Chords for Glenn Danzig on 'Skeletons' Covers Album + Legacy
Tempo:
60.9 bpm
Chords used:
F
Ab
G
E
Eb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
This is Glenn Danzig and you're watching Loudwire.
Hey everybody, Guru Hamid here from Loudwire with Mr.
[E] Glenn Danzig.
Thank you so much for taking some time today to talk to me.
My pleasure.
Celebrating the Skeletons compilation, the covers album.
Long time coming.
A lot of fans have been anticipating this for a long time.
You've been talking about it for a while.
I'm curious about how do you approach something like this where you're covering such legendary
musicians [Ab] combining their influence with your own influence.
First off, [G]
there's lots of songs of course you want [Ebm] to cover.
My attitude with covers is you've got to bring a [Eb] new element or a new dimension to it and
kind of make it your own.
[F] And so that's when I started weeding through songs [Eb] I thought I might want to do and if
I had a good idea on a good direction to take it.
Like a different direction than say maybe the artist, the original artist.
[F] That's how I weeded it down into the [G] selections that you see on the record.
It's like a balancing act.
It is.
But I'm pretty [F] happy with the way it came out.
So far we're talking to different journalists and people I've played it to, they [N] seem to dig it.
So I'm happy.
Good.
And this has been a project, as I said, that's been talked about for a long time.
Is it something that was maybe on the back burner for a while, just sort of an idea that
was stewing until you really found the right way to do it?
Well, it's half of that.
I've been wanting to do a cover record since 1979.
For a long time, yeah.
Actually, the arrangement for Devil's Angels is one I did back in 79.
Wow.
Wow, okay.
And I've been waiting to cover it since then.
So, and then other stuff.
In a way I'm glad it took a long time to get it done. Sure.
And find the time to do it because otherwise there wouldn't be some [G] of the songs that are
on there now.
When it comes to this catalog of songs, were there any tracks that felt at all a bit intimidating to cover?
No.
No?
That's it?
No, I just do them.
[N] Yeah?
Usually I have an idea in my head and I show [B] it to the guys and [F] we bang it out.
Cool.
Usually I weed it out [E] before I give it to everybody to record so that it's not a clunker.
Gotcha, yeah, of course.
One of the songs that's on there, I think one of the standouts is NIB, [Ab] Black Sabbath.
NIB, yeah.
Obviously a classic metal staple for a long time.
Yeah.
When it comes to Black Sabbath's discography, what is it about that song that made you want
to record it?
The first record is just a groundbreaking [B] record.
I'll say, live I always tell everybody, you can't have a Danzig covers record without
[Gm] Elvis Presley, but you also can't have one [Ab] without Black Sabbath.
Two very influential [N] artists, at least for me growing up.
We do NIB live every night and I let people sing along to the chorus.
It's much different than a Black Sabbath concert. [G] Well, sure.
A punk rock concert with Black Sabbath, that's [Ab] pretty cool.
Pretty much, it's kind of like that.
That's a cool energy.
Another one I really wanted to talk about was Crying in the Rain by the Everly Brothers.
I love the Everly Brothers.
I really love them too.
Really one of the best groups ever to combine two voices and to really make it one single entity.
There's so much beauty in those harmonies.
Your approach was to take it pretty much straight yourself most of the time.
I stripped it down.
I wanted it to be very [B] sparse and haunting and kind of creepy and [F] still have the melody
for the [N] vocals.
I'm pretty happy with the way it came out.
I put a big Vegas Elvis chorus in for the chorus.
There's some background stuff going on there.
I also added a couple of little Gregorian chants in underneath so that it made it a little darker.
Made it creepy.
Also, you mentioned the legacy stuff, which obviously fans are going crazy about.
When it comes to integrating old dancing stuff, when it comes to integrating misfit stuff
and then [E] surprises for fans like inviting Doyle to guest, stuff like that.
When or how do you decide when the right time is for something like that?
Because there's [Ab] always demand for it.
