Chords for Steve Hackett - Genesis [The Man, The Music]
Tempo:
121.95 bpm
Chords used:
Eb
F
D
C
Ebm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
![Steve Hackett - Genesis [The Man, The Music] chords](https://i.ytimg.com/vi/ICWqzVvxIHM/mqdefault.jpg)
Start Jamming...
[Eb] [D] What is your role as a music critic?
[C]
[F] [Ebm] First of all, I'd be [Bb] advertising myself [Eb] as a [C] blues guitarist,
[F] harmonica player, Sikhs, [Ebm] work.
And then it sort of [Bb] ran the gamut [Eb] from that to the
to the guitarist, writer, Sikhs, creative [F]
musicians,
receptive musicians, [Eb] determined to strive beyond existing
stagnant music forms.
I thought I'd try and [Dbm] say it all, a bit of a mouthful to [Ab] speak,
but if you [D] read it, it sounds like someone who's focused
[G] and determined and [Ab] ex-grammar school boy wants to make his mark.
The extraordinary thing was I played to both Pete and Tony,
just some stuff with my brother in the bedroom,
and they seemed to like that.
And then I met Mike, who wasn't well and was [N] recovering
from some stomach problems.
And I think he had an ulcer or something, this young guy, 20,
with an ulcer.
I was trying to figure that.
And he was sitting there in his pyjamas.
I was meeting him for the first time.
Again, all this stuff was going on in bedrooms.
And what I didn't realise was that as I was talking to them
about music, I was doing this sort of three-tier kind of audition
with them, you know, like a couple of guys thought I was all right,
the other guitarist thought I was all right.
And then we worked in a rehearsal room, and what I wasn't prepared for
was just how loud Phil Collins was acoustically in a rehearsal room.
And, you know, the amp that I had obviously wasn't going to pass muster.
The guitar I had, the amp I had.
So rather grandly I said to them,
really what I need is a Les Paul and a Marshall stack,
or was it a Hi-Watts stack?
It was something like that.
And I thought they're never going to wear this, it's never going to happen, forget it.
You know, he's just asking for too much.
And then practically the following day, it arrived!
So, you know, the old adage about if you don't ask, you don't get
was absolutely true.
So, you know, all I would say to anyone who's young watching this is, you know,
be outrageous with your dreams, your demands, whatever,
but don't stay silent.
Don't dream it, be it.
You've just got to go for it, whatever it is.
They were very nice guys, I have to say, they were all very polite.
We lived in a tiny flat, and they went in the bedroom