Chords for Interpol's Turn on the Bright Lights in 5 Minutes
Tempo:
124 bpm
Chords used:
G
F
C
Am
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[F] [Am] [F]
[Am]
[F] [Dm] [Am]
[G] New York City was in transition in 2002.
The devastation of 9-11 still lingered,
but a new sense of goodwill and compassion
flowed through [C] the city with dozens of bands
reanimating a faded glory that had come
to define the Giuliani era.
Arriving after several well-regarded EPs
that honed Interpol's sonic and sartorial sense,
it's possible no album captured this moment
as vividly as their debut, Turn On The Bright Lights.
♪ [Em] I'll say my [A] heart is breaking ♪
♪ [Bm] If it helps me [G] through these days [Em] ♪
♪ It takes [A] a long [G] time just to get this off [Em] ♪
♪ Choking [A] on a sad, [D] wouldn't find [Cm] the right key ♪
Interpol took shape at NYU in the late 1990s,
where the [G] band formed partially as a result
of mutual fashion appreciation.
Frontman Paul Banks had come across bassist
Carlos Dengler in their dorm,
wearing skin-tight black clothing and a giant crucifix.
Meanwhile, guitarist Daniel Kessler
had already gotten to know Dengler in a World War I class
after approaching him with a compliment about his shoes.
And the trio eventually found replacement drummer
Sam Fogarino while he was working in a used clothing [F] store.
♪ I'm feeling like I need to call you, darling ♪
♪ So let me know I have a date [C] to pick up with you ♪
♪ Move it, slam face, move it, slam [Am]
face ♪
[N] Soon after coming together,
the group started to jam at Funkadelic Studios.
PDA was already in embryonic form by then.
After hustling in the NYC circuit
and recording here and there,
a chance meeting with Emma Pollack of the Delgados
led to the release of an Interpol EP in 2000
on the esteemed Chemical Underground [Eb] label.
On the heels of the EP's success
and in the midst of the post-Strokes gold rush
in New York City,
Interpol scored a deal with Matador Records,
[F] then home to bands like Bell & Sebastian,
Yola Tango, and Pavement.
Chris Lombardi of Matador claimed that he was most impressed
by the business-like manner
with which the band conducted themselves,
the suits first and foremost.
♪ She was all right, cause the [Dm] sea was so [Am] inside ♪
♪ She broke [F] away, she was all right, cause the [Dm] sea was so inside [Am] ♪
♪ She broke away ♪
[G] Interpol decided to record Turn on the Bright Lights
at producer Peter Katis' home studio
in Bridgeport, Connecticut
to avoid all of the temptations New York City
had to offer a hot young band.
While Katis has gone on to produce The National,
Frightened Rabbit, and Yancey,
his most recent credit prior to Turn on the Bright Lights
was engineering the Get Up Kids on a wire.
Sessions were contentious.
Carlos D.
had wanted more keyboards,
more nights on the town,
and the title of the record
to be celebrated bass lines of the future.
If Banks had his way,
PDA wouldn't have even made the record.
However, Katis protested and told him,
that's your hit single, [C] which it was.
Katis was not enthused with the new until the final mix,
which had him in tears.
[G] ♪ Baby, my heart's [C] been breaking [G]
♪
[C] ♪ Why?
[G]
[Am]
[Dm] [C] ♪
But for all the seriousness [N] and grandeur
of Turn on the Bright Lights,
moments of humor abounded.
The spoken intro of Stella was a diver
and she was always down,
was recorded while Banks was ad-libbing
with ice in his mouth.
This one's called Stella was a diver and [F] she's always down.
[N] Anchored by Carlos D.
and Fogarino's hulking rhythm section,
Banks created a New York City
recognizable to its citizens,
but in cryptic, indelible lyrics.
[G] The subway was a porno, relationships were a bracelet,
and they had 200 couches for you to sleep
when it all felt like too much.
