Chords for REM - Interview Athens, GA 1988
Tempo:
93.325 bpm
Chords used:
G
Eb
Bb
Ab
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Db] [F] [Bbm]
[Db] [Ebm] No peace I [Gb]
[G] find.
[Eb] [Db] [Bb]
[Ebm] Peace [Ab] keeps jaw on [Dbm] my mind.
We're kind of new in [B] town.
[F] There's a famous landmark here now.
[Bb] Well, there's the double barrel cannon, which dates back to the Civil War.
It owns itself.
The previous owner of the property that the tree was on left the property around the tree to the tree.
I [A] see.
[E] So now the road even has this [Gb] little zigzag around [Am] the tree because they [N] can't take that property for the road.
[Bb]
OEM?
Yes.
And who are they?
REM.
[Gb] It [E]
was [Eb] the tree, the double barrel cannon, and [E] REM.
You have a full story on the double barrel cannon?
[Bb] Yeah, [C] I think I did.
Well, it was a double barrel cannon that had a chain connecting both [G] cannonballs.
And the idea was they'd come out and mow [A] down.
Right.
[Bb] The chain would just mow down the enemy.
What happened was one came out a little sooner than the other.
[E] And just flipped around and killed the people.
Killed the people firing the guns.
So they used it one time.
This time [B] around we wrote tons and tons of songs and threw away 15 or whatever.
Because we had this feeling that we had to go somewhere.
[Em] Michael's little train was [Eb] fairly distinct.
[D] And our playing styles are [B] kind of distinct.
But we [F] wanted to write stuff that really [Dm] didn't sound like what we'd done.
[D] So yeah, we switched [F] it around.
There are [E] songs that we wrote that I thought were really good that we threw out.
But [G] it sounds like this.
[Ab] And [E] this record kind of has more of an edge.
Had [G] times where we had done [D] four and we [A] couldn't quite do five.
The [F] recording studio for this record.
Were there ever any times when you felt like, no, we shouldn't record [Eb] that song.
Because that actually sounds too much like REM.
One of the ways we got around to this record was when we were writing songs switching [G] instruments.
I play [F] drum, [Gb] [B] mandolin on a couple [E] and bass on [B] one.
And it kind of makes us break out of our [G] stereotypical roles.
[B] I mean, I'm the world's worst [N] drummer.
So of course when I'm playing, [Ab] you're going to have something [Eb] wholly unlike what we've done in the past.
Are you going to play drums on the road?
I don't know.
Maybe I'll teach it to Bill.
And then I'll play the guitar part.
He has to teach it to me.
So could Bill play anything?
[Em] Actually, it's such a bad part that it's possible that he might not be able to, being a good drummer.
In many of the videos that you've done, there's a constancy in black and white images, lots of [N] movement.
And it never seems like we ever get to look at any member of the band for longer than a second.
We're not that interested in protecting [A] ourselves as [Bb]
to [G] get across an idea.
[Ab] Not really cloud [G] the song up with [Ab] such a strong visual image [A] that you're unable really to hear the [Ab] song and just hear it and kind of use your own image.
And that's [Eb] something that we kind of struggle with a lot.
[G] [Bb]
[Eb] You think I still wind up too much in the songs?
Terribly, too much.
[A] No, I think you're fine.
[D] Oh, my [A] God.
Is there a central idea [G] to the Green album?
Michael feels that it's kind of a hopeful record.
He was trying to be kind of uplifting and hopeful in his words.
But his idea of hopeful and uplifting is not necessarily the same as anyone [A] else's.
Without writing [G] mindless music and without [Eb] writing music that is simply for [Gbm] kind of [A] a [Ab] Bacchanalian [G] release,
I think that [Gm] uplifting is a very, very strong thematic music [G] this year, and hopefully it will carry over into other.
[Abm] As compared to Document, Green seems to be a much more personal [Bb] album.
I think the idea that the record is more personal comes from [B] the fact that I'm using more first-person singular in [Am] the [Eb] songs.
It's I and you.
It's I, I, I.
The world leader platoon, inside out, [Bb] hair shirt, [Ab] rather than we, which was used [Gb] a lot on [G] Document.
And tended towards almost anthemic, kind of [Bb] caustic vitriol rather than a more personal thing.
Personal, it's [Gm] really important to [Ab] point out, I think, that [Gm] it's not necessarily me.
I'm not setting [Eb] up characters like, say, Tom Waits might do.
[D]
[Db] [Ebm] No peace I [Gb]
[G] find.
