Chords for Mr. Bungle Interview With Mike Patton
Tempo:
138.4 bpm
Chords used:
B
G
C#
E
G#m
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
The fact that we're still on Warner's is really kind of an achievement and pretty surprising.
So I guess I got to give them credit.
They've kept us around.
[C#]
Knock on wood.
[B]
You just started your own record label.
Do you ever see a [N] fungal
We'll see.
I don't know.
I don't know.
It could definitely survive, but it'd be a whole other way of living.
And at this point, we've learned to live on a major label and we're used to that kind of diet.
So I would hate to imagine it any other way.
I think that a band like this belongs on a major.
[B] I'd [E] like to see our records in stores.
That's coming from a guy that
I just started in indie and I'm really excited about it.
But there's pros and cons to each one.
Bungle is a pain.
Bungle needs a lot of upfront [G#m] money.
Bungle demands a lot.
[N]
Most indies probably wouldn't be able to give Bungle what it needs.
But we'll see, man.
We'll cross that bridge when we get to it.
I wouldn't say no.
Put it that way.
It was a bit of a challenge.
It felt like something new to us.
Let's see if we can pull off a record of what is to our ears, as you say, linear and poppy
in a way.
Catchy.
Lots of melody.
Not a lot of improvising.
Structures versus choruses.
It just kind of happened.
We get together to write a record and we all throw our ideas against the wall.
And whichever one's happened to stick is kind of the vein that that record will take.
And that's
You know, we did that this time and some songs, actual songs, stuck to the wall and we figured,
hey, that's what we better do.
That's what we better go with.
It was all me, but I think the reason the press picked up so much on it is because [G] there
was no other angle for them to grab onto.
Meaning, I don't think they really understood the music.
They didn't want to talk about the music.
[E] So what's the next step?
They want to get into the [C#] cult of personality thing, which is, you know, hey, [N] who am I to judge?
Maybe that is more interesting than goddamn music.
So you know, I think it was just lack of material.
I think that stuff looks good in headlines and [G] I think that's why they picked up on it.
It certainly [F] wasn't
I [N] don't think that I helped it much because it was all I wanted to talk about, too.
I was bored.
I was on the road for, you know, two years at a time, year and a half at a time.
The music side of it ends up getting stale, especially when you're playing the same set
[G#m] over and over and over again and you're living kind of like a rat.
You lose a bit of perspective and you start talking shit and people love to hear shit.
A friend of someone who books the club we played in L.A. called us and said, hey, I
[G] represent these guys and they'd love to play with you.
[B] I'm like, are you kidding?
You want to do the whole tour?
I asked him to do the whole tour, but you know, there's like 15 of them and they don't
travel so well.
So we got them to do two shows and that was amazing.
I was kind of nervous at how the public would
These fans, you know, can be quite, how can I say it nicely, boneheaded.
You know, you get a bunch of people in a room and sweaty and add a little beer to the mix
and it doesn't exactly make for the highest of IQ levels.
I mean, it's a lot of screaming and lowest common denominator, basically.
And I didn't know how they would react to a bunch of retarded kids on stage, you know,
playing.
So, yeah, I was a little nervous about it.
And man, it totally worked.
Everybody was like, jaws dropped.
People were crying.
It was like a really emotional experience because what's coming off the stage is completely
100% real.
And that's a pretty precious commodity, I would say.
90% of the bands you see in nightclubs these days, you know, don't have that.
And these guys did.
And it, man, it's pretty deep.
Really beautiful thing.
They were smoking, man.
They were smoking.
Totally smoking.
So I guess I got to give them credit.
They've kept us around.
[C#]
Knock on wood.
[B]
You just started your own record label.
Do you ever see a [N] fungal
We'll see.
I don't know.
I don't know.
It could definitely survive, but it'd be a whole other way of living.
And at this point, we've learned to live on a major label and we're used to that kind of diet.
So I would hate to imagine it any other way.
I think that a band like this belongs on a major.
[B] I'd [E] like to see our records in stores.
That's coming from a guy that
I just started in indie and I'm really excited about it.
But there's pros and cons to each one.
Bungle is a pain.
Bungle needs a lot of upfront [G#m] money.
Bungle demands a lot.
[N]
Most indies probably wouldn't be able to give Bungle what it needs.
But we'll see, man.
We'll cross that bridge when we get to it.
I wouldn't say no.
Put it that way.
It was a bit of a challenge.
It felt like something new to us.
Let's see if we can pull off a record of what is to our ears, as you say, linear and poppy
in a way.
Catchy.
Lots of melody.
Not a lot of improvising.
Structures versus choruses.
It just kind of happened.
We get together to write a record and we all throw our ideas against the wall.
And whichever one's happened to stick is kind of the vein that that record will take.
And that's
You know, we did that this time and some songs, actual songs, stuck to the wall and we figured,
hey, that's what we better do.
