Chords for Running to Stand Still - Joshua Tree Documentary

[Gb] and just offers a color.
[G] There's some lovely live moments on that record,
on the Joshua Tree, like running to stand still, for example,
is one of those where people were in a huddle
and Vano had the words written,
and this was [Eb] a nice [Ab] opportunity to actually get something live.
[G] _ _ And I remember that tender moment,
me playing the scrape guitar, we called it,
[D] _ and Larry on the tom-tom,
_ and [G] there was just a really wonderful communication
happening in the room at that time.
I think it's what people [D] feel in that record,
there was really a presence of performance.
We were [G] working with a lot of moods on this record.
We'd set up [A] _ a certain kind of [C] feeling,
a certain [G] location with the sound,
[A] and that would be our jumping-off point,
and it would be [G] like an actual kind of place.
[D] _ _ _ We used to call it kind of [G] cinematic music,
that was kind of our way of describing it. _ _
[D] It just meant music that actually brought you somewhere,
somewhere [G] physical as opposed to an emotional place,
actually a real location. _ _
[D] _ _ _ _ _ _ _ _
[G] _ _ _ _ _ _ _ [D] _
_ _ _ There's Brian Eno coming in with some keyboards, _
[G] _ coffee's over.
_ _ _ [D]
Actually, to be fair to Brian,
he probably left the room to go and tell them to put it into record,
because he'd be [G] pretty _ aware of things.
He'd be like,
_ [D] _
_ Oh, there it is.
He woke up [G] from a wish And _ said,
_ _ [D] _
I've got to [G] do [D] something
[G] About where we're going
The rest of us are going, whoa, where is that coming from?
[D] _
_ _ _ _ _ _ _ _
[G] _ _ _ _ _ _ That's what he got.
[D] _ Amazing to just, _ _ in one [G] go,
just get that much of a song. _ _ _ _ _
[A] _ _ _ _ [C] _ [G] _ _ _
[A] _ _ _ _ [G] _ _ _ _
[D] So I wrote about this couple,
and _
[G] I put them in a sort [D] of,
an almost drug [G]-like haze as I was writing it,
so that the lyrics are kind of trippy.
But [D] that's the story.
And the reference to Seven Towers is a reference to the project
[Bm] at the back [G] of where I grew up,
which is a place called Ballimun, the Seven [A] Towers.
Ballimun [G] was a,
_ _ was [A] kind of built in our back garden.
I used [C] to play [G] there as kids,
[D] but that's where the biggest drug problem was.
_ _ _ _ _ [G] _ _ _
_ _ _ _ [D] _ _ _ _
_ _ _ [G] You can hear how Bono is encouraging the band here
by going up to high register.
[D] _ _ Because pushing Larry has a lot to do with
[G] what kind of result you get.
If you really push Larry, he'll deliver.
He'll just keep [D] coming at you and keep coming at you.
And this sort of Bolero building aspect of this
[G] is a lot of his personality.
It's Bolero beat, isn't it?
That comes from Larry, as you can hear.
[D] She's ready, she's ready _
[G] Storm blows like _ _ _ _
[A] _ _ _ _ [C] _ _ [G] _ _
[A] _ a rice
[C] _ [G] _ _
[D] It turned out not to be the same experiment
for any one of the 6 of us.
[G] But that's actually, that's where the great [D] collision comes from,
the creative collision of everybody pushing as hard as they can
[G] in a slightly different direction
creates this stretched envelope,
[D] _ _
[Ab] this slightly [Gm] defocused and quite rich
and densely interconnected thing
called a record.
_ _ _ [N] _