[Eb] [Db] [Bb]
[Ebm] Peace [Ab] keeps jaw on [Dbm] my mind.
We're kind of new in [B] town.
[F] There's a famous landmark here now.
[Bb] Well, there's the double barrel cannon, which dates back to the Civil War.
It owns itself.
The previous owner of the property that the tree was on left the property around the tree to the tree.
I [A] see.
[E] So now the road even has this [Gb] little zigzag around [Am] the tree because they [N] can't take that property for the road.
[Bb]
OEM?
Yes.
And who are they?
REM.
[Gb] It [E]
was [Eb] the tree, the double barrel cannon, and [E] REM.
You have a full story on the double barrel cannon?
[Bb] Yeah, [C] I think I did.
Well, it was a double barrel cannon that had a chain connecting both [G] cannonballs.
And the idea was they'd come out and mow [A] down.
Right.
[Bb] The chain would just mow down the enemy.
What happened was one came out a little sooner than the other.
[E] And just flipped around and killed the people.
Killed the people firing the guns.
So they used it one time.
This time [B] around we wrote tons and tons of songs and threw away 15 or whatever.
Because we had this feeling that we had to go somewhere.
[Em] Michael's little train was [Eb] fairly distinct.
[D] And our playing styles are [B] kind of distinct.
But we [F] wanted to write stuff that really [Dm] didn't sound like what we'd done.
[D] So yeah, we switched [F] it around.
There are [E] songs that we wrote that I thought were really good that we threw out.
But [G] it sounds like this.
[Ab] And [E] this record kind of has more of an edge.
Had [G] times where we had done [D] four and we [A] couldn't quite do five.
The [F] recording studio for this record.
Were there ever any times when you felt like, no, we shouldn't record [Eb] that song.
Because that actually sounds too much like REM.
One of the ways we got around to this record was when we were writing songs switching [G] instruments.
I play [F] drum, [Gb] [B] mandolin on a couple [E] and bass on [B] one.
And it kind of makes us break out of our [G] stereotypical roles.
[B] I mean, I'm the world's worst [N] drummer.
So of course when I'm playing, [Ab] you're going to have something [Eb] wholly unlike what we've done in the past.
Are you going to play drums on the road?
I don't know.
Maybe I'll teach it to Bill.
And then I'll play the guitar part.
He has to teach it to me.
So could Bill play anything?
[Em] Actually, it's such a bad part that it's possible that he might not be able to, being a good drummer.
In many of the videos that you've done, there's a constancy in black and white images, lots of [N] movement.
And it never seems like we ever get to look at any member of the band for longer than a second.
We're not that interested in protecting [A] ourselves as [Bb]
to [G] get across an idea.
[Ab] Not really cloud [G] the song up with [Ab] such a strong visual image [A] that you're unable really to hear the [Ab] song and just hear it and kind of use your own image.
And that's [Eb] something that we kind of struggle with a lot.
[G] [Bb]
[Eb] You think I still wind up too much in the songs?
Terribly, too much.
[A] No, I think you're fine.
[D] Oh, my [A] God.
Is there a central idea [G] to the Green album?
Michael feels that it's kind of a hopeful record.
He was trying to be kind of uplifting and hopeful in his words.
But his idea of hopeful and uplifting is not necessarily the same as anyone [A] else's.
Without writing [G] mindless music and without [Eb] writing music that is simply for [Gbm] kind of [A] a [Ab] Bacchanalian [G] release,
I think that [Gm] uplifting is a very, very strong thematic music [G] this year, and hopefully it will carry over into other.
[Abm] As compared to Document, Green seems to be a much more personal [Bb] album.
I think the idea that the record is more personal comes from [B] the fact that I'm using more first-person singular in [Am] the [Eb] songs.
It's I and you.
It's I, I, I.
The world leader platoon, inside out, [Bb] hair shirt, [Ab] rather than we, which was used [Gb] a lot on [G] Document.
And tended towards almost anthemic, kind of [Bb] caustic vitriol rather than a more personal thing.
Personal, it's [Gm] really important to [Ab] point out, I think, that [Gm] it's not necessarily me.
I'm not setting [Eb] up characters like, say, Tom Waits might do.
[D]
Key:
G
Eb
Bb
Ab
A
G
Eb
Bb
[Db] _ [F] _ _ _ _ _ _ [Bbm] _
_ _ [Db] _ _ [Ebm] No peace I [Gb]
[G] find.