The thing with Doyle we did on the 25th anniversary and I just said, you know what, Doyle was around.
I said, do you want to come out for a set with us on the 25th Anzig anniversary?
He said, yeah.
We had just done the legacy.
[N] I think we did [Bb] about five or six legacy shows, [F] not counting Bonnaroo.
It [C] just fell into place.
It worked out.
Just for an anniversary or something.
Similar with the Santa Hayne thing.
We got invited to do Riot [Abm] Fest and the Ten Essential albums.
We were rehearsing for that anyway.
I was like, why aren't [N] we rehearsing anyway?
Why not do an LA and a San Francisco show?
Then some East Coast promoters found out and said, well, you can't ignore New York and Philadelphia.
We had to cut it off there.
We did some East Coast, we did some West Coast, and of course we did Riot Fest.
And then that was it.
It was just nice.
Awesome.
[Eb] Well, thank you for sitting down with me and giving [F] me some of your time.
Really appreciate it.
[G] Danzig, buy the [C] Skeletons album.
Definitely do it.
Glenn Danzig, everybody.
Thanks.
[A]
Hey everybody, Guru Hamid here from Loudwire with Mr.
[E] Glenn Danzig.
Thank you so much for taking some time today to talk to me.
My pleasure.
Celebrating the Skeletons compilation, the covers album.
Long time coming.
A lot of fans have been anticipating this for a long time.
You've been talking about it for a while.
I'm curious about how do you approach something like this where you're covering such legendary
musicians [Ab] combining their influence with your own influence.
First off, [G]
there's lots of songs of course you want [Ebm] to cover.
My attitude with covers is you've got to bring a [Eb] new element or a new dimension to it and
kind of make it your own.
[F] And so that's when I started weeding through songs [Eb] I thought I might want to do and if
I had a good idea on a good direction to take it.
Like a different direction than say maybe the artist, the original artist.
[F] That's how I weeded it down into the [G] selections that you see on the record.
It's like a balancing act.
It is.
But I'm pretty [F] happy with the way it came out.
So far we're talking to different journalists and people I've played it to, they [N] seem to dig it.
So I'm happy.
Good.
And this has been a project, as I said, that's been talked about for a long time.
Is it something that was maybe on the back burner for a while, just sort of an idea that
was stewing until you really found the right way to do it?
Well, it's half of that.
I've been wanting to do a cover record since 1979.
For a long time, yeah.
Actually, the arrangement for Devil's Angels is one I did back in 79.
Wow.
Wow, okay.
And I've been waiting to cover it since then.
So, and then other stuff.
In a way I'm glad it took a long time to get it done. Sure.
And find the time to do it because otherwise there wouldn't be some [G] of the songs that are
on there now.
When it comes to this catalog of songs, were there any tracks that felt at all a bit intimidating to cover?
No.
No?
That's it?
No, I just do them.
[N] Yeah?
Usually I have an idea in my head and I show [B] it to the guys and [F] we bang it out.
Cool.
Usually I weed it out [E] before I give it to everybody to record so that it's not a clunker.
Gotcha, yeah, of course.
One of the songs that's on there, I think one of the standouts is NIB, [Ab] Black Sabbath.
NIB, yeah.
Obviously a classic metal staple for a long time.
Yeah.
When it comes to Black Sabbath's discography, what is it about that song that made you want
to record it?
The first record is just a groundbreaking [B] record.
I'll say, live I always tell everybody, you can't have a Danzig covers record without
[Gm] Elvis Presley, but you also can't have one [Ab] without Black Sabbath.
Two very influential [N] artists, at least for me growing up.
We do NIB live every night and I let people sing along to the chorus.
It's much different than a Black Sabbath concert. [G] Well, sure.
A punk rock concert with Black Sabbath, that's [Ab] pretty cool.
Pretty much, it's kind of like that.
That's a cool energy.
Another one I really wanted to talk about was Crying in the Rain by the Everly Brothers.
I love the Everly Brothers.
