent that it still resonates today. I mean, we're talking like a renaissance of music and journalism. It doesn't exist now. I know the stuff is flashier and shinier now, but I mean, this is well worth taking a look into. It's an education in how to _ love music and portray music and to actually make some money on it at the same time. Yes, it is possible to be good and to make money. Okay? So, come back. _
_ _ _ _ _ _ The Rock scene when I was a kid, when I first started going to shows, _ was cheap.
It was inexpensive and there was a lot of it.
_ Sunshine Inn and Asbury Park, places not there anymore, $4 a ticket.
1972, 1973, $4 a ticket.
_ The Academy of Music on 14th Street, which was totally old.
Vaudeville Theater, later became the Palladium.
That place was out of control.
It was an old Vaudeville Theater, beautiful place.
The kind of way those theaters get when they're kind of messed up from rock shows, but together a good place to see a show. _
Tickets, $5.50.5 and $7. Two shows a night. Two shows a night. So if I went up to see Roxy Music, I could see Roxy Music twice in one night and they do different sets. The whole crowd would get kicked out. You know, first show was at 7 and the second show was like at 11. _ _ It was awesome and relatively speaking, it was a lot more inexpensive. It was awesome. The whole place was a trip. I saw Hawkwind, Iggy and the Stooges, the first show of Kiss, all at that one place on 14th Street. It was a different world. Concerts were _ automatically more geared towards halls. I think it was the whole leftover festival mentality from Woodstock. That kind of made concerts bigger than they were. So there were really cool theaters everywhere. In Passaic, there was Capital Theater. In Asbury Park, this is just in my childhood, let's see, there was. The Sunshine Inn in Asbury Park. Convention Hall, Casino. _ And then further on in New Jersey, there was the _ _ _ _ Capital Theater. _ Five or six places in New York. Three or four places in Philly. You could go anywhere and see shows. And the shows ran all week. It wasn't just weekends and stuff. _ It was a really good time. When I was a kid, I thought that time would last forever. I had no idea that the rock market would shrink. That it would shrink and the ticket prices would go up and up. I first discovered the whole concert thing in New York where you take the train up. Of course, in those days, you could still smoke on the train. And the train, New Jersey Transit, was like this hell ride for concerts. Just this long, _ basically a submarine on wheels filled with freaks, smoking pot and lighting firecrackers off inside the train, scaring everybody else. So this whole acid-dosed, drunk, stoned, drugged-out crowd would get off and then file on straight up into Madison Square Garden to see Bowie Diamond Dogs [C] or Alice Cooper's Billion Dollar Babies. It was awesome. _ The bands at the time kept trying to outdo each other for big stage shows. So the stage shows got bigger and bigger and more ridiculous and more ridiculous. It was just great. Like I said, I saw Bowie Diamond Dogs, Heroes. So we started up a band called Shrapnel. It was Shrewsbury and Red Bank, New Jersey. We started playing CBs. What's interesting to note is that all the time that punk rock thing was going on, the famous punk rock CBGBs, the old school rock was still going on around the corner. _ _ People started choosing their sides. The original days of CBGBs wasn't as punk rock as people think it was. _ The guys on stage looked punk rock. They had short hair, but the crowd was kind of these disenfranchised freaks like hippies left over from a couple of years ago. I mean, we're only talking 76 here. _ _ [G] _ It took a long time for the crowd to actually start looking like the bands. Actually, it wasn't until England, Sex Pistols, made it a fascist statement that people [N] started actually getting their hair cut short. I mean, you're an average person. _ New York went like that. Weird, New York was really cool at that time because there was all kinds of stuff going on. Max's Kansas City was still open. _ You could get in a cab and go to Max's and see one band. I remember seeing the first tour of Devo and the B-52s and then going downtown to see Dead Boys and then going around the corner to see_ It was like the beginning of the Stray Cats when the Stray Cats first started. _ All at the same time, eventually, _ [D] _ it kind of ate itself up. _ Of course, at the same time all this stuff was going on, disco was huge. Disco was king. It was all in the same city. Disco is the winning thing, and the club scene revolved around disco [Db] even more so than the punk rock scene did. _ It just made more money, it brought more people, [D] and eventually the punk rock club scene kind of melted in with the disco scene to open places like Mud [Ab] Club that were dance joints, basically. I mean, [C] they called themselves hipster joints and cool, and were going to be punk rock, but really, by any other name, it was a dance joint. _ _ And all the punk bands started dying, I mean, physically dying. Guys were ODing all over the place. New Wave came in, New Wave was on the radio. _ _ Ramones had kind of [D] peaked at that point, [C] and [Am] the art crowd came in and [B] started claiming all these old punk rock places. _ You know, New [Eb] Wave music, Lydia Lunch, Teenage Lunch, _ [G] James Chance and the Impossibles or whatever the hell. And it was like New Wave music, basically not very rock and roll, it was more like art thing. _ [N] And with that, I mean, I remember watching it before my eyes, so all of a sudden there was nothing to go see. It was like this art had taken over, and the punters, your average guys, had nowhere to go except for the discos, which was unfortunate. It's like, where do we go to rock? _ _ And I think it's never been the same in New York and since then. I mean, the garden shows still went on. _ The Academy of Music turned into the Palladium, and that ran shows for a while. Judas Priest, Motorhead, stuff like that. But by the time the late 80s came along, it was _ gone. The Palladium turned into a disco. And again, they just kind of like, alright, _ that's it. You know, the people have spoken, mass audiences have spoken. Hey, hey, this is Dave Wendler from Monster Magnet. Come back to rockscene.com. You can see lots and lots of cool stuff. Watch how I be a part of a scene of journalism and a music scene that was so potent that it still resonates today. I mean, we're talking like a renaissance of music and journalism. It doesn't exist now. I know the stuff is flashier and shinier now, but I mean, this is well worth taking a look into. It's an education in how to _ love music and portray music and to actually make some money on it at the same time. Yes, it is possible to be good and to make money. Okay? So, come back. _