Chords for Ian Svenonius interview | 2012 | The Drone

[A] _ _ _ _ _ _ _ _
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_ _ _ _ _ _ [B] _ _
_ _ What do you guys want to [N] talk about? _
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Love. _ _ _ _ _ _
It's inefficient. _ _ _ _
It's been replaced by the internet. _ _ _
Along _ with everything else. _ _
_ _ [E] _ _ I'm sorry? _ _
_ Sorry. _ _ _ _ _
_ _ [N] What do you want to talk about? _ _
_ _ _ _ _ _ Sex.
_ _ _ _ It's been replaced by the internet.
_ _ [B] _ _ _ What else?
_ _ _ _ _ _ _ _
_ What do you want to talk about?
[Bm] _ _ _
_ _ Love. _ _ _ _
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_ _ _ It's been [Db] replaced by [B] _
_ _ _ [G] _ _ the internet.
[Bm]
What else? Love.
_ _ It's been _ [G] replaced _ _ _ _
_ [Bm] _ _ by the internet.
It's been replaced by _ _ the internet. _ _ _
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_ _ [B] _ _ _ _ _ _
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_ _ [G] _ _ _ _ _ _
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_ _ _ like Heart magazines, _ Reader's Digest was CIA,
[E] so there's a lot of front organizations
that are cultural, essentially.
I mean, everybody does this, all the governments do this.
All the governments have a kind of cultural arm,
and that's how they're really promoting _ _ _ [B] their.thing. _ [A] _ [E] _ _ _ _ _ [B] _
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_ [E] _ _ _ _ _ [Dm] _ [B] _
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[B] _ _ [A] [E] 🎵 The official narrative of rock and roll is very self-satisfied. It's kind of like, we're [D] this, we [B] Elvis [A] Presley [B] invented sex, punk rock destroyed the 70s. [A] There's all these myths that [B] everybody repeats, and [E] they're very tiresome, because everybody cites these bands all the time as their influence, and they are the [Am] bedrock of [B] what we [Em] all do, you know, Bob Dylan, The Beatles, Little [D] Richard, Chuck Berry, all these people are essentially comedians. To me, good music is actually [C] a form of comedy, you know, or good, not good music, but good pop music. Like, look at Jacques Dutranc or Serge Gainsbourg or all the good French 60s [Eb] guys. The reason it [Bb] was_it's_it engaging, because [E] they're actually being funny. They're, like, [G] drawing you in. They're [E] engaging you with funny _ _ lines. It doesn't mean that it doesn't have any power, that it's meaningless or that it's just a joke. _ Jokes have a lot of meaning, you know, and I feel like the problem with rock and roll [G] is, I don't know when it happened, but sometime in the 70s, it became very obsessed with authenticity. This is for the first time in Montreal. _ [C] A group from Washington, D.C.,. from Make [D] Up. Yeah, yeah, yeah. _ [Em] And that's why, baby, _ baby, I had to come see you up here. _ _ [C] _ And baby, _ _ [D] let me just tell you how happy I [Em] was. _ _ _ _ _ _ _ _ _ I [C] was just a punk rocker. I was into punk rock, you know, [D] _ [Dm] punk rock bands. It was D [B].C., the Washington, D.C. scene, so it was, you know, [D] all those [Eb] groups. That's the city the [E] bad brains are from, so people are really proud of the bad. They're like, oh, the bad brains, you know. [Dm] _ Nobody [A] succeeds. If they're from Washington, D.C., you [Bb] never succeed. The people who succeed from Washington are the [B] people who move away, like [G] _ Billy Stewart went to Chess in Chicago. _ Marvin Gaye went to Detroit. [F] _ Duke Ellington went to New [D] York. _ So [Eb] Joan Jett went to [D] _ _ L.A.,. you know. [N] _ So you have to kind of leave D.C., and so if you stay there, you're kind of a bitter and analytical person, basically, you know. Not bitter, but [E] you know, you analyze rock and roll a little more. It [Am] means, the [G] fact that you [E] stayed there, it means that you're not just trying to be successful in the rock scene. _ _ _ _ _ _ _ _ [G] [E] Sid got the track, You Just Don't See Anymore. _ _ _ _ I'm going to Charles on the band anymore, you just don't see him. _ _ Oh, oh, _ so. If I wanted to make politics, or if I wanted to be in politics, then [Em] I would probably be doing something [E] else. What I really love is rock and roll. I really love the gesture of rock and roll. I love the [Gm] music, and I love _ [F] the provocation, you know. [D] And I think that good rock and roll is funny, [N] and it's also provocative, and it's exciting. And I feel like a lot of rock and roll or whatever that's being made now, _ it's not very exciting because it's not provocative, it's not funny. And the reason is, [Dbm] there's a fear of having a personality. [Eb] Maybe now, at least in the USA, you know, to have a kind of personality or to say anything, you're really risking alienating, _ [C] _ _ you're [Dbm] risking, _ [Bb] _ you know, you might [Db] alienate a potential sex partner. What [Dm] do you think of that? _ _ _ _ _ _ _ [A] _ _ _
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_ _ Well, it's a hard, [A] hard job keeping [Dm] everybody high. Hold on. _ _ Well, it's a hard job keeping _ everybody high. _ [Gm] You know what? You still gotta try. Well, [Dm] it's a _ hard, hard [A] job keeping everybody [Dm] high. _ _ _ _ _ Well, it's a hard, [A] hard job keeping everybody [Dm] stone. _ _ Stone. _ Maybe for some people they have some grand plan and they make a decision, [Em] but I never made a decision. I've just [Dm] always taken the path of least resistance. I've done the thing that I felt [G] compelled to do. I never had a great epiphany [Dm] about like, oh, I'm gonna do this thing. Do you know what I mean? It just always felt natural to do that. It might mean I have [G] very little imagination, really, _ because it's what people were doing, _ [Db] and I did it, you know. _ [Abm] I'm not like a pioneer. You know, there are [A] certain people who are the pioneers of punk [B] or [F] hardcore or independent music, and they [N] kind of like _ Black Flag. They were pioneers, you know. They created a kind of network of _ touring on a very independent level. That's not me. _ That's not me. _ I just, you know, I [Ab] did the thing that people were [Eb] doing already. _ _ [N] _ _ _