Chords for Ian Astbury (The Cult) Exclusive Interview-July 2008
Tempo:
117 bpm
Chords used:
A
D
G
Bm
Eb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[A] Hi, I'm Leif Garrett.
You're watching Fuse On Demand.
Get it when you want it.
We've never been great [D] careerists.
I mean, I didn't join a band to be in a career or a job.
So, initially we had [A] a lot to say as a younger band.
We made records because we felt we [B] had something to say.
And then we got through the period of like maybe in the 90s where we started [A] making records
with like [G] partly what we wanted to say and partly what we thought [A] people wanted us to say.
And we kind of got lost a little bit.
[D] At that point I walked away because I didn't feel that we were [A] really being true to who we should be.
I went [G] and did some things on my own, some solo [A] stuff and travelled extensively.
Then came back with the same kind of enthusiasm and earnestness for a cult record.
But by then the politics of the music [G] industry was so [A]
diversely changed.
Being a musician wasn't enough.
You had to have a full [D] awareness of [A] the business and all that.
So, I didn't really want to be in the business.
[Bm] It really made me sick [G] to my [A] stomach.
So, I kind of walked away again.
My criteria for making another cult record, I was travelling extensively and I was performing with The Doors.
And during that time I [Eb] experienced playing that body of Doors work.
I thought the cult never really adopted its potential in terms of
we've had a very modest career.
So, doing The Doors, when I'm performing that body of work, see what they did in five or six years,
really whet my appetite as a writer.
And I thought I really want to put the cult in a place where the songwriting drives the band, not [A] performance.
We're very performance-orientated.
We came out of punk rock.
It was all about performance, getting on stage.
Really a live band.
Songwriting was important, but it was kind of a secondary thing.
And [Gm] the stuff that I was really passionate about, I kind of did away from the band.
A lot of acoustic [Db] stuff and [A] different kinds of material.
For me, I just really felt I had a lot to say [Am] and the vehicle to really say it was the [E] cult.
We made this record in 36 [A] days.
The idea of born into this is like born into this time right now.
Why this time more than any other time?
Because this is the time.
This is the only time we've got.
And then you can go further and expand upon it like these cities, this culture,
where we're at as a culture, as the human race, where we're actually at.
It's a very volatile, exciting time.
There's a lot in the culture happening right now.
So, I think it's a really important time in our evolution.
[D] So, I just wanted to acknowledge [A] that.
And the song's kind [D] of alluded to that as well.
It's a real honest rock and roll record.
I mean, it displays all our influences on our sleeve.
Like, Dirty Little Rockstar, everyone's going like, it rocks.
I'm going like, it rocks, but it's like, listen to the track.
It's directly influenced by Joy Division.
It's [G] directly influenced by early 80s.
It's driven by the bass.
Peter Hook has a massive influence on that track.
That's what we evolved out of.
We evolved out of a post-punk time in England, which is very important
because in America and England, the time was very different.
In England, we had bands like Joy Division, Killin' Joke, Bower [Bb] House,
[Fm] Theatre of Hate.
There was all these bands that were like post-punk bands.
And they [Eb] were our direct influences.
[D] So, it was later that we discovered The Doors and Led Zeppelin,
more classic rock elements.
But it was like a car crash between The Stones.
I mean, Dirty Little Rockstar was like a car crash between Joy Division and The Stones.
And I sing baritone.
And baritone is like Morrison, Elvis Presley.
And they're both Scottish [Gm] names, so it's more like [C] a Scottish folk tradition.
[G] So, you put those elements together and that's what you get.
That's the cult, pretty [D] much.
You're watching Fuse On Demand.
Get it when you want it.
We've never been great [D] careerists.
I mean, I didn't join a band to be in a career or a job.
So, initially we had [A] a lot to say as a younger band.
We made records because we felt we [B] had something to say.
And then we got through the period of like maybe in the 90s where we started [A] making records
with like [G] partly what we wanted to say and partly what we thought [A] people wanted us to say.
And we kind of got lost a little bit.
[D] At that point I walked away because I didn't feel that we were [A] really being true to who we should be.
I went [G] and did some things on my own, some solo [A] stuff and travelled extensively.
Then came back with the same kind of enthusiasm and earnestness for a cult record.
But by then the politics of the music [G] industry was so [A]
diversely changed.
Being a musician wasn't enough.
You had to have a full [D] awareness of [A] the business and all that.
So, I didn't really want to be in the business.
[Bm] It really made me sick [G] to my [A] stomach.
So, I kind of walked away again.
My criteria for making another cult record, I was travelling extensively and I was performing with The Doors.
And during that time I [Eb] experienced playing that body of Doors work.