[E] ♪ Sleep tight, grandma, [A] we have 200 couches where you can [E] ♪
♪ Sleep tight, grandma, [D] we have [A] 200 couches where you can [C] ♪
Beginning with a crowd-stoking instrumental
[N] that would foreshadow runs opening
for U2 and The Cure,
Turn on the Bright Lights resulted in music
of unusually sweeping and grandiose [G] gestures
that felt foreign to rock music in general at the time,
but especially to indie rock.
It's hard to imagine the transition
towards the post-punk bombast of Arcade Fire,
The Killers, and The National
without Interpol opening the lane [Eb] first.
♪ We'll [Cm] surprise you
[Eb] sometimes ♪
♪ A [Bbm] frown when you're down [Eb] ♪
[G] While local papers would occasionally snark at them
as fashion victims and post-punk dilettantes,
critical acclaim [N] for Turn on the Bright Lights
was overwhelmingly positive.
The brilliance of Turn on the Bright Lights
is all the more apparent 15 years later,
a beacon that continues to shine radiantly
during its city's darkest moments.
[F] ♪ Turn on the [C]
bright [F] lights ♪
[C] [N]
[Am]
[F] [Dm] [Am]
[G] New York City was in transition in 2002.
The devastation of 9-11 still lingered,
but a new sense of goodwill and compassion
flowed through [C] the city with dozens of bands
reanimating a faded glory that had come
to define the Giuliani era.
Arriving after several well-regarded EPs
that honed Interpol's sonic and sartorial sense,
it's possible no album captured this moment
as vividly as their debut, Turn On The Bright Lights.
♪ [Em] I'll say my [A] heart is breaking ♪
♪ [Bm] If it helps me [G] through these days [Em] ♪
♪ It takes [A] a long [G] time just to get this off [Em] ♪
♪ Choking [A] on a sad, [D] wouldn't find [Cm] the right key ♪
Interpol took shape at NYU in the late 1990s,
where the [G] band formed partially as a result
of mutual fashion appreciation.
Frontman Paul Banks had come across bassist
Carlos Dengler in their dorm,
wearing skin-tight black clothing and a giant crucifix.
Meanwhile, guitarist Daniel Kessler
had already gotten to know Dengler in a World War I class
after approaching him with a compliment about his shoes.
And the trio eventually found replacement drummer
Sam Fogarino while he was working in a used clothing [F] store.
♪ I'm feeling like I need to call you, darling ♪
♪ So let me know I have a date [C] to pick up with you ♪
♪ Move it, slam face, move it, slam [Am]
face ♪
[N] Soon after coming together,
the group started to jam at Funkadelic Studios.
PDA was already in embryonic form by then.
After hustling in the NYC circuit
and recording here and there,
a chance meeting with Emma Pollack of the Delgados
led to the release of an Interpol EP in 2000
on the esteemed Chemical Underground [Eb] label.
On the heels of the EP's success
and in the midst of the post-Strokes gold rush
in New York City,
Interpol scored a deal with Matador Records,
[F] then home to bands like Bell & Sebastian,
Yola Tango, and Pavement.
Chris Lombardi of Matador claimed that he was most impressed
by the business-like manner
with which the band conducted themselves,
the suits first and foremost.
♪ She was all right, cause the [Dm] sea was so [Am] inside ♪
♪ She broke [F] away, she was all right, cause the [Dm] sea was so inside [Am] ♪
♪ She broke away ♪
[G] Interpol decided to record Turn on the Bright Lights
at producer Peter Katis' home studio
in Bridgeport, Connecticut
to avoid all of the temptations New York City
had to offer a hot young band.
While Katis has gone on to produce The National,
Frightened Rabbit, and Yancey,
his most recent credit prior to Turn on the Bright Lights
was engineering the Get Up Kids on a wire.
Sessions were contentious.
Carlos D.
had wanted more keyboards,
more nights on the town,
and the title of the record
to be celebrated bass lines of the future.
If Banks had his way,
PDA wouldn't have even made the record.
However, Katis protested and told him,
that's your hit single, [C] which it was.
Katis was not enthused with the new until the final mix,
which had him in tears.
[G] ♪ Baby, my heart's [C] been breaking [G]
♪
[C] ♪ Why?
