Chords for Robert Palmer - Night Flight interview (1986) #2
Tempo:
115.65 bpm
Chords used:
E
Em
G
B
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[E] [B] Welcome back to Night Flight's in-depth [E] interview with solo artist and performer Robert Palmer.
The 36-year-old performer spent his [B] childhood in Malta, the [E] Mediterranean island where he first heard American music [Abm] broadcast by the military.
He later picked up Caribbean rhythms [E] and incorporated them into Pride.
[B] [E]
[B] [E]
[B] [E]
[B]
[E] [B]
[A] [E]
After the completion of Pride, Palmer was asked to join one of the [N] world's fastest success stories.
So I get a cassette through the mail of 800 yards of G minor and a phone call from John Taylor, who I'd known socially for years.
We'd hung out, never talked about music or anything and he said, can you write a song on top of this?
Well, I love the groove, so I said, sure, I'll give it a try.
So I showed up and we hit it, everybody hit it off, personalities, you know.
So they said like, would you like to do another?
So I said, well, let me listen to it, let's see if I can hear something.
So I said, yeah, I think I can get a line on that.
So it kind of went on like that and then we kind of looked around and we had six tunes done.
I said, oh, look, if we do another one and think up of a name for this, we've got an album.
So it was like, you know, fun at the weekends and a real sort of holiday for me, being involved in a group and not having any other responsibility
other than getting in front of the mic and trying out these songs that I'd worked.
And all discipline, working to a pre-recorded grooves for songs, you know, and trying to impose melody and lyrics on top.
But really interesting to do from that frame of mind, because I've been doing that for ages.
And then actually just going in and performing it without having to consider anything else.
You know, I wasn't producing it, you know, so it was a lot of fun.
Taylor and Palmer's first collaboration was Some Like It [D] Hot.
[G] Some like it hot, so [C] let's [G] turn up the heat till [Em] we fire.
But Palmer's association with Power Station was short-lived.
He made rock news by leaving Taylor's super group to create his own masterpiece, the 1986 LP Riptide.
The way that I'd been working for the past, I suppose, six years in the studio,
and the way that they're very currently in vogue of making records is to make records in layers.
You use a drum machine, not that I've ever used a drum machine, but sequences and you add up the parts and the thing is built like that.
And I'd found that over a period of time, as I would take this material that was assembled like that on the road,
it got more personality and more life in it by being performed than it did being assembled this way in the studio.
So the whole thing was I put a band together and rehearsed the band as if we're going on tour with the new album material for two weeks.
And then we just walked across the road and plugged in and did a set.
So that gave it a lot more cohesion, despite the fact that the material ranges a lot of areas stylistically.
It was all performed by the same group and at the same time.
Palmer's Riptide is filled with haunting [Fm] tales of [Eb] obsession, like [E] Discipline of Love.
[G] [A]
[E]
[G] [A]
[E] [D] [Em] [Am]
[E] [D] [Em]
[Bm] [Em] [G]
[D] [Em] [A] [E] [Bm]
[Em] [D]
[Em] [A] [Em] [G] [D]
[E] [D]
[E] [Bm] [Am] [E] [G] [D]
[Em]
[Bm] [Em]
[B] [G] Discipline of [Em] Love.
[Bm]
[G]
[Bm] Today, [N] Palmer plans to explore the heights and depths of love even more fully.
I would like to do even more overtly sentimental tunes in the future.
The climate isn't right yet and it's the most difficult thing to do because the audience is so cynical that you've got to be so sure that it means it.
And it's very difficult, both in terms of the emotional delivery of it and finding the material that has enough bittersweetness about it or something that makes it for real.
But I'm more and more disturbed by cynicism.
It seems lazy.
So to add that into music is something that I'm really
The 36-year-old performer spent his [B] childhood in Malta, the [E] Mediterranean island where he first heard American music [Abm] broadcast by the military.
He later picked up Caribbean rhythms [E] and incorporated them into Pride.
[B] [E]
[B] [E]
[B] [E]
[B]
[E] [B]
[A] [E]
After the completion of Pride, Palmer was asked to join one of the [N] world's fastest success stories.
