Chords for Stereolab - Part 2 - Interview
Tempo:
91.95 bpm
Chords used:
F
G
E
Abm
Ab
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[F] Even at this point in your career, having lots of time and leisure to create an album,
it sounds like you put them together still fairly quickly and playfully.
You're not obsessing over them for years, assembling this thing.
[G] About two [Abm] days.
The thing is that for me, I'm just concerned with just having [Ab] some good idea that will
just set [Eb] up the world [Eb] of the possibilities of what [A] you do.
If that idea is quite good, [N] it makes all the rest of the work, actually writing of stuff,
much, much simpler.
If you haven't really got anything, everything becomes much, much more difficult.
For me, almost all of this music, which is in fact three, was originally about three
times the length of the album, was done in two weeks, less [G] maybe.
Because I [Gb] like the idea and everything went quickly.
After that, it's just a question of putting it down.
[F] That took nine months.
That took eight and a half months.
That takes [E] the obsessive [G] work to get done.
[Eb]
But it's fun.
[G] I like the activity of doing music.
This is what [Abm] informs me.
When I [G] hear records back or something, I'm just thinking of [Gb] all the processes that we
[G] did to make it.
[Db] For me, this is [G] absolutely the most exciting thing about music.
[Abm] There's really an early, [G] initial, little, blurry ideas that are becoming in [Abm] focus.
Everything else is all
[Bb] Playing live is great.
It's totally different.
But this all comes second to this original thing.
[F]
For me.
For me.
Yeah.
I was about to say, how about for you?
For me, it's an entirely different process than it is for Tim, who writes, who ingests the ideas.
I just may collect a bunch of ideas lyrically, and then I wait for the [E] tunes to arrive in a wheelbarrow.
There they are.
I knock some lyrics onto [F]
those melodies.
Then I go into the studio and sing them.
Meanwhile, all the music gets done without my participation.
I feel like there have always been [G] ideas that have been borrowed in from literature at various points.
Yeah, of course.
I recycle a lot.
Has your reading or listening moved in [Bb]
interesting new directions?
I'm realizing that I'm still working the same little bit of land, and finding riches, [G] and
possibly the [Eb] whole world in [Bb] that little bit of land.
I'm still quite happy with that.
[Ab] The same themes from the personal and the [F] unconscious to the political, which I [Ab] find are linked.
I don't dissociate the two.
I don't dissociate the individual from the societal.
I find one influences [C] the other, which in turn influences the one, and et cetera.
What I'm trying to say is that you can have [E] one small thing, but [F] in fact it's going to
radiate out [Eb] to a bigger reality.
[F] [Em] Maybe it's a bit pretentious to [F] say that, but I'm [Abm] concerned with this [F] reality, and [Gb] how
I perceive it in one [F] way, how you're going to perceive it in a different [E] way, and where
is the truth in that?
[G] I [Fm] think I have [Ab] another 30 or 60 years of work.
I assume that you're looking to create a shape to a record as you're writing things.
Is that part of it?
No, no.
Generally, it's going to happen on its [G] own accord.
It will fall into place.
It's like [E] a snapshot.
It's like taking a picture, [F] and this is what it is.
[Gb]
It will speak for itself of that era, of that time.
[F] Another very big source [Bbm] of inspiration is [E] [Gm] my dreams.
[F]
There is [Dm] an infinite amount of ideas [F] and wild associations of ideas and [N] symbolic meanings.
It's great.
It's strangely great.
Do you have any idea of, and this is to both of you, of where you go next?
We're going to Boston.
I'm quite happy on this journey, on the Stereolab journey.
I don't control it, and I feel Tim controls it more than I do.
I'm happy as long as the songs will keep arriving, [Bb] I guess.
I will [E] keep on writing lyrics for them and [Ab] singing them.
Excellent.
Well, thanks very much to both of you.
It was really great to get a chance to talk to you.
Thanks.
Thank you.
[N]
it sounds like you put them together still fairly quickly and playfully.
