Chords for Jimmy Barnes & Neil Finn - 'Lola' (Live - My First Gig)

[G] I'd known Nick a little bit.
I saw him on a catwalk before I_
I heard you picked him because he could dance well.
[D] Well, actually, he danced around_
The way we [Em] auditioned was a little bit unusual in that [Am] Paul and I did some demos
with drums and [C] guitar and [G] vocals and then sent those to prospective bass players
who [N] made up bass parts for them.
It was quite a good way to do it.
Nick came in and he didn't actually play necessarily the best parts of all of the thing,
but he had the most energy in the studio.
Best vibe.
Something fell into place.
There was a little bit of fate.
Were you living in Australia by this point?
We'd been living in Melbourne for quite a few years at that point.
How did the Kiwis find Melbourne?
You quite enjoyed it there, didn't you?
I like Melbourne.
I still do.
It's a great city.
I generally loved Australia, really, living here.
We did really well in the pubs.
The circuit, as you well know,
was very healthy in those days.
It was our lifeblood.
That was about 85, wasn't it?
That was Crowded House, yeah.
What was pre-recording, what was a Millennium Slash Crowded House gig like?
Was [G] it sort of zany?
I guess we were pretty loose.
I listened just recently to a little [Am] live tape from that [A] period.
It was a bit of carrying on.
Paul [C] was pretty vocal and offering a lot.
[Bm] We were already evolved along those lines.
I [Em] don't think we were nearly as good a band [N] for the Millenniums.
Obviously, we got much better by busking a lot.
When the record was not doing that well,
we went out and did a whole lot of gigs as a three-piece busking line-up.
That really was the making of the band.
It's where Paul developed his brush style.
That became a big feature in your set, really, wasn't it?
Even if you were playing as a band, you'd come down front and do whole sections.
We could make that work anywhere.
It was sort of harking back to the parties of our childhood.
The idea of lighting up a room.
We didn't need a lot.
Paul was so exciting on the brushes, on [Em] the snare.
Nick's got a big personality, too.
[Am] _ [D] _ _ [G] What made up a [Bm] set?
[Am] Did you play split-end songs?
[D] Did you play any covers?
[G] We did do a couple of covers.
[E] We did a version of Not Fade Away.
We did Anarchy in the UK.
Kind of country style.
You talked about the Beatles in the old days.
Other bands.
Today, we're going to do Lola by the Kings.
She asked me to [A] dance.
I asked her for a [D] name and in a dapper voice [E] she said Lola.
Were _ [A] _ [Dm] the Kings [C] influential?
Were Ray Davies a [E] songwriter and a producer?
Very much so.
Tim almost more so than me.
Although I was obviously inheriting his records and his collections.
By that point, I was playing guitar at parties.
Usually providing a soundtrack for all my mates to go off with the girls I fancied.
Which was quite [G#] ironic, really.
It's supposed to be the other way around.
_ When Lola came out, I remember hearing it on the radio.
Those opening chords.
It was a great, incredible pop song.
It's [D#m] a phenomenal song in every aspect, actually.
Let's [E] pretend it's our first gig and see if we can destroy such a classic pop song.
We'll give it our best shot.
Do your nastiest, mate.
I'll jump in and back [Gm] you up on it.
Go for it.
[C] I _ [D] _ [E] _ _ _ _
_ _ _ _ met her in a club down in old Soho
[A] Where you drink [D] champagne and it tastes just [E] like cherry cola
C [A]-O-L-A-COLA
_ [E] She walked up to me and she asked me to dance
[A] I asked [D] her her name and in a dark brown voice she [E] said Lola
Hello, [A] Oli, hello
_ [D] Hello, [C] Oli _
_ [D] _ [E] _ _ _ Well, I'm not the world's most physical guy
[A] When she squeezed me [D] tight, she nearly broke my [E] spine
Oh, my Lola
La [A] la la la Lola
_ _ [E] I'm not dumb, but I can't [A] understand
Why she walk like a woman and [D] talk like a man
[E] Oh, my Lola
La la la [A] la Lola
_ La la la [C] la _ _ [D] _ [E] _ _ _ Lola
We [B] drank champagne and danced [Em] all night
[F#] _
Electric candlelight
[A] She picked me up and set me on her knee
And said, dear boy, won't you come on with [E] me
Well, I'm not the world's most passionate guy
[A] But when I looked in her [D] eyes, well, I almost fell [E] for her
Oh, my Lola
La la la [A]
Lola
[D] La la [C] la la Lola
_ [D] _ [E]
Lola
La la [A] la la _ [D] Lola
[C]
I _ [D] _ [E] _ _ _ _ [A]
[B] pushed her away
[A] I walked through [B] the door
[A] When I [B] fell to the floor
I [E] went [C#] down on my knees
[B] Then I looked at her and she at me
[E] That's the way that I wanted to stay
[A] And I always wanted [D] to be that way
[E] For my Lola
La la la [A] la _ _ [E] Lola
Girls will be boys and boys will be girls
[A] It's a mixed up, muddled [D] up, shook up world
[E] Except for Lola
La la la [A] la Lola
_ [B] Well, I left home just a week before
[F#] And I'd never, never kissed a woman before
[A] But Lola smiled and took me by the hand
And said, dear boy, I'm gonna make you a man
[E] Well, I'm not the world's most masculine man
[A] But I know what I am and [D] I'm glad I'm a man
And [E] so it's Lola
La la [A] la la Lola
[D] La la [C] la la Lola
_ [D] _ [E]
Lola
La [A] la la la [D] Lola
[C] La la la la Lola
_ [D] _ [E] _ _ Lola
La la la [A] _
[D] la _ [C] Lola
_ [D] _ [E] _