That's what we better go with.
It was all me, but I think the reason the press picked up so much on it is because [G] there
was no other angle for them to grab onto.
Meaning, I don't think they really understood the music.
They didn't want to talk about the music.
[E] So what's the next step?
They want to get into the [C#] cult of personality thing, which is, you know, hey, [N] who am I to judge?
Maybe that is more interesting than goddamn music.
So you know, I think it was just lack of material.
I think that stuff looks good in headlines and [G] I think that's why they picked up on it.
It certainly [F] wasn't
I [N] don't think that I helped it much because it was all I wanted to talk about, too.
I was bored.
I was on the road for, you know, two years at a time, year and a half at a time.
The music side of it ends up getting stale, especially when you're playing the same set
[G#m] over and over and over again and you're living kind of like a rat.
You lose a bit of perspective and you start talking shit and people love to hear shit.
A friend of someone who books the club we played in L.A. called us and said, hey, I
[G] represent these guys and they'd love to play with you.
[B] I'm like, are you kidding?
You want to do the whole tour?
I asked him to do the whole tour, but you know, there's like 15 of them and they don't
travel so well.
So we got them to do two shows and that was amazing.
I was kind of nervous at how the public would
These fans, you know, can be quite, how can I say it nicely, boneheaded.
You know, you get a bunch of people in a room and sweaty and add a little beer to the mix
and it doesn't exactly make for the highest of IQ levels.
I mean, it's a lot of screaming and lowest common denominator, basically.
And I didn't know how they would react to a bunch of retarded kids on stage, you know,
playing.
So, yeah, I was a little nervous about it.
And man, it totally worked.
Everybody was like, jaws dropped.
People were crying.
It was like a really emotional experience because what's coming off the stage is completely
100% real.
And that's a pretty precious commodity, I would say.
90% of the bands you see in nightclubs these days, you know, don't have that.
And these guys did.
And it, man, it's pretty deep.
Really beautiful thing.
They were smoking, man.
They were smoking.
Totally smoking.
Key:
B
G
C#
E
G#m
B
G
C#
The fact that we're still on Warner's is really kind of an achievement _ and pretty surprising.
So I guess I got to give them credit.
They've kept us around.
_ [C#] _
Knock on wood.
_ _ _ _ [B] _
You just started your own record label.
Do you ever see a [N] fungal_
We'll see.
I don't know.
I don't know.
It could definitely survive, but it'd be a whole other way of living.
And at this point, _ _ _ we've learned to live on a major label and _ we're used to that kind of diet.
So I would hate to imagine it any other way.
I think that a band like this belongs on a major.
[B] I'd _ _ [E] like to see our records in stores.
_ _ That's coming from a guy that_
I just started in indie and I'm really excited about it.
But there's pros and cons to each one.
_ _ Bungle _ is a pain.
_ Bungle needs a lot of upfront [G#m] money.
Bungle _ demands a lot.
[N] _
_ _ Most indies probably wouldn't be able to give Bungle what it needs.
_ _ But we'll see, man.
We'll cross that bridge when we get to it.
_ _ I wouldn't say no.
Put it that way.
It was a bit of a challenge.
It felt like something new to us.
Let's see if we can pull off a record of what is to our ears, _ _ as you say, linear and poppy
in a way.
Catchy.
Lots of melody.
Not a lot of _ improvising. _
Structures versus choruses.
It just kind of happened.
We _ get together _ to write a record and we all _ throw our ideas against the wall.
And whichever one's happened to stick is kind of the vein that that record will take.
And _ that's_
You know, we did that this time and some songs, actual songs, _ stuck to the wall and we figured,
hey, that's what we better do.
That's what we better go with. _
It was all me, but I _ _ think the reason the press picked up so much on it is because [G] there
was no other angle for them to grab onto. _
Meaning, I don't think they really understood the music.
They didn't want to talk about the music.
_ _ _ _ _ _ [E] So what's the next step?
They want to get into the [C#] cult of personality thing, which is, you know, hey, _ _ [N] who am I to judge?
Maybe that is more interesting than _ goddamn music. _ _
_ _ So you know, I think it was just lack of material.
I think that stuff looks good in headlines and [G] I think that's why they picked up on it.
_ It certainly _ [F] _ _ _ wasn't_
I [N] don't think that I helped it much _ _ because it was all I wanted to talk about, too.
I was bored.
I was on the road for, _ you know, two years at a time, year and a half at a time.
_ _ _ The music _ _ side of it _ _ ends up getting _ _ stale, especially when you're playing the same set
[G#m] over and over and over again and you're living kind of like a rat.
You lose a bit of perspective and you start talking shit and people love to hear shit.
A friend of someone who books the club we played in L.A. called us and said, hey, I
[G] represent these guys and they'd love to play with you. _
_ [B] _ I'm like, are you kidding?
You want to do the whole tour?