So I get a cassette through the mail of 800 yards of G minor and a phone call from John Taylor, who I'd known socially for years.
We'd hung out, never talked about music or anything and he said, can you write a song on top of this?
Well, I love the groove, so I said, sure, I'll give it a try.
So I showed up and we hit it, everybody hit it off, personalities, you know.
So they said like, would you like to do another?
So I said, well, let me listen to it, let's see if I can hear something.
So I said, yeah, I think I can get a line on that.
So it kind of went on like that and then we kind of looked around and we had six tunes done.
I said, oh, look, if we do another one and think up of a name for this, we've got an album.
So it was like, you know, fun at the weekends and a real sort of holiday for me, being involved in a group and not having any other responsibility
other than getting in front of the mic and trying out these songs that I'd worked.
And all discipline, working to a pre-recorded grooves for songs, you know, and trying to impose melody and lyrics on top.
But really interesting to do from that frame of mind, because I've been doing that for ages.
And then actually just going in and performing it without having to consider anything else.
You know, I wasn't producing it, you know, so it was a lot of fun.
Taylor and Palmer's first collaboration was Some Like It [D] Hot.
[G] Some like it hot, so [C] let's [G] turn up the heat till [Em] we fire.
But Palmer's association with Power Station was short-lived.
He made rock news by leaving Taylor's super group to create his own masterpiece, the 1986 LP Riptide.
The way that I'd been working for the past, I suppose, six years in the studio,
and the way that they're very currently in vogue of making records is to make records in layers.
You use a drum machine, not that I've ever used a drum machine, but sequences and you add up the parts and the thing is built like that.
And I'd found that over a period of time, as I would take this material that was assembled like that on the road,
it got more personality and more life in it by being performed than it did being assembled this way in the studio.
So the whole thing was I put a band together and rehearsed the band as if we're going on tour with the new album material for two weeks.
And then we just walked across the road and plugged in and did a set.
So that gave it a lot more cohesion, despite the fact that the material ranges a lot of areas stylistically.
It was all performed by the same group and at the same time.
Palmer's Riptide is filled with haunting [Fm] tales of [Eb] obsession, like [E] Discipline of Love.
[G] [A]
[E]
[G] [A]
[E] [D] [Em] [Am]
[E] [D] [Em]
[Bm] [Em] [G]
[D] [Em] [A] [E] [Bm]
[Em] [D]
[Em] [A] [Em] [G] [D]
[E] [D]
[E] [Bm] [Am] [E] [G] [D]
[Em]
[Bm] [Em]
[B] [G] Discipline of [Em] Love.
[Bm]
[G]
[Bm] Today, [N] Palmer plans to explore the heights and depths of love even more fully.
I would like to do even more overtly sentimental tunes in the future.
The climate isn't right yet and it's the most difficult thing to do because the audience is so cynical that you've got to be so sure that it means it.
And it's very difficult, both in terms of the emotional delivery of it and finding the material that has enough bittersweetness about it or something that makes it for real.
But I'm more and more disturbed by cynicism.
It seems lazy.
So to add that into music is something that I'm really
Key:
E
Em
G
B
D
E
Em
G
[E] _ [B] Welcome back to Night Flight's in-depth [E] interview with solo artist and performer Robert Palmer.
The 36-year-old performer spent his [B] childhood in Malta, the [E] Mediterranean island where he first heard American music [Abm] broadcast by the military.
He later picked up Caribbean rhythms [E] and incorporated them into Pride. _ _
_ _ _ _ _ _ _ _
_ _ _ [B] _ _ _ [E] _ _
_ _ _ _ [B] _ _ _ [E] _
_ _ _ _ _ _ [B] _ [E] _
_ _ _ _ _ _ [B] _ _
[E] _ _ _ _ _ _ [B] _ _
[A] _ _ [E] _ _ _ _ _ _
_ _ _ _ _ _ After the completion of Pride, Palmer was asked to join one of the [N] world's fastest success stories.
So I get a cassette through the mail _ of _ _ 800 yards of G minor and a phone call from John Taylor, who I'd known socially for years.
We'd hung out, never talked about music or anything and he said, can you write a song on top of this?