_ [Eb] _ [Db] _ _ _ [Bb] _ _
[Ebm] Peace [Ab] keeps jaw on [Dbm] my mind.
We're kind of new in [B] town.
_ [F] There's a famous landmark here now.
_ [Bb] Well, there's the double barrel cannon, which dates back to the Civil War.
_ _ _ _ It owns itself.
_ _ The previous owner of the property that the tree was on left the property around the tree to the tree.
I [A] see.
[E] So now the road even has this [Gb] little zigzag around [Am] the tree because they [N] can't take that property for the road.
_ _ [Bb] _
_ _ _ OEM?
Yes.
And who are they?
REM.
[Gb] It [E] _ _ _ _ _
was [Eb] the tree, the double barrel cannon, and [E] REM. _
You have a full story on the double barrel cannon?
[Bb] Yeah, [C] I think I did.
Well, it was a double barrel cannon that had a chain connecting both [G] cannonballs.
And the idea was they'd come out and mow [A] down.
Right.
[Bb] The chain would just mow down the enemy.
What happened was one came out a little sooner than the other.
[E] And just flipped around and killed the people.
Killed the people firing the guns.
So they used it one time.
This time [B] around we wrote tons and tons of songs and threw away 15 or whatever.
Because we had this feeling that we had to go somewhere.
_ [Em] _ _ _ Michael's little train was [Eb] fairly distinct.
[D] And our playing styles are [B] kind of distinct.
But we [F] wanted to write stuff that really [Dm] didn't sound like what we'd done.
[D] So yeah, we switched [F] it around.
There are [E] songs that we wrote that I thought were really good that we threw out.
But [G] it sounds like this.
[Ab] And [E] this record kind of has more of an edge.
_ Had [G] times where we had done [D] four and we [A] couldn't quite do five.
The [F] recording studio for this record.
Were there ever any times when you felt like, no, we shouldn't record [Eb] that song.
Because that actually sounds too much like REM.
One of the ways we got around to this record was when we were writing songs switching [G] instruments.
I play [F] drum, [Gb] [B] mandolin on a couple [E] and bass on [B] one.
And it kind of makes us break out of our [G] stereotypical roles.
[B] I mean, I'm the world's worst [N] drummer.
So of course when I'm playing, [Ab] you're going to have something [Eb] wholly unlike what we've done in the past.
Are you going to play drums on the road?
I don't know.
Maybe I'll teach it to Bill.
And then I'll play the guitar part.
He has to teach it to me.
So could Bill play anything?
_ [Em] Actually, it's such a bad part that it's possible that he might not be able to, being a good drummer.
In many of the videos that you've done, there's a constancy in black and white images, lots of [N] movement.
And it never seems like we ever get to look at any member of the band for longer than a second.
We're not that interested in protecting [A] ourselves as [Bb]
to [G] _ _ _ _ get across an idea.
[Ab] Not really cloud [G] the song up with [Ab] such a strong visual image [A] that you're unable really to hear the [Ab] song and just hear it and kind of use your own image.
And that's [Eb] something that we kind of struggle with a lot. _ _ _ _
_ _ _ [G] _ _ _ [Bb] _ _
_ [Eb] You think I still wind up too much in the songs?
Terribly, too much.
[A] No, I think you're fine.
[D] Oh, my [A] God.
Is there a central idea [G] to the Green album?
Michael feels that it's kind of a hopeful record.
He was trying to be kind of uplifting and hopeful in his words.
But his idea of hopeful and uplifting is not necessarily the same as anyone [A] else's.
Without writing [G] mindless music and without [Eb] writing music that is simply for _ [Gbm] kind of [A] a [Ab] Bacchanalian [G] release,
I think that [Gm] uplifting is a very, very strong thematic music _ [G] this year, and hopefully it will carry over into other.
[Abm] As compared to Document, Green seems to be a much more personal [Bb] album.
I think the idea that the record is more personal comes from [B] the fact that I'm using more first-person singular in _ [Am] the [Eb] songs.
It's I and you.
It's I, I, I.
The world leader platoon, inside out, [Bb] hair shirt, _ [Ab] rather than we, which was used [Gb] a lot on [G] Document.
And tended towards almost anthemic, kind of [Bb] caustic vitriol rather than a more _ personal thing.
Personal, it's [Gm] really important to [Ab] point out, I think, that [Gm] it's not necessarily me.
I'm not setting [Eb] up characters like, say, Tom Waits might do.
[D] _ _ _
_ _ [Db] _ _ [Ebm] No peace I [Gb]
[G] find.