I thought the cult never really adopted its potential in terms of
we've had a very modest career.
So, doing The Doors, when I'm performing that body of work, see what they did in five or six years,
really whet my appetite as a writer.
And I thought I really want to put the cult in a place where the songwriting drives the band, not [A] performance.
We're very performance-orientated.
We came out of punk rock.
It was all about performance, getting on stage.
Really a live band.
Songwriting was important, but it was kind of a secondary thing.
And [Gm] the stuff that I was really passionate about, I kind of did away from the band.
A lot of acoustic [Db] stuff and [A] different kinds of material.
For me, I just really felt I had a lot to say [Am] and the vehicle to really say it was the [E] cult.
We made this record in 36 [A] days.
The idea of born into this is like born into this time right now.
Why this time more than any other time?
Because this is the time.
This is the only time we've got.
And then you can go further and expand upon it like these cities, this culture,
where we're at as a culture, as the human race, where we're actually at.
It's a very volatile, exciting time.
There's a lot in the culture happening right now.
So, I think it's a really important time in our evolution.
[D] So, I just wanted to acknowledge [A] that.
And the song's kind [D] of alluded to that as well.
It's a real honest rock and roll record.
I mean, it displays all our influences on our sleeve.
Like, Dirty Little Rockstar, everyone's going like, it rocks.
I'm going like, it rocks, but it's like, listen to the track.
It's directly influenced by Joy Division.
It's [G] directly influenced by early 80s.
It's driven by the bass.
Peter Hook has a massive influence on that track.
That's what we evolved out of.
We evolved out of a post-punk time in England, which is very important
because in America and England, the time was very different.
In England, we had bands like Joy Division, Killin' Joke, Bower [Bb] House,
[Fm] Theatre of Hate.
There was all these bands that were like post-punk bands.
And they [Eb] were our direct influences.
[D] So, it was later that we discovered The Doors and Led Zeppelin,
more classic rock elements.
But it was like a car crash between The Stones.
I mean, Dirty Little Rockstar was like a car crash between Joy Division and The Stones.
And I sing baritone.
And baritone is like Morrison, Elvis Presley.
And they're both Scottish [Gm] names, so it's more like [C] a Scottish folk tradition.
[G] So, you put those elements together and that's what you get.
That's the cult, pretty [D] much.
Key:
A
D
G
Bm
Eb
A
D
G
[A] Hi, I'm Leif Garrett.
You're watching Fuse On Demand.
Get it when you want it.
We've never been great [D] careerists.
I mean, I didn't join a band to be in a career or a job.
So, initially we had [A] a lot to say as a younger band.
We made records because we felt we [B] had something to say.
And then we got through the period of like maybe in the 90s where we started [A] making records
with like [G] partly what we wanted to say and partly what we thought [A] people wanted us to say.
And we kind of got lost a little bit.
[D] At that point I walked away because I didn't feel that we were [A] really being true to who we should be.
I went [G] and did some things on my own, some solo [A] stuff and travelled extensively.
Then came back with the same kind of enthusiasm and earnestness for a cult record.
But by then the politics of the music [G] industry was so [A]
diversely changed.
_ Being a musician wasn't enough.
You had to have a full [D] awareness of [A] the business and all that.
So, I didn't really want to be in the business.
[Bm] It really made me sick [G] to my [A] stomach.
So, I kind of walked away again.
My criteria for making another cult record, I was travelling extensively and I was performing with The Doors.
And during that time I [Eb] experienced playing that body of Doors work.
I thought the cult never really adopted its potential in terms of_
we've had a very modest career.
So, doing The Doors, when I'm performing that body of work, see what they did in five or six years,
really whet my appetite as a writer.
And I thought I really want to put the cult in a place where the songwriting drives the band, not [A] performance.
_ We're very performance-orientated.
We came out of punk rock.
It was all about performance, getting on stage.
Really a live band.
_ Songwriting was important, but it was kind of a secondary thing.
And [Gm] the stuff that I was really passionate about, I kind of did away from the band.
A lot of acoustic [Db] stuff and [A] different kinds of material.
For me, I just really felt I had a lot to say [Am] and the vehicle to really say it was the [E] cult.
_ _ We made this record in 36 [A] days.
The idea of born into this is like born into this time right now.
Why this time more than any other time?
Because this is the time.
This is the only time we've got.
And then you can go further and expand upon it like these cities, this culture,
where we're at as a culture, as the human race, where we're actually at.
It's a very volatile, _ exciting _ time.
There's a lot in the culture happening right now.
So, I think it's a really important time in our evolution.
[D] So, I just wanted to acknowledge [A] that.