Well, I love the groove, so I said, sure, I'll give it a try.
So I showed up and we hit it, everybody hit it off, personalities, you know.
So they said like, would you like to do another?
So I said, well, let me listen to it, let's see if I can hear something.
So I said, yeah, I think I can get a line on that.
_ So it kind of went on like that and then we kind of looked around and we had six tunes done.
I said, oh, look, if we do another one and think up of a name for this, we've got an album. _
So it was like, you know, fun at the weekends and a real sort of holiday for me, being involved in a group and not having any other responsibility
other than getting in front of the mic and trying out these songs that I'd worked.
And all discipline, working to a pre-recorded grooves for songs, you know, and trying to impose melody and lyrics on top.
But really interesting to do from that frame of mind, because I've been doing that for ages.
And then actually just going in and performing it without having to consider anything else.
You know, I wasn't producing it, you know, so it was a lot of fun.
_ Taylor and Palmer's first collaboration was Some Like It [D] Hot. _ _ _ _
_ _ _ _ _ _ _ _
[G] _ Some like it hot, so [C] let's [G] turn up the heat till [Em] we fire. _ _ _ _
But Palmer's association with Power Station was short-lived.
He made rock news by leaving Taylor's super group to create his own masterpiece, the 1986 LP Riptide. _
The way that I'd been working for the past, I suppose, six years in the studio,
and the way that they're very currently in vogue of making records is to make records in layers.
You use a drum machine, not that I've ever used a drum machine, but sequences and you add up the parts and the thing is built like that.
And I'd found that over a period of time, as I would take this material that was assembled like that on the road,
it got more personality and more life in it by being performed than it did being assembled this way in the studio.
So the whole thing was I put a band together and rehearsed the band as if we're going on tour with the new album material for two weeks.
And then we just walked across the road and plugged in and did a set.
So that gave it a lot more cohesion, despite the fact that the material ranges a lot of areas stylistically.
It was all performed by the same group and at the same time.
Palmer's Riptide is filled with haunting [Fm] tales of [Eb] obsession, like [E] Discipline of Love.
_ _ _ _ [G] _ [A] _
[E] _ _ _ _ _ _ _ _
_ _ _ _ _ [G] _ _ [A] _
[E] _ _ [D] _ _ [Em] _ _ _ [Am] _
[E] _ _ [D] _ _ [Em] _ _ _ _
_ _ _ [Bm] _ _ [Em] _ [G] _ _
[D] _ [Em] _ _ [A] _ _ [E] _ [Bm] _ _
_ [Em] _ _ _ _ _ [D] _ _
[Em] _ _ _ [A] _ [Em] _ _ [G] _ [D] _
[E] _ _ _ _ _ _ [D] _ _
[E] _ _ [Bm] _ [Am] _ [E] _ _ [G] _ [D] _
[Em] _ _ _ _ _ _ _ _
_ _ [Bm] _ _ _ [Em] _ _ _
_ _ _ _ _ _ _ _
_ [B] _ _ [G] _ _ Discipline of _ _ _ _ [Em] _ _ Love.
_ _ [Bm] _ _ _ _ _ _
_ _ _ _ [G] _ _ _ _
_ [Bm] Today, [N] Palmer plans to explore the heights and depths of love even more fully.
I would like to do even more overtly sentimental tunes in the future.
The climate isn't right yet and it's the most difficult thing to do because _ the audience is so cynical that you've got to be so sure that it _ _ means it.
And it's very difficult, both in terms of the emotional delivery of it and finding the material that has enough bittersweetness about it or something that makes it for real.
But I'm more and more disturbed by cynicism.
It seems lazy.
So to add that into music is something that I'm really
The 36-year-old performer spent his [B] childhood in Malta, the [E] Mediterranean island where he first heard American music [Abm] broadcast by the military.
He later picked up Caribbean rhythms [E] and incorporated them into Pride. _ _
_ _ _ _ _ _ _ _
_ _ _ [B] _ _ _ [E] _ _
_ _ _ _ [B] _ _ _ [E] _
_ _ _ _ _ _ [B] _ [E] _
_ _ _ _ _ _ [B] _ _
[E] _ _ _ _ _ _ [B] _ _
[A] _ _ [E] _ _ _ _ _ _
_ _ _ _ _ _ After the completion of Pride, Palmer was asked to join one of the [N] world's fastest success stories.