You're not obsessing over them for years, assembling this thing.
[G] About two [Abm] days.
The thing is that for me, I'm just concerned with just having [Ab] some good idea that will
just set [Eb] up the world [Eb] of the possibilities of what [A] you do.
If that idea is quite good, [N] it makes all the rest of the work, actually writing of stuff,
much, much simpler.
If you haven't really got anything, everything becomes much, much more difficult.
For me, almost all of this music, which is in fact three, was originally about three
times the length of the album, was done in two weeks, less [G] maybe.
Because I [Gb] like the idea and everything went quickly.
After that, it's just a question of putting it down.
[F] That took nine months.
That took eight and a half months.
That takes [E] the obsessive [G] work to get done.
[Eb]
But it's fun.
[G] I like the activity of doing music.
This is what [Abm] informs me.
When I [G] hear records back or something, I'm just thinking of [Gb] all the processes that we
[G] did to make it.
[Db] For me, this is [G] absolutely the most exciting thing about music.
[Abm] There's really an early, [G] initial, little, blurry ideas that are becoming in [Abm] focus.
Everything else is all
[Bb] Playing live is great.
It's totally different.
But this all comes second to this original thing.
[F]
For me.
For me.
Yeah.
I was about to say, how about for you?
For me, it's an entirely different process than it is for Tim, who writes, who ingests the ideas.
I just may collect a bunch of ideas lyrically, and then I wait for the [E] tunes to arrive in a wheelbarrow.
There they are.
I knock some lyrics onto [F]
those melodies.
Then I go into the studio and sing them.
Meanwhile, all the music gets done without my participation.
I feel like there have always been [G] ideas that have been borrowed in from literature at various points.
Yeah, of course.
I recycle a lot.
Has your reading or listening moved in [Bb]
interesting new directions?
I'm realizing that I'm still working the same little bit of land, and finding riches, [G] and
possibly the [Eb] whole world in [Bb] that little bit of land.
I'm still quite happy with that.
[Ab] The same themes from the personal and the [F] unconscious to the political, which I [Ab] find are linked.
I don't dissociate the two.
I don't dissociate the individual from the societal.
I find one influences [C] the other, which in turn influences the one, and et cetera.
What I'm trying to say is that you can have [E] one small thing, but [F] in fact it's going to
radiate out [Eb] to a bigger reality.
[F] [Em] Maybe it's a bit pretentious to [F] say that, but I'm [Abm] concerned with this [F] reality, and [Gb] how
I perceive it in one [F] way, how you're going to perceive it in a different [E] way, and where
is the truth in that?
[G] I [Fm] think I have [Ab] another 30 or 60 years of work.
I assume that you're looking to create a shape to a record as you're writing things.
Is that part of it?
No, no.
Generally, it's going to happen on its [G] own accord.
It will fall into place.
It's like [E] a snapshot.
It's like taking a picture, [F] and this is what it is.
[Gb]
It will speak for itself of that era, of that time.
[F] Another very big source [Bbm] of inspiration is [E] [Gm] my dreams.
[F]
There is [Dm] an infinite amount of ideas [F] and wild associations of ideas and [N] symbolic meanings.
It's great.
It's strangely great.
Do you have any idea of, and this is to both of you, of where you go next?
We're going to Boston.
I'm quite happy on this journey, on the Stereolab journey.
I don't control it, and I feel Tim controls it more than I do.
I'm happy as long as the songs will keep arriving, [Bb] I guess.
I will [E] keep on writing lyrics for them and [Ab] singing them.
Excellent.
Well, thanks very much to both of you.
It was really great to get a chance to talk to you.
Thanks.
Thank you.
[N]
Key:
F
G
E
Abm
Ab
F
G
E
_ _ _ _ _ _ _ _
[F] _ _ _ Even at this point in your career, having lots of time and leisure to create an album,
it sounds like you put them together still fairly quickly and playfully.
You're not obsessing over them for years, assembling this thing.