And the song's kind [D] of alluded to that as well.
It's a real honest rock and roll record.
I mean, it displays all our influences on our sleeve.
Like, Dirty Little Rockstar, everyone's going like, it rocks.
I'm going like, it rocks, but it's like, listen to the track.
It's directly influenced by Joy Division.
It's [G] directly influenced by early 80s.
It's driven by the bass.
Peter Hook has a massive influence on that track.
That's what we evolved out of.
We evolved out of a post-punk time in England, which is very important
because in America and England, the time was very different.
In England, we had bands like Joy Division, Killin' Joke, Bower [Bb] House,
[Fm] Theatre of Hate.
There was all these bands that were like post-punk bands.
And they [Eb] were our direct influences.
[D] So, it was later that we discovered The Doors and Led Zeppelin,
more classic rock elements.
But it was like a car crash between The Stones.
I mean, Dirty Little Rockstar was like a car crash between Joy Division and The Stones.
And I sing baritone.
And baritone is like Morrison, Elvis Presley.
And they're both Scottish [Gm] names, so it's more like [C] a Scottish folk tradition.
[G] So, you put those elements together and that's what you get.
That's the cult, pretty [D] much. _ _ _
You're watching Fuse On Demand.
Get it when you want it.
We've never been great [D] careerists.
I mean, I didn't join a band to be in a career or a job.
So, initially we had [A] a lot to say as a younger band.
We made records because we felt we [B] had something to say.
And then we got through the period of like maybe in the 90s where we started [A] making records
with like [G] partly what we wanted to say and partly what we thought [A] people wanted us to say.
And we kind of got lost a little bit.
[D] At that point I walked away because I didn't feel that we were [A] really being true to who we should be.
I went [G] and did some things on my own, some solo [A] stuff and travelled extensively.
Then came back with the same kind of enthusiasm and earnestness for a cult record.
But by then the politics of the music [G] industry was so [A]
diversely changed.
_ Being a musician wasn't enough.
You had to have a full [D] awareness of [A] the business and all that.
So, I didn't really want to be in the business.
[Bm] It really made me sick [G] to my [A] stomach.
So, I kind of walked away again.
My criteria for making another cult record, I was travelling extensively and I was performing with The Doors.
And during that time I [Eb] experienced playing that body of Doors work.
I thought the cult never really adopted its potential in terms of_
we've had a very modest career.
So, doing The Doors, when I'm performing that body of work, see what they did in five or six years,
really whet my appetite as a writer.
And I thought I really want to put the cult in a place where the songwriting drives the band, not [A] performance.
_ We're very performance-orientated.
We came out of punk rock.
It was all about performance, getting on stage.
Really a live band.
_ Songwriting was important, but it was kind of a secondary thing.
And [Gm] the stuff that I was really passionate about, I kind of did away from the band.
A lot of acoustic [Db] stuff and [A] different kinds of material.
For me, I just really felt I had a lot to say [Am] and the vehicle to really say it was the [E] cult.
_ _ We made this record in 36 [A] days.
The idea of born into this is like born into this time right now.
Why this time more than any other time?
Because this is the time.
This is the only time we've got.
And then you can go further and expand upon it like these cities, this culture,
where we're at as a culture, as the human race, where we're actually at.
It's a very volatile, _ exciting _ time.
There's a lot in the culture happening right now.
So, I think it's a really important time in our evolution.
[D] So, I just wanted to acknowledge [A] that.
And the song's kind [D] of alluded to that as well.
It's a real honest rock and roll record.
I mean, it displays all our influences on our sleeve.
Like, Dirty Little Rockstar, everyone's going like, it rocks.
I'm going like, it rocks, but it's like, listen to the track.
It's directly influenced by Joy Division.
It's [G] directly influenced by early 80s.
It's driven by the bass.
Peter Hook has a massive influence on that track.
That's what we evolved out of.
We evolved out of a post-punk time in England, which is very important
because in America and England, the time was very different.
In England, we had bands like Joy Division, Killin' Joke, Bower [Bb] House,
[Fm] Theatre of Hate.
There was all these bands that were like post-punk bands.
And they [Eb] were our direct influences.
[D] So, it was later that we discovered The Doors and Led Zeppelin,
more classic rock elements.
But it was like a car crash between The Stones.
I mean, Dirty Little Rockstar was like a car crash between Joy Division and The Stones.
And I sing baritone.
And baritone is like Morrison, Elvis Presley.
And they're both Scottish [Gm] names, so it's more like [C] a Scottish folk tradition.
[G] So, you put those elements together and that's what you get.
That's the cult, pretty [D] much. _ _ _