I really love them too.
Really one of the best groups ever to combine two voices and to really make it one single entity.
There's so much beauty in those harmonies.
Your approach was to take it pretty much straight yourself most of the time.
I stripped it down.
I wanted it to be very [B] sparse and haunting and kind of creepy and [F] still have the melody
for the [N] vocals.
I'm pretty happy with the way it came out.
I put a big Vegas Elvis chorus in for the chorus.
There's some background stuff going on there.
I also added a couple of little Gregorian chants in underneath so that it made it a little darker.
Made it creepy.
Also, you mentioned the legacy stuff, which obviously fans are going crazy about.
When it comes to integrating old dancing stuff, when it comes to integrating misfit stuff
and then [E] surprises for fans like inviting Doyle to guest, stuff like that.
When or how do you decide when the right time is for something like that?
Because there's [Ab] always demand for it.
The thing with Doyle we did on the 25th anniversary and I just said, you know what, Doyle was around.
I said, do you want to come out for a set with us on the 25th Anzig anniversary?
He said, yeah.
We had just done the legacy.
[N] I think we did [Bb] about five or six legacy shows, [F] not counting Bonnaroo.
It [C] just fell into place.
It worked out.
Just for an anniversary or something.
Similar with the Santa Hayne thing.
We got invited to do Riot [Abm] Fest and the Ten Essential albums.
We were rehearsing for that anyway.
I was like, why aren't [N] we rehearsing anyway?
Why not do an LA and a San Francisco show?
Then some East Coast promoters found out and said, well, you can't ignore New York and Philadelphia.
We had to cut it off there.
We did some East Coast, we did some West Coast, and of course we did Riot Fest.
And then that was it.
It was just nice.
Awesome.
[Eb] Well, thank you for sitting down with me and giving [F] me some of your time.
Really appreciate it.
[G] Danzig, buy the [C] Skeletons album.
Definitely do it.
Glenn Danzig, everybody.
Thanks.
[A]
Key:
F
Ab
G
E
Eb
F
Ab
G
This is Glenn Danzig and you're watching Loudwire.
_ _ _ Hey everybody, Guru Hamid here from Loudwire with Mr.
[E] Glenn Danzig.
Thank you so much for taking some time today to talk to me.
My pleasure.
Celebrating the Skeletons compilation, the covers album.
Long time coming.
A lot of fans have been anticipating this for a long time.
You've been talking about it for a while.
I'm curious about how do you approach something like this where you're covering such legendary
musicians [Ab] combining their influence with your own influence.
First off, [G]
there's lots of songs of course you want [Ebm] to cover.
My attitude with covers is you've got to bring a [Eb] new element or a new dimension to it and
kind of make it your own.
[F] And so that's when I started weeding through songs [Eb] I thought I might want to do and if
I had a good idea on a good direction to take it.
Like a different direction than say maybe the artist, the original artist.
[F] That's how I weeded it down into the [G] selections that you see on the record.
It's like a balancing act.
It is.
But I'm pretty [F] happy with the way it came out.
So far we're talking to different journalists and people I've played it to, they [N] seem to dig it.
So I'm happy.
Good.
And this has been a project, as I said, that's been talked about for a long time.
Is it something that was maybe on the back burner for a while, just sort of an idea that
was stewing until you really found the right way to do it?
Well, it's half of that.
I've been wanting to do a cover record since 1979.
For a long time, yeah.
Actually, the arrangement for Devil's Angels is one I did back in 79.
Wow.
Wow, okay.
And I've been waiting to cover it since then.
So, and then other stuff.
In a way I'm glad it took a long time to get it done. Sure.
And find the time to do it because otherwise there wouldn't be some [G] of the songs that are
on there now.
When it comes to this catalog of songs, were there any tracks that felt at all a bit intimidating to cover?
_ No.
No?
That's it?
No, I just do them.
[N] Yeah?
Usually I have an idea in my head and I show [B] it to the guys and [F] we bang it out.
