Chords for Muse breakdown their most iconic tracks | Radio X

_ _ Radio X presents an evening in conversation with [G] Muse.
Radio [N] X. _ _
[D] _ _ _ _ _ Yeah, no, no, it's true.
When [Dm] you tour an album, you do tend to, on [N] the next tour,
you kind of tend to drop a lot of that stuff that you're doing.
But obviously, Uprising stuck around.
[Ab] It's a really, it seems to be a very popular song.
_ _ And it's like the best song in terms of getting the crowd singing live.
I love putting the mic out and hearing everyone sing that song.
It's just really kind of, it's almost meant to be sung by a group of people,
not just one person on their own.
It's sort of more powerful that way.
_ So yeah, it's a cool track.
That was where we produced ourselves in a studio in Italy, in Como.
And I remember we put that together, lots [N] of layers and things.
I'm just meandering.
I think we kind of knew with that one.
As soon as we recorded it, we were like, that's the first single.
I seem to remember thinking that.
So we knew straight away it was going to be an [G] important one.
Yeah. _ _ _
Hysteria.
_ [D] _ _ _ [Bm] _ [Bb] _
[A] _ _ _ _ [N] _ _ How do you feel about Hysteria now?
That's going back a while.
I think that's another one that's still kind of, you know,
it's pretty much in every set we still do.
Chris loves playing that one.
I hate playing it. _ _ _
_ _ I think like Plug In Baby, it's one of those.
I think it went out of the set for a little bit,
maybe around the time of The Resistance.
_ _ _ And, you know, I think there's been certain songs we've done that with
where we've given them a little rest for a while and then bring them back
into the set and they almost kind of feel new again.
But, yeah, it's been in the set for quite a while now.
You know, it's _ quite early in the set.
I think it's just one of those songs that kind of gets people up straight away.
_ [Gm] _ _ [Cm] _ _ _
_ _ _ _ [Gm] _ _ _ _
_ _ Undisclosed Desires? _ _
Yeah, that was like, that was one of the first times we sort of started
going down the sort of, you know, outside of rock route a little bit.
And _ I'm glad it was a track that we produced ourselves,
put it together ourselves completely.
What album was that on?
_ [N] That's on The Resistance. _
That's good.
I don't know whether you're testing yourself or testing me.
_ It's, you know, live it's kind of all right.
You know, it's big in Germany, by the way.
Yeah, whenever we play that song in Germany, the crowd goes wild.
It's like our most popular song in Germany.
It's always nice to have these songs that really have certain unusual resonances
in faraway places, you know, or in different countries.
[A] _ Like we did a cover song of Can't [N] Take My Eyes Off You once
and like it's massive in Japan.
Every time we play it, people go mental.
_ _ So, but yeah, it's one for the Germans.
_ _ _ [Eb] _ _ _ _
[E] _ _ _ [G] _ _ _ [A] _ _
_ _ [B] Knights _ [E] _ _ [Gb] _
_ [G] _ _ _ [A] of Cydonia [B] still sounds great [E] to me.
I think [Gb] _ _ [Gm]
that the, _ [Gbm] that's where we first discovered what,
there's some elements of this album, when I look at that album cover over there,
I think to myself, [Bb] or the album cover of Simulation Theory,
I think to myself, [A] like, I don't think we would have gone [G] there
if it wasn't for Knights of Cydonia.
In terms of this kind of [A] embracing sort of fantasy crazy silliness, you know,
and sort of mixing rock with real synth stuff and it all being a bit just out,
sort of, you know, fantastical and outrageously silly, really, you know.
And I think that that song sort of was really experimental for us at that point
when we couldn't believe, we literally couldn't believe how popular that song became.
It's like, it's probably the best sort of set closer that we've ever had
and still to this day, the main song we play at the end of every gig,
Crowd Go Mental, when it kicks in at the end, it's like a big build up.
But as I said, when we were recording it, we were [Am] laughing our heads off.
Do you know what I mean?
We didn't really, we were experimenting to the extreme on that one, yeah.
Yeah, yeah.
I mean, it does put a smile on the face, but that's a fantastic thing,
a fantastic thing to be able to create while people go completely [C] crazy.
_ _ [G] _
_ _ _ _ _ [Bm] _ _ [Am] _
_ [E] _ _ _ _ _ _ [D]
Resistance itself, the title track of that album,
does that still stand up in your view?
_ [N] Yeah, I think it does.
It kind of goes in and out the set.
_ We seem to play that one more in the States for some reason,
again, like some tracks just get different responses in various countries around the world.
But I think that one did okay over there.
_ _ So that comes in as, I really love playing that track personally,
because I like the drums in _ it.
But I've always, yeah, I like doing that.
That big reverberating thing at the beginning.
I've always got to feel like I've got to convince Matt to do it.
I'm like, come on, Resistance, it's great.
And he's like, nah, shit.
And I'm like, I don't say that.
I don't say that.
It's great.
It's a great song.
I don't say that. _ _ _
It's _ right.
It never really kicked off live, do you know what I mean?
The way that I sort of thought it might.
As I said, like, Nights was the big surprise on that album.
_ So we play it here and there, as Dom said.
We play it here and there in places where it seems like people like it. _
_ _ [B] Starlight.
_ _ _ [Dbm] _
_ _ _ _ [Abm] _ _ [E] _ _
_ Starlight, you've mentioned a few times already in our conversation.
Do you think that was a moment, a special point in the evolution of Muse when you created it?
Yeah, for sure.
It's definitely the softer side.
I don't really write love songs very often, you know.
And it's definitely in that area, you know.
[Ab] It's probably like one or two of those every album, maybe at most.
So it was nice to have one that people took on board like that and really loved it.
I remember actually playing it.
It was the first time I really got into sort of crowd interaction, actually.
I think we were [A] playing in [Ab] Japan.
And it was the first time I ever thought to myself, like, what happens if I clap?
You know, and everyone started [G] clapping the song.
And that sort of, so it kind of, it added a kind of more [Ab] uplifting moment to our gigs, you know.
Where people sort of felt a bit more levity and a bit more sunshine.
You know, not just a wave of dark anxiety.
_ _ Time [Am] _ _ _ _ _ [B] _ _ _
_ is _ _ running out.
_ Yeah, that's not bad.
_ [N] _
It's interesting, isn't it?
It's still in the set.
I can't remember the last time we didn't play it in a set, to be honest.
So _ it's another one that's _ really stuck around.
I mean, we played it the other night in Spain, didn't we?
And it _ feels on the older side to me when I [Ab] play it.
But it's because it is. _
_ But _ yeah, I guess it's, again, it's another big single on track live.
_ So I think, you know, when, if you play a song, the crowd really reacts to it.
Kind of obviously gets you into it, makes you want to play it again.
So I see that hanging around for a bit.
Yeah, it's the first song we had that really, because our first two albums didn't, weren't,
_ first album, did it come out in America?
The second album didn't even come out in America, do you know what I mean?
But Absolution was a kind of almost like a debut album in America.
And Time is Running Out was the first sort of song that we had that I felt like Americans were sort of really digging it, you know.
[Eb] Like, the crowd really got into it. _ _ _ _ _
Yeah. _ _ _ _ _ _ _
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