Chords for Lynsey de Paul on how she became a songwriter ...and then a singer

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_ _ [G#] I was quite ill for a couple of days, went to the doctor and was told I had been concussed.
And from that moment, as I say, it was a defining point, I realised that I had to get out of
home and I had to be independent.
And I worked while I was at college to earn enough money to leave home and decided that
I wasn't going to do classical music, I trained in classical music, I was going to continue _
in my commercial art and be a famous commercial artist.
That was my ambition, I was going to be a famous commercial artist.
And I lived in this dreadful two-roomed, eight-pound-a-week flat above an Indian restaurant where I had
a plastic sofa with a scratch down the back and the bed.
And I worked while I was there at my artwork and I found myself working in the music industry.
I was designing record sleeves and albums and handouts.
And at that time, I was at a crossroads, I didn't quite know how my life was going to
go and I'd never seen a clairvoyant.
And a friend said to me, you should go and see this clairvoyant at the British [F#] Spiritualist Association.
And I toddled along there, wondering what I was going to find.
And there was this woman called Kathleen St George, she was a pretty amazing woman.
And she said to me, you're going to change your career, I don't know what you do now,
but I see television cameras.
And I thought, the woman's a complete nut.
And I left the British Spiritualist Association and went home and [G#m] thought, that was a waste of time.
And somebody had given me a piano and I decided that I was going to write songs.
I could write songs.
So I wrote a few and I played them for people for whom I'd done some artwork and they put
them on B-sides and albums, nothing particularly wonderful.
And then I wrote a song, which I thought was pretty good.
And I took it to somebody for whom I was designing.
It was a _ group called the Pipkins.
They had this song called Gimme That, Gimme That, Gimme Gimme Gimme That.
And I'd done their albums as a sleeve.
And I thought, _ I've got this really fab song that was made on a filthy old demo.
It was an out of tune piano, a bass and a packing case because we couldn't afford any drums.
And this guy couldn't see it.
He said, I don't see it, Leen.
Do you have this lisp and this wink, I remember.
So I sat on it for a month and I then gave it to his partner a month later.
And the partner stopped the demo halfway and I thought, God, it must be rubbish.
And in fact, he put it on a session within three days.
It was released three weeks after that.
And it was the first hit I ever wrote called Storm in a Teacup.
We went to number seven and I thought, well, this is better than album sleeves of just getting £25 [G] an album sleeve.
So I think I'll continue writing. _
The publisher said, why don't you make a demo album?
So I made this demo album that I sang and one of the songs on it was a song called Sugar Me.
And that was a demo for Peter Noone.
And then the publisher said, you know, you should be an artist.
Now, I just went with the flow.
It wasn't anything that I thought I was going to do.
And after three weeks, they released the record.
And three weeks after that, it was number five all over Europe and number one here.
And when I did Top of the Pops, I'd [G#m] been singing three days.
It was the first time I'd really [F#m] sung in public.
Anyway, I was standing on the studio [C#m] floor looking up at myself and I thought, [D] my goodness, this is what that Claire Foyer went and said [C#m] 18 months ago.
And it all came true.
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