Cool.
Usually I weed it out [E] before I give it to everybody to record so that it's not a clunker.
Gotcha, yeah, of course.
One of the songs that's on there, I think one of the standouts is NIB, [Ab] Black Sabbath.
NIB, yeah.
Obviously a classic metal staple for a long time.
Yeah.
When it comes to Black Sabbath's discography, what is it about that song that made you want
to record it?
The first record is just a groundbreaking [B] record. _
I'll say, live I always tell everybody, you can't have a Danzig covers record without
[Gm] Elvis Presley, but you also can't have one [Ab] without Black Sabbath.
Two very influential [N] artists, at least for me growing up.
We do NIB live every night and I let people sing along to the chorus.
It's much different than a Black Sabbath concert. [G] Well, sure.
A punk rock concert with Black Sabbath, that's [Ab] pretty cool.
Pretty much, it's kind of like that.
That's a cool energy.
Another one I really wanted to talk about was Crying in the Rain by the Everly Brothers.
I love the Everly Brothers.
I really love them too.
Really one of the best groups ever to combine two voices and to really make it one single entity.
There's so much beauty in those harmonies.
Your approach was to take it pretty much straight yourself most of the time.
I stripped it down.
I wanted it to be very _ _ [B] sparse and haunting and kind of creepy and [F] still have the melody
for the [N] vocals.
I'm pretty happy with the way it came out.
I put a big Vegas Elvis chorus in for the chorus.
There's some background stuff going on there.
I also added a couple of little Gregorian chants in underneath so that it made it a little darker.
Made it creepy.
Also, you mentioned the legacy stuff, which obviously fans are going crazy about.
When it comes to integrating old dancing stuff, when it comes to integrating misfit stuff
and then [E] surprises for fans like inviting Doyle to guest, stuff like that.
When or how do you decide when the right time is for something like that?
Because there's [Ab] always demand for it.
The thing with Doyle we did on the 25th anniversary and I just said, you know what, Doyle was around.
I said, do you want to come out for a set with us on the 25th Anzig anniversary?
He said, yeah.
We had just done the legacy.
[N] I think we did [Bb] about five or six legacy shows, [F] not counting Bonnaroo.
_ _ It [C] just fell into place.
It worked out.
Just for an anniversary or something.
Similar with the Santa Hayne thing.
We got invited to do Riot [Abm] Fest and the Ten Essential albums.
We were rehearsing for that anyway.
I was like, why aren't [N] we rehearsing anyway?
Why not do an LA and a San Francisco show?
Then some East Coast promoters found out and said, well, you can't ignore New York and Philadelphia.
We had to cut it off there.
We did some East Coast, we did some West Coast, and of course we did Riot Fest.
And then that was it.
It was just nice.
Awesome.
[Eb] Well, thank you for sitting down with me and giving [F] me some of your time.
Really appreciate it.
[G] Danzig, buy the [C] Skeletons album.
Definitely do it.
Glenn Danzig, everybody.
Thanks.
_ _ _ [A] _ _ _
_ _ _ Hey everybody, Guru Hamid here from Loudwire with Mr.
[E] Glenn Danzig.
Thank you so much for taking some time today to talk to me.
My pleasure.
Celebrating the Skeletons compilation, the covers album.
Long time coming.
A lot of fans have been anticipating this for a long time.
You've been talking about it for a while.
I'm curious about how do you approach something like this where you're covering such legendary
musicians [Ab] combining their influence with your own influence.
First off, [G]
there's lots of songs of course you want [Ebm] to cover.
My attitude with covers is you've got to bring a [Eb] new element or a new dimension to it and
kind of make it your own.
[F] And so that's when I started weeding through songs [Eb] I thought I might want to do and if
I had a good idea on a good direction to take it.
Like a different direction than say maybe the artist, the original artist.
[F] That's how I weeded it down into the [G] selections that you see on the record.
It's like a balancing act.
It is.
But I'm pretty [F] happy with the way it came out.