So I get a cassette through the mail _ of _ _ 800 yards of G minor and a phone call from John Taylor, who I'd known socially for years.
We'd hung out, never talked about music or anything and he said, can you write a song on top of this?
Well, I love the groove, so I said, sure, I'll give it a try.
So I showed up and we hit it, everybody hit it off, personalities, you know.
So they said like, would you like to do another?
So I said, well, let me listen to it, let's see if I can hear something.
So I said, yeah, I think I can get a line on that.
_ So it kind of went on like that and then we kind of looked around and we had six tunes done.
I said, oh, look, if we do another one and think up of a name for this, we've got an album. _
So it was like, you know, fun at the weekends and a real sort of holiday for me, being involved in a group and not having any other responsibility
other than getting in front of the mic and trying out these songs that I'd worked.
And all discipline, working to a pre-recorded grooves for songs, you know, and trying to impose melody and lyrics on top.
But really interesting to do from that frame of mind, because I've been doing that for ages.
And then actually just going in and performing it without having to consider anything else.
You know, I wasn't producing it, you know, so it was a lot of fun.
_ Taylor and Palmer's first collaboration was Some Like It [D] Hot. _ _ _ _
_ _ _ _ _ _ _ _
[G] _ Some like it hot, so [C] let's [G] turn up the heat till [Em] we fire. _ _ _ _
But Palmer's association with Power Station was short-lived.
He made rock news by leaving Taylor's super group to create his own masterpiece, the 1986 LP Riptide. _
The way that I'd been working for the past, I suppose, six years in the studio,
and the way that they're very currently in vogue of making records is to make records in layers.
You use a drum machine, not that I've ever used a drum machine, but sequences and you add up the parts and the thing is built like that.
And I'd found that over a period of time, as I would take this material that was assembled like that on the road,
it got more personality and more life in it by being performed than it did being assembled this way in the studio.
So the whole thing was I put a band together and rehearsed the band as if we're going on tour with the new album material for two weeks.
And then we just walked across the road and plugged in and did a set.
So that gave it a lot more cohesion, despite the fact that the material ranges a lot of areas stylistically.
It was all performed by the same group and at the same time.
Palmer's Riptide is filled with haunting [Fm] tales of [Eb] obsession, like [E] Discipline of Love.
_ _ _ _ [G] _ [A] _
[E] _ _ _ _ _ _ _ _
_ _ _ _ _ [G] _ _ [A] _
[E] _ _ [D] _ _ [Em] _ _ _ [Am] _
[E] _ _ [D] _ _ [Em] _ _ _ _
_ _ _ [Bm] _ _ [Em] _ [G] _ _
[D] _ [Em] _ _ [A] _ _ [E] _ [Bm] _ _
_ [Em] _ _ _ _ _ [D] _ _
[Em] _ _ _ [A] _ [Em] _ _ [G] _ [D] _
[E] _ _ _ _ _ _ [D] _ _
[E] _ _ [Bm] _ [Am] _ [E] _ _ [G] _ [D] _
[Em] _ _ _ _ _ _ _ _
_ _ [Bm] _ _ _ [Em] _ _ _
_ _ _ _ _ _ _ _
_ [B] _ _ [G] _ _ Discipline of _ _ _ _ [Em] _ _ Love.
_ _ [Bm] _ _ _ _ _ _
_ _ _ _ [G] _ _ _ _
_ [Bm] Today, [N] Palmer plans to explore the heights and depths of love even more fully.
I would like to do even more overtly sentimental tunes in the future.
The climate isn't right yet and it's the most difficult thing to do because _ the audience is so cynical that you've got to be so sure that it _ _ means it.
And it's very difficult, both in terms of the emotional delivery of it and finding the material that has enough bittersweetness about it or something that makes it for real.
But I'm more and more disturbed by cynicism.
It seems lazy.
So to add that into music is something that I'm really