_ [Eb] _ [Db] _ _ _ [Bb] _ _
[Ebm] Peace [Ab] keeps jaw on [Dbm] my mind.
We're kind of new in [B] town.
_ [F] There's a famous landmark here now.
_ [Bb] Well, there's the double barrel cannon, which dates back to the Civil War.
_ _ _ _ It owns itself.
_ _ The previous owner of the property that the tree was on left the property around the tree to the tree.
I [A] see.
[E] So now the road even has this [Gb] little zigzag around [Am] the tree because they [N] can't take that property for the road.
_ _ [Bb] _
_ _ _ OEM?
Yes.
And who are they?
REM.
[Gb] It [E] _ _ _ _ _
was [Eb] the tree, the double barrel cannon, and [E] REM. _
You have a full story on the double barrel cannon?
[Bb] Yeah, [C] I think I did.
Well, it was a double barrel cannon that had a chain connecting both [G] cannonballs.
And the idea was they'd come out and mow [A] down.
Right.
[Bb] The chain would just mow down the enemy.
What happened was one came out a little sooner than the other.
[E] And just flipped around and killed the people.
Killed the people firing the guns.
So they used it one time.
This time [B] around we wrote tons and tons of songs and threw away 15 or whatever.
Because we had this feeling that we had to go somewhere.
_ [Em] _ _ _ Michael's little train was [Eb] fairly distinct.
[D] And our playing styles are [B] kind of distinct.
But we [F] wanted to write stuff that really [Dm] didn't sound like what we'd done.
[D] So yeah, we switched [F] it around.
There are [E] songs that we wrote that I thought were really good that we threw out.
But [G] it sounds like this.
[Ab] And [E] this record kind of has more of an edge.
_ Had [G] times where we had done [D] four and we [A] couldn't quite do five.
The [F] recording studio for this record.
Were there ever any times when you felt like, no, we shouldn't record [Eb] that song.
Because that actually sounds too much like REM.
One of the ways we got around to this record was when we were writing songs switching [G] instruments.
I play [F] drum, [Gb] [B] mandolin on a couple [E] and bass on [B] one.
And it kind of makes us break out of our [G] stereotypical roles.
[B] I mean, I'm the world's worst [N] drummer.
So of course when I'm playing, [Ab] you're going to have something [Eb] wholly unlike what we've done in the past.
Are you going to play drums on the road?
I don't know.
Maybe I'll teach it to Bill.
And then I'll play the guitar part.
He has to teach it to me.
So could Bill play anything?
_ [Em] Actually, it's such a bad part that it's possible that he might not be able to, being a good drummer.
In many of the videos that you've done, there's a constancy in black and white images, lots of [N] movement.
And it never seems like we ever get to look at any member of the band for longer than a second.
We're not that interested in protecting [A] ourselves as [Bb]
to [G] _ _ _ _ get across an idea.
[Ab] Not really cloud [G] the song up with [Ab] such a strong visual image [A] that you're unable really to hear the [Ab] song and just hear it and kind of use your own image.
And that's [Eb] something that we kind of struggle with a lot. _ _ _ _
_ _ _ [G] _ _ _ [Bb] _ _
_ [Eb] You think I still wind up too much in the songs?
Terribly, too much.
[A] No, I think you're fine.
[D] Oh, my [A] God.
Is there a central idea [G] to the Green album?
Michael feels that it's kind of a hopeful record.
He was trying to be kind of uplifting and hopeful in his words.
But his idea of hopeful and uplifting is not necessarily the same as anyone [A] else's.
Without writing [G] mindless music and without [Eb] writing music that is simply for _ [Gbm] kind of [A] a [Ab] Bacchanalian [G] release,
I think that [Gm] uplifting is a very, very strong thematic music _ [G] this year, and hopefully it will carry over into other.
[Abm] As compared to Document, Green seems to be a much more personal [Bb] album.
I think the idea that the record is more personal comes from [B] the fact that I'm using more first-person singular in _ [Am] the [Eb] songs.
It's I and you.
It's I, I, I.
The world leader platoon, inside out, [Bb] hair shirt, _ [Ab] rather than we, which was used [Gb] a lot on [G] Document.
And tended towards almost anthemic, kind of [Bb] caustic vitriol rather than a more _ personal thing.
Personal, it's [Gm] really important to [Ab] point out, I think, that [Gm] it's not necessarily me.
I'm not setting [Eb] up characters like, say, Tom Waits might do.
[D] _ _ _