_ [G] About two [Abm] days.
The thing is that for me, I'm just concerned with just having [Ab] some good idea that will
just set [Eb] up the world [Eb] of the possibilities of what [A] you do.
If that idea is quite good, [N] it makes all the rest of the work, actually writing of stuff,
much, much simpler.
If you haven't really got anything, everything becomes much, much more difficult.
_ For me, almost all of this music, which is in fact three, was originally about three
times the length of the album, was done in two weeks, less [G] maybe.
Because I [Gb] like the idea and everything went quickly.
After that, it's just a question of putting it down.
[F] That took nine months.
That took eight and a half months.
That takes [E] the obsessive [G] work to get done.
_ [Eb] _
_ But it's fun.
[G] I like the activity of doing music.
This is what [Abm] informs me.
When I [G] hear records back or something, I'm just thinking of [Gb] all the processes that we
[G] did to make it.
[Db] For me, this is [G] absolutely the most exciting thing about music.
[Abm] There's really an early, [G] initial, little, blurry ideas that are becoming in [Abm] focus.
Everything else is all _
[Bb] Playing live is great.
It's totally different.
But this all comes second to this original thing.
[F] _
For me.
For me.
Yeah.
I was about to say, how about for you?
For me, it's an entirely different process than it is for Tim, who writes, who ingests the ideas. _ _ _
I just may collect a bunch of ideas lyrically, and then I wait for the [E] tunes to arrive in a wheelbarrow. _
There they are.
_ I knock some lyrics onto [F]
those melodies.
_ Then I go into the studio and sing them. _
Meanwhile, all the music gets done without my participation.
_ _ I feel like there have always been _ [G] ideas that have been borrowed in from literature _ at various points.
Yeah, of course.
I recycle a lot.
_ _ Has your reading or listening moved in [Bb]
interesting new directions?
I'm realizing that I'm still working the _ _ same little bit of land, and _ finding riches, _ [G] and
possibly the [Eb] whole world in [Bb] _ that little bit of land.
I'm still quite happy with that.
[Ab] The same themes _ from the personal and the [F] unconscious to the political, which I [Ab] find are linked.
I don't dissociate the two.
I don't dissociate the individual from the societal.
I find one influences [C] the other, which in turn influences the one, and et cetera.
_ What I'm trying to say is that you can have [E] one small thing, but [F] in fact it's going to
radiate out [Eb] to a bigger reality.
_ _ [F] _ [Em] Maybe it's a bit pretentious to [F] say that, but I'm [Abm] concerned with this [F] reality, and _ [Gb] how
I perceive it in one [F] way, how you're going to perceive it in a different [E] way, and where
is the truth in that?
_ [G] _ _ I [Fm] think I have [Ab] another 30 or 60 years of work.
I assume that you're looking to create a shape to a record as you're writing things.
Is that part of it?
No, no.
_ Generally, it's going to happen on its [G] own accord.
It will fall into place.
It's like [E] a snapshot.
It's like taking a picture, [F] and this is what it is.
[Gb]
It will speak for itself of that era, of that time.
[F] Another very big source [Bbm] of inspiration is _ [E] [Gm] my dreams.
[F]
There is [Dm] an infinite amount of ideas [F] and wild associations of ideas and [N] symbolic _ meanings.
It's great.
_ It's strangely _ _ _ _ great. _ _
Do you have any idea of, and this is to both of you, of where you go next?
We're going to Boston.
_ I'm quite happy on this journey, on the Stereolab journey.
_ I don't control it, and I feel Tim controls it more than I do.
I'm happy as long as the songs will keep arriving, [Bb] I guess.
I will [E] keep on writing lyrics for them and [Ab] singing them.
_ Excellent.
Well, thanks very much to both of you.
It was really great to get a chance to talk to you.
Thanks.
Thank you. _ _
_ _ _ _ _ _ _ [N] _
[F] _ _ _ Even at this point in your career, having lots of time and leisure to create an album,
it sounds like you put them together still fairly quickly and playfully.