I asked him to do the whole tour, but you know, there's like 15 of them and they don't
travel so well. _
So we got them to do two shows and that was amazing. _
I was kind of nervous at _ how the public would_
_ These fans, you know, can be quite, _ _ how can I say it nicely, _ boneheaded. _ _ _
You know, you get a bunch of people in a room and sweaty and add a little beer to the mix
and it doesn't _ _ exactly make for the highest of IQ levels.
I mean, it's a lot of screaming and _ _ _ lowest common denominator, basically.
And I didn't know how they would react to a bunch of retarded kids on stage, you know,
_ playing. _ _ _ _
_ So, yeah, I was a little nervous about it.
And man, _ it totally worked.
Everybody was like, jaws dropped.
People were crying.
It was like a really emotional _ experience because what's coming off the stage is completely
100% real.
_ And _ _ that's a pretty precious commodity, I would say.
90% of the bands you see in nightclubs these days, you know, don't have that.
And these guys did.
And it, man, it's pretty deep.
Really beautiful thing.
They were smoking, man.
They were smoking.
_ Totally smoking.
So I guess I got to give them credit.
They've kept us around.
_ [C#] _
Knock on wood.
_ _ _ _ [B] _
You just started your own record label.
Do you ever see a [N] fungal_
We'll see.
I don't know.
I don't know.
It could definitely survive, but it'd be a whole other way of living.
And at this point, _ _ _ we've learned to live on a major label and _ we're used to that kind of diet.
So I would hate to imagine it any other way.
I think that a band like this belongs on a major.
[B] I'd _ _ [E] like to see our records in stores.
_ _ That's coming from a guy that_
I just started in indie and I'm really excited about it.
But there's pros and cons to each one.
_ _ Bungle _ is a pain.
_ Bungle needs a lot of upfront [G#m] money.
Bungle _ demands a lot.
[N] _
_ _ Most indies probably wouldn't be able to give Bungle what it needs.
_ _ But we'll see, man.
We'll cross that bridge when we get to it.
_ _ I wouldn't say no.
Put it that way.
It was a bit of a challenge.
It felt like something new to us.
Let's see if we can pull off a record of what is to our ears, _ _ as you say, linear and poppy
in a way.
Catchy.
Lots of melody.
Not a lot of _ improvising. _
Structures versus choruses.
It just kind of happened.
We _ get together _ to write a record and we all _ throw our ideas against the wall.
And whichever one's happened to stick is kind of the vein that that record will take.
And _ that's_
You know, we did that this time and some songs, actual songs, _ stuck to the wall and we figured,
hey, that's what we better do.
That's what we better go with. _
It was all me, but I _ _ think the reason the press picked up so much on it is because [G] there
was no other angle for them to grab onto. _
Meaning, I don't think they really understood the music.
They didn't want to talk about the music.
_ _ _ _ _ _ [E] So what's the next step?
They want to get into the [C#] cult of personality thing, which is, you know, hey, _ _ [N] who am I to judge?
Maybe that is more interesting than _ goddamn music. _ _
_ _ So you know, I think it was just lack of material.
I think that stuff looks good in headlines and [G] I think that's why they picked up on it.
_ It certainly _ [F] _ _ _ wasn't_
I [N] don't think that I helped it much _ _ because it was all I wanted to talk about, too.
I was bored.
I was on the road for, _ you know, two years at a time, year and a half at a time.
_ _ _ The music _ _ side of it _ _ ends up getting _ _ stale, especially when you're playing the same set
[G#m] over and over and over again and you're living kind of like a rat.
You lose a bit of perspective and you start talking shit and people love to hear shit.
A friend of someone who books the club we played in L.A. called us and said, hey, I
[G] represent these guys and they'd love to play with you. _
_ [B] _ I'm like, are you kidding?
You want to do the whole tour?
I asked him to do the whole tour, but you know, there's like 15 of them and they don't
travel so well. _
So we got them to do two shows and that was amazing. _
I was kind of nervous at _ how the public would_
_ These fans, you know, can be quite, _ _ how can I say it nicely, _ boneheaded. _ _ _
You know, you get a bunch of people in a room and sweaty and add a little beer to the mix
and it doesn't _ _ exactly make for the highest of IQ levels.
I mean, it's a lot of screaming and _ _ _ lowest common denominator, basically.
And I didn't know how they would react to a bunch of retarded kids on stage, you know,
_ playing. _ _ _ _
_ So, yeah, I was a little nervous about it.
And man, _ it totally worked.
Everybody was like, jaws dropped.
People were crying.
It was like a really emotional _ experience because what's coming off the stage is completely
100% real.
_ And _ _ that's a pretty precious commodity, I would say.
90% of the bands you see in nightclubs these days, you know, don't have that.
And these guys did.
And it, man, it's pretty deep.
Really beautiful thing.
They were smoking, man.
They were smoking.
_ Totally smoking.