[G]
[Am]
[Dm] [C] ♪
But for all the seriousness [N] and grandeur
of Turn on the Bright Lights,
moments of humor abounded.
The spoken intro of Stella was a diver
and she was always down,
was recorded while Banks was ad-libbing
with ice in his mouth.
This one's called Stella was a diver and [F] she's always down.
[N] Anchored by Carlos D.
and Fogarino's hulking rhythm section,
Banks created a New York City
recognizable to its citizens,
but in cryptic, indelible lyrics.
[G] The subway was a porno, relationships were a bracelet,
and they had 200 couches for you to sleep
when it all felt like too much.
[E] ♪ Sleep tight, grandma, [A] we have 200 couches where you can [E] ♪
♪ Sleep tight, grandma, [D] we have [A] 200 couches where you can [C] ♪
Beginning with a crowd-stoking instrumental
[N] that would foreshadow runs opening
for U2 and The Cure,
Turn on the Bright Lights resulted in music
of unusually sweeping and grandiose [G] gestures
that felt foreign to rock music in general at the time,
but especially to indie rock.
It's hard to imagine the transition
towards the post-punk bombast of Arcade Fire,
The Killers, and The National
without Interpol opening the lane [Eb] first.
♪ We'll [Cm] surprise you
[Eb] sometimes ♪
♪ A [Bbm] frown when you're down [Eb] ♪
[G] While local papers would occasionally snark at them
as fashion victims and post-punk dilettantes,
critical acclaim [N] for Turn on the Bright Lights
was overwhelmingly positive.
The brilliance of Turn on the Bright Lights
is all the more apparent 15 years later,
a beacon that continues to shine radiantly
during its city's darkest moments.
[F] ♪ Turn on the [C]
bright [F] lights ♪
[C] [N]
Key:
G
F
C
Am
A
G
F
C
[F] _ _ _ _ [Am] _ _ _ [F] _
_ _ _ _ [Am] _ _ _ _
[F] _ [Dm] _ _ _ _ [Am] _ _ _
[G] New York City was in transition in 2002.
The devastation of 9-11 still lingered,
but a new sense of goodwill and compassion
flowed through [C] the city with dozens of bands
reanimating a faded glory that had come
to define the Giuliani era.
_ Arriving after several well-regarded EPs
that honed Interpol's sonic and sartorial sense,
it's possible no album captured this moment
as vividly as their debut, Turn On The Bright Lights.
♪ [Em] I'll say my [A] heart is breaking ♪
♪ [Bm] If it helps me [G] through these days [Em] ♪
♪ It takes [A] a long [G] time just to get this off [Em] ♪
♪ Choking [A] on a sad, [D] wouldn't find [Cm] the right key ♪
Interpol took shape at NYU in the late 1990s,
where the [G] band formed partially as a result
of mutual fashion appreciation.
_ Frontman Paul Banks had come across bassist
Carlos Dengler in their dorm,
wearing skin-tight black clothing and a giant crucifix.
_ Meanwhile, guitarist Daniel Kessler
had already gotten to know Dengler in a World War I class
after approaching him with a compliment about his shoes.
And the trio eventually found replacement drummer
Sam Fogarino while he was working in a used clothing [F] store.
♪ I'm feeling like I need to call you, darling ♪
♪ So let me know I have a date [C] to pick up with you ♪
♪ Move it, slam _ face, move it, slam _ [Am]
face ♪
[N] Soon after coming together,
the group started to jam at Funkadelic Studios.
PDA was already in embryonic form by then.
After hustling in the NYC circuit
and recording here and there,
a chance meeting with Emma Pollack of the Delgados
led to the release of an Interpol EP in 2000
on the esteemed Chemical Underground [Eb] label.
On the heels of the EP's success
and in the midst of the post-Strokes gold rush
in New York City,
Interpol scored a deal with Matador Records,
[F] then home to bands like Bell & Sebastian,
Yola Tango, and Pavement.
Chris Lombardi of Matador claimed that he was most impressed
by the business-like manner
with which the band conducted themselves,
the suits first and foremost.