You're not obsessing over them for years, assembling this thing.
_ [G] About two [Abm] days.
The thing is that for me, I'm just concerned with just having [Ab] some good idea that will
just set [Eb] up the world [Eb] of the possibilities of what [A] you do.
If that idea is quite good, [N] it makes all the rest of the work, actually writing of stuff,
much, much simpler.
If you haven't really got anything, everything becomes much, much more difficult.
_ For me, almost all of this music, which is in fact three, was originally about three
times the length of the album, was done in two weeks, less [G] maybe.
Because I [Gb] like the idea and everything went quickly.
After that, it's just a question of putting it down.
[F] That took nine months.
That took eight and a half months.
That takes [E] the obsessive [G] work to get done.
_ [Eb] _
_ But it's fun.
[G] I like the activity of doing music.
This is what [Abm] informs me.
When I [G] hear records back or something, I'm just thinking of [Gb] all the processes that we
[G] did to make it.
[Db] For me, this is [G] absolutely the most exciting thing about music.
[Abm] There's really an early, [G] initial, little, blurry ideas that are becoming in [Abm] focus.
Everything else is all _
[Bb] Playing live is great.
It's totally different.
But this all comes second to this original thing.
[F] _
For me.
For me.
Yeah.
I was about to say, how about for you?
For me, it's an entirely different process than it is for Tim, who writes, who ingests the ideas. _ _ _
I just may collect a bunch of ideas lyrically, and then I wait for the [E] tunes to arrive in a wheelbarrow. _
There they are.
_ I knock some lyrics onto [F]
those melodies.
_ Then I go into the studio and sing them. _
Meanwhile, all the music gets done without my participation.
_ _ I feel like there have always been _ [G] ideas that have been borrowed in from literature _ at various points.
Yeah, of course.
I recycle a lot.
_ _ Has your reading or listening moved in [Bb]
interesting new directions?
I'm realizing that I'm still working the _ _ same little bit of land, and _ finding riches, _ [G] and
possibly the [Eb] whole world in [Bb] _ that little bit of land.
I'm still quite happy with that.
[Ab] The same themes _ from the personal and the [F] unconscious to the political, which I [Ab] find are linked.
I don't dissociate the two.
I don't dissociate the individual from the societal.
I find one influences [C] the other, which in turn influences the one, and et cetera.
_ What I'm trying to say is that you can have [E] one small thing, but [F] in fact it's going to
radiate out [Eb] to a bigger reality.
_ _ [F] _ [Em] Maybe it's a bit pretentious to [F] say that, but I'm [Abm] concerned with this [F] reality, and _ [Gb] how
I perceive it in one [F] way, how you're going to perceive it in a different [E] way, and where
is the truth in that?
_ [G] _ _ I [Fm] think I have [Ab] another 30 or 60 years of work.
I assume that you're looking to create a shape to a record as you're writing things.
Is that part of it?
No, no.
_ Generally, it's going to happen on its [G] own accord.
It will fall into place.
It's like [E] a snapshot.
It's like taking a picture, [F] and this is what it is.
[Gb]
It will speak for itself of that era, of that time.
[F] Another very big source [Bbm] of inspiration is _ [E] [Gm] my dreams.
[F]
There is [Dm] an infinite amount of ideas [F] and wild associations of ideas and [N] symbolic _ meanings.
It's great.
_ It's strangely _ _ _ _ great. _ _
Do you have any idea of, and this is to both of you, of where you go next?
We're going to Boston.
_ I'm quite happy on this journey, on the Stereolab journey.
_ I don't control it, and I feel Tim controls it more than I do.
I'm happy as long as the songs will keep arriving, [Bb] I guess.
I will [E] keep on writing lyrics for them and [Ab] singing them.
_ Excellent.
Well, thanks very much to both of you.
It was really great to get a chance to talk to you.
Thanks.
Thank you. _ _
_ _ _ _ _ _ _ [N] _