So far we're talking to different journalists and people I've played it to, they [N] seem to dig it.
So I'm happy.
Good.
And this has been a project, as I said, that's been talked about for a long time.
Is it something that was maybe on the back burner for a while, just sort of an idea that
was stewing until you really found the right way to do it?
Well, it's half of that.
I've been wanting to do a cover record since 1979.
For a long time, yeah.
Actually, the arrangement for Devil's Angels is one I did back in 79.
Wow.
Wow, okay.
And I've been waiting to cover it since then.
So, and then other stuff.
In a way I'm glad it took a long time to get it done. Sure.
And find the time to do it because otherwise there wouldn't be some [G] of the songs that are
on there now.
When it comes to this catalog of songs, were there any tracks that felt at all a bit intimidating to cover?
_ No.
No?
That's it?
No, I just do them.
[N] Yeah?
Usually I have an idea in my head and I show [B] it to the guys and [F] we bang it out.
Cool.
Usually I weed it out [E] before I give it to everybody to record so that it's not a clunker.
Gotcha, yeah, of course.
One of the songs that's on there, I think one of the standouts is NIB, [Ab] Black Sabbath.
NIB, yeah.
Obviously a classic metal staple for a long time.
Yeah.
When it comes to Black Sabbath's discography, what is it about that song that made you want
to record it?
The first record is just a groundbreaking [B] record. _
I'll say, live I always tell everybody, you can't have a Danzig covers record without
[Gm] Elvis Presley, but you also can't have one [Ab] without Black Sabbath.
Two very influential [N] artists, at least for me growing up.
We do NIB live every night and I let people sing along to the chorus.
It's much different than a Black Sabbath concert. [G] Well, sure.
A punk rock concert with Black Sabbath, that's [Ab] pretty cool.
Pretty much, it's kind of like that.
That's a cool energy.
Another one I really wanted to talk about was Crying in the Rain by the Everly Brothers.
I love the Everly Brothers.
I really love them too.
Really one of the best groups ever to combine two voices and to really make it one single entity.
There's so much beauty in those harmonies.
Your approach was to take it pretty much straight yourself most of the time.
I stripped it down.
I wanted it to be very _ _ [B] sparse and haunting and kind of creepy and [F] still have the melody
for the [N] vocals.
I'm pretty happy with the way it came out.
I put a big Vegas Elvis chorus in for the chorus.
There's some background stuff going on there.
I also added a couple of little Gregorian chants in underneath so that it made it a little darker.
Made it creepy.
Also, you mentioned the legacy stuff, which obviously fans are going crazy about.
When it comes to integrating old dancing stuff, when it comes to integrating misfit stuff
and then [E] surprises for fans like inviting Doyle to guest, stuff like that.
When or how do you decide when the right time is for something like that?
Because there's [Ab] always demand for it.
The thing with Doyle we did on the 25th anniversary and I just said, you know what, Doyle was around.
I said, do you want to come out for a set with us on the 25th Anzig anniversary?
He said, yeah.
We had just done the legacy.
[N] I think we did [Bb] about five or six legacy shows, [F] not counting Bonnaroo.
_ _ It [C] just fell into place.
It worked out.
Just for an anniversary or something.
Similar with the Santa Hayne thing.
We got invited to do Riot [Abm] Fest and the Ten Essential albums.
We were rehearsing for that anyway.
I was like, why aren't [N] we rehearsing anyway?
Why not do an LA and a San Francisco show?
Then some East Coast promoters found out and said, well, you can't ignore New York and Philadelphia.
We had to cut it off there.
We did some East Coast, we did some West Coast, and of course we did Riot Fest.
And then that was it.
It was just nice.
Awesome.
[Eb] Well, thank you for sitting down with me and giving [F] me some of your time.
Really appreciate it.
[G] Danzig, buy the [C] Skeletons album.
Definitely do it.
Glenn Danzig, everybody.
Thanks.
_ _ _ [A] _ _ _