Chords for David Bowie, Iggy Pop 1987

You probably know, I probably may not know, but I worked with Iggy on [G] his album [Ab] last year, the early part of last year.
And we tried writing together constantly before we [E] went into the studio, because often I'm going to have a bit of writing in the [G] studio at this time.
It's sort of worked it out [Eb] before.
And it worked great with him, so I tried the [E] same system for me.
[G] The 11th track is an Iggy tag.
Some bands do Stone, some bands do Chubbury, and I cover Iggy Pop. _
While [C] David Bowie has made several chameleonic and [Em] destructive changes in his life, one thing [G] has remained constant.
[C] His friendship and collaboration with James [Em] Osterberg, Iggy Pop.
Now I can [D] put myself _ [C] on videotape.
[Em] Man, that's how I drive [D] this sports car.
[C] Live to my tears.
[D] _ [Em] _
_ [D] _ [C] All the time tonight.
_ [Em]
Love is [D] blinding.
_ [C] And it's [Em] bang-bang.
[D] _ _ [C] _ _ _ [Em] _ _
[D] The sun don't shine.
[C] _ _ _ _ [Em] _
[D] Oh, what a hot.
[C] _ _ _ [Em] _
Rainy day.
[D] I want a beer.
[C] _ _ _ [G] Together they have written [D] such Bowie hits [G] as China Girl and half of the Tonight album.
While David Bowie produced Iggy's latest album, Blah Blah Blah.
That work was certified gold in [N] Canada.
The first time Iggy has received such an award anywhere in the world.
Thank you.
And we're going platinum.
Thank you very much.
I'd like to thank all of you at A&M, but particularly any person who took the time to listen to my music.
That's the greatest feeling in the world.
Somebody [F] would bother.
[C] That's really nice.
I couldn't help but _ _ [Am] follow through.
_ [C] The only _ _ _ _ person [Am] who could feel like you. _ _
[C] _ Shades say something.
_ I'll bet [Am] they cost a lot.
_ _ _ _ _ [C] _
There's _ _ _ [Am] _ _ _ [Ab]
one song in the album called Shades that we wrote together.
And that's as much his lyric [E] as mine.
He got a little astray.
He tends to be very grand in his illusions.
So he got a little astray on [Ab] the_
He wrote the first verse.
And then the first chorus was going to be_
I've done a lot of thinking.
I know what kind of man I am.
I'm not St.
Francis of Assisi, [N] Baudelaire or Son of Sam.
And I thought, David, we're getting a little far afield.
Can't we just say I'm not the kind of guy that dresses like a king?
Which is more something I'd say.
And since he wears fancier clothes than I do, it was a [G] little_
So we work like that when we work together.
But otherwise, most of them, a lot of them, I just do it.
And then just_
There it is.
And if it's bad, he'll kind of go, I don't think that's your best [Gm] work, Jim.
You know, something like that.
[C] I'm not the [Am] kind of guy who [Bb] dresses like a king. _
[C] I'm not _ [Am] _ the [Bb] kind of man [Gm] who_
As a friend, he's been a [F] friend of mine since 1972.
That goes [Gm] without saying.
He's one of my best friends, if not my best [N] friend.
But as a collaborator, I think really it's been possibly I've made him aware of the qualities of his own voice,
which I believe he wasn't really aware of until we really got him singing on Blah Blah Blah. _
And maybe I was able to let him know that he didn't have to be quite so histrionic in what he was doing physically or with sound,
and still have the same kind of weight as a performer and as [Em] an artist.
That he was in fact a brilliant lyricist, fabulous lyrics, and that he really should never forget the fact that he's a born poet.
And that musically I was able to structure things in a way to make his lyrics really work for him.
Not that his lyrics didn't work on his earlier things, of course they did, they were marvelous, that's what drew him to my attention [N] in the beginning.
But it was just to try and evolve him in a wider way, to make him more accessible.
Because I thought it was so unfair that he was receiving so little attention when there were so many bands out there that owed him so much.
From the Pistols onwards.
He sees me with a distance, I don't see him from myself, he sees me as a character.
Probably an American beatnik who survived.
Probably Kerouac 30 years later.
And I think _ I see him as one of the only representatives of the _ _ enfranchised world that understands me or that I can stand.
He's a realist from a very sophisticated urban setting who when I met him in 1970 he already had his plan for _ _ media domination or whatever.
Whereas I'm sort of an inspired [G] idealist from the Midwest who really has made every mistake in the book and I sort of just follow my nose.
I'm happy [E] if I can create a good song. _ _ _
_ _ _ _ _ _ [A] _ _
_ _ _ [E] _ _ _ _ [B] _
_ [A] _ _ _ [E] When _ _ _ _ _ you _ _ _
_ [A] _ _ _ _ _ [E] _ _
_ _ [N] look at the two of you working together it's almost like the same coin, two different sides.
That's probably why we get on so well anyway.
We're very very different from each other.
He's a lot more exuberant than I am I think.
I tend to be quieter, [G] more reflective.
But he's kind of always a little bit on the dangerous line as well.
I'm not particularly, [N] I'm much more of an observer.
Whereas he's much more of a participant.
We're so opposite, it works good.
[C] You're so opposite? Yeah, sure.
In what ways?
Well I mean [G] he's slick and I'm [Eb] what I am.
He's London and I'm [Gm] Detroit.
Do you both want [G] to be each other?
I don't think so.
No, [B] we're very