Chords for Sex Pistols - Recording "Anarchy in the UK" and "Holidays in the Sun"

Steve Jones was and still is about the tightest lead guitarist I've ever heard in my life. _ _ _ _ _ _
This is [F] Steve's basic rhythm guitar, sort of what [E] he would play live.
_ _ [C] _ _ _ _
Nice sort of chuggy rhythm.
But he also did slightly different versions of the rhythm. _ _ _ _ _ _
_ _ _ _ [Em] _ _ [C] _
Adding accents to it.
_ [F] _ _ [Em] _ [C] _
You know, like the fact that a bit of feedback [F#] comes in on one verse
and then something else comes in on another.
And the whole thing [F] of, _ you know, just the initial track that went down on the guitar,
then that would be copied on the right-hand side.
You know, so that it was like, it wasn't stereo, it was like mono deluxe.
_ _ _ [E] _ _ _
Bring the drums [C] in, you'll hear how tight Steve is. _ _
_ [F] _ _ _ _ _ _ _
_ _ _ _ [D] _ _ _ _
_ [E] _ _ _ _ _ Now you'll hear _ there's _ two or three versions of the solo guitar here.
_ _ _ _ [Dm] _
_ _ _ _ [G] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [C] _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ How about a bit of guitar? _
_ _ _ _ _ [F] _ _ [E] _
_ [C] _ _ _ _ _ _ _
_ [G] _ _ _ _ _ _ _
What [F] a bad _ [E] man.
_ _ _ [C] _ _ And then we cut Anarchy [N] In The UK and we cut that on the third take.
And it was like, oh, this is better.
In the Wessex studio, it was the first time I clearly heard myself
and did not recognise it.
_ I had no idea it was that much of a honky-donky.
I'm sure that's how he got his vocal style,
to get the most racket out of _ not being able to hear himself, you know.
I mean, he's no _ crooner, but _ his diction and delivery are fantastic.
He had a melody about him as well.
People said he couldn't sing, but, you know,
he came up with a lot of the _ _ _ _ _ melody on the songs.
_ _ Anarchy for the UK
_ It's coming _ sometime, _ maybe
_ You can see how I can sit him in the track without _ covering the lyric, really.
I'm as clean as a shop in St.
[G] Petersburg _ _
_ _ I [F] want to _ _
_ _ [E] _ _ [D] _ _ [C] _ _
_ _ _ _ _ _ [D] be_
Berlin was fun in a weird way because of the wall
and gawping at the Russians, and I liked it.
And a song automatically came straight out of it.
The paranoia of the place. _ _
_ _ _ _ [A] _ _ [G] _ _
_ _ _ _ [A] _ _ [G] _ _
_ [C] To holiday, [A] now that [G] we've all been visiting
_ I [A] _ _ [G] _ _
_ _ _ _ _ _ _
don't want a holiday in [Am] a sun
[G] I want to go to the New [A] Belsen
[G] I want to see some [E] history
[G] Cos now I got a reason of a lick [C] of me
Oh, now I got a reason, now I got a reason
[D] Now _ _ I'm still waiting
[A] To start with, I think we tried to incorporate some of Sid's bass,
you know, _ for his sake, really. _ _
_ [Em] But I think by the end we gave up [N] even doing that.
_ _ We played on bodies.
We tried to sort of shove something sort _ of subsonic,
_ just like the little bit underneath the actual record on God Save the Queen.
But I mean, I think by the time it was cut, that didn't even exist.
Sid was in the band, but he couldn't really play. _
And thank God, when we was doing Never Mind the Bollocks,
he was in hospital with yellow jaundice, _ and he was out of it.
We were stuck.
All we had was Steve with the guitar and Paul on the drums.
And the _ recording technique we started was to have Steve Jones
playing his basic rhythm guitar _ [G] and _ Paul Cook playing drums.
We'd have been sitting there listening to something like this.
_ [B] _ _ [G] _ _
_ _ [C] _ _ Steve [G] would then build up his rhythm guitars [A] and [G] _ _
_ _ [C] _ _ [B] _ _ [G] _ _
_ then add some overdubs. _ _ _
_ _ _ _ _ _ But when we just had like two instruments, [F#] just drums and guitar,
it was like they put it down and you couldn't hear anything wrong with it particularly.
They were just sort of doing what they always did.
So _ _ _ _ I thought, well, let's maybe get Steve to try the [D] bass on it. _ _ _
_ Just to sort of have some idea of where we were going and what we were going to do.
And the [C] very last thing Steve would do would be to put his bass on the bottom
[D] and then he'd go to his guitars.
_ _ _ _ [C] _ _ [A] _
_ _ _ _ [C] _ _ _ _
[A] _ [G] _ _ _ I've got to set it [F#] straight that Chris Spedding [G] actually played all the guitar
on Never Mind the [A] Bollocks.
_ [F#] And I don't even know what studio they did it in.
Steve did [G#] everything.
He did the bass, he [F#] did the guitars, he [G#m] did the lot.
You still _ read somewhere Chris Spedding, Sex Pistols session player or something.
_ _ _ First few shows he was behind a curtain [C] playing it as well, live. _ _ _
Thank you for that, Chris.
_ [Bm] _ [A] _ _ [G] _
And then finally, _ _ time for Johnny's lead vocal.
I've got a sense of round sound in a two inch [Em] wall.
[G]
I was waiting for the communist call.
I did Antifa, Sunshine and I got World War III.
I'm looking over the wall and they're looking at me.
[Cm] And Steve just [N] put this part on that was just like he's just playing
exactly the same thing as he plays on the guitar, but on the octave down.
_ _ _ _ Bingo, that was it.
That was what really people consider to be the Sex Pistols sound.
That whole thing of having an E bar chord, the octave below that, _
that's the whole thing.
_ It's just like Panzer Division.
It's just a _ [C] _ _ [A] _ _ [G] _ _
_ _ _ _ [A] _ _ [G] _ _
_ _ _ _ _ _ _
round sound in a two [Am] inch wall.
[G] I was waiting for the [E] communist call.
[G] I did Antifa, Sunshine and I [A] got World War [G] III.
I'm looking over the wall and they're [C] looking at me.
Now I gotta resist, now I gotta resist, [D] now I gotta resist.
And I'm still waiting, [C] now I gotta resist, now I gotta [D] resist.
So I'm waiting _ _ for _ [C] World War.