♪ She was all right, cause the [Dm] sea was so [Am] inside ♪
♪ She broke [F] away, she was all right, cause the [Dm] sea was so inside [Am] ♪
♪ She broke away ♪
[G] Interpol decided to record Turn on the Bright Lights
at producer Peter Katis' home studio
in Bridgeport, Connecticut
to avoid all of the temptations New York City
had to offer a hot young band.
While Katis has gone on to produce The National,
Frightened Rabbit, and Yancey,
his most recent credit prior to Turn on the Bright Lights
was engineering the Get Up Kids on a wire.
_ Sessions were contentious.
Carlos D.
had wanted more keyboards,
more nights on the town,
and the title of the record
to be celebrated bass lines of the future.
If Banks had his way,
PDA wouldn't have even made the record. _
However, Katis protested and told him,
that's your hit single, [C] which it was.
Katis was not enthused with the new until the final mix,
which had him in tears.
_ _ _ _ _ [G] ♪ Baby, my heart's [C] been breaking _ _ [G]
♪
_ _ [C] ♪ Why?
_ [G] _
_ _ _ _ [Am] _ _ _ _
[Dm] _ _ _ _ [C] ♪
But for all the seriousness [N] and grandeur
of Turn on the Bright Lights,
moments of humor abounded. _
The spoken intro of Stella was a diver
and she was always down,
was recorded while Banks was ad-libbing
with ice in his mouth.
This one's called Stella was a diver and [F] she's always down.
[N] Anchored by Carlos D.
and Fogarino's hulking rhythm section,
Banks created a New York City
recognizable to its citizens,
but in cryptic, indelible lyrics.
[G] The subway was a porno, relationships were a bracelet,
and they had 200 couches for you to sleep
when it all felt like too much.
[E] ♪ Sleep tight, _ grandma, _ [A] we have 200 couches where you can [E] ♪
♪ Sleep tight, grandma, _ [D] we have [A] 200 couches where you can [C] ♪
Beginning with a crowd-stoking instrumental
[N] that would foreshadow runs opening
for U2 and The Cure,
Turn on the Bright Lights resulted in music
of unusually sweeping and grandiose [G] gestures
that felt foreign to rock music in general at the time,
but especially to indie rock.
It's hard to imagine the transition
towards the post-punk bombast of Arcade Fire,
The Killers, and The National
without Interpol opening the lane [Eb] first.
♪ We'll [Cm] surprise you _
[Eb] _ sometimes ♪
♪ A [Bbm] frown _ _ when you're down [Eb] ♪
_ [G] While local papers would occasionally snark at them
as fashion victims and post-punk dilettantes,
critical acclaim [N] for Turn on the Bright Lights
was overwhelmingly positive.
The brilliance of Turn on the Bright Lights
is all the more apparent 15 years later,
a beacon that continues to shine radiantly
during its city's darkest moments.
[F] ♪ Turn on the _ _ _ _ [C]
bright _ [F] lights ♪ _ _ _ _
_ _ _ _ [C] _ _ _ [N] _
_ _ _ _ [Am] _ _ _ _
[F] _ [Dm] _ _ _ _ [Am] _ _ _
[G] New York City was in transition in 2002.
The devastation of 9-11 still lingered,
but a new sense of goodwill and compassion
flowed through [C] the city with dozens of bands
reanimating a faded glory that had come
to define the Giuliani era.
_ Arriving after several well-regarded EPs
that honed Interpol's sonic and sartorial sense,
it's possible no album captured this moment
as vividly as their debut, Turn On The Bright Lights.
♪ [Em] I'll say my [A] heart is breaking ♪
♪ [Bm] If it helps me [G] through these days [Em] ♪
♪ It takes [A] a long [G] time just to get this off [Em] ♪
♪ Choking [A] on a sad, [D] wouldn't find [Cm] the right key ♪
Interpol took shape at NYU in the late 1990s,
where the [G] band formed partially as a result
of mutual fashion appreciation.
_ Frontman Paul Banks had come across bassist
Carlos Dengler in their dorm,
wearing skin-tight black clothing and a giant crucifix.
_ Meanwhile, guitarist Daniel Kessler
had already gotten to know Dengler in a World War I class
after approaching him with a compliment about his shoes.
And the trio eventually found replacement drummer
Sam Fogarino while he was working in a used clothing [F] store.
♪ I'm feeling like I need to call you, darling ♪
♪ So let me know I have a date [C] to pick up with you ♪
♪ Move it, slam _ face, move it, slam _ [Am]
face ♪
[N] Soon after coming together,
the group started to jam at Funkadelic Studios.
PDA was already in embryonic form by then.
After hustling in the NYC circuit
and recording here and there,
a chance meeting with Emma Pollack of the Delgados
led to the release of an Interpol EP in 2000
on the esteemed Chemical Underground [Eb] label.
On the heels of the EP's success
and in the midst of the post-Strokes gold rush
in New York City,
Interpol scored a deal with Matador Records,
[F] then home to bands like Bell & Sebastian,
Yola Tango, and Pavement.
Chris Lombardi of Matador claimed that he was most impressed
by the business-like manner
with which the band conducted themselves,
the suits first and foremost.
♪ She was all right, cause the [Dm] sea was so [Am] inside ♪
♪ She broke [F] away, she was all right, cause the [Dm] sea was so inside [Am] ♪
♪ She broke away ♪
[G] Interpol decided to record Turn on the Bright Lights
at producer Peter Katis' home studio
in Bridgeport, Connecticut
to avoid all of the temptations New York City
had to offer a hot young band.
While Katis has gone on to produce The National,
Frightened Rabbit, and Yancey,
his most recent credit prior to Turn on the Bright Lights
was engineering the Get Up Kids on a wire.
_ Sessions were contentious.
Carlos D.
had wanted more keyboards,
more nights on the town,
and the title of the record
to be celebrated bass lines of the future.
If Banks had his way,
PDA wouldn't have even made the record. _
However, Katis protested and told him,
that's your hit single, [C] which it was.
Katis was not enthused with the new until the final mix,
which had him in tears.
_ _ _ _ _ [G] ♪ Baby, my heart's [C] been breaking _ _ [G]
♪
_ _ [C] ♪ Why?
_ [G] _
_ _ _ _ [Am] _ _ _ _
[Dm] _ _ _ _ [C] ♪
But for all the seriousness [N] and grandeur
of Turn on the Bright Lights,
moments of humor abounded. _
The spoken intro of Stella was a diver
and she was always down,
was recorded while Banks was ad-libbing
with ice in his mouth.
This one's called Stella was a diver and [F] she's always down.
[N] Anchored by Carlos D.
and Fogarino's hulking rhythm section,
Banks created a New York City
recognizable to its citizens,
but in cryptic, indelible lyrics.
[G] The subway was a porno, relationships were a bracelet,
and they had 200 couches for you to sleep
when it all felt like too much.
[E] ♪ Sleep tight, _ grandma, _ [A] we have 200 couches where you can [E] ♪
♪ Sleep tight, grandma, _ [D] we have [A] 200 couches where you can [C] ♪
Beginning with a crowd-stoking instrumental
[N] that would foreshadow runs opening
for U2 and The Cure,
Turn on the Bright Lights resulted in music
of unusually sweeping and grandiose [G] gestures
that felt foreign to rock music in general at the time,
but especially to indie rock.
It's hard to imagine the transition
towards the post-punk bombast of Arcade Fire,
The Killers, and The National
without Interpol opening the lane [Eb] first.
♪ We'll [Cm] surprise you _
[Eb] _ sometimes ♪
♪ A [Bbm] frown _ _ when you're down [Eb] ♪
_ [G] While local papers would occasionally snark at them
as fashion victims and post-punk dilettantes,
critical acclaim [N] for Turn on the Bright Lights
was overwhelmingly positive.
The brilliance of Turn on the Bright Lights
is all the more apparent 15 years later,
a beacon that continues to shine radiantly
during its city's darkest moments.
[F] ♪ Turn on the _ _ _ _ [C]
bright _ [F] lights ♪ _ _ _ _
_ _ _ _ [C] _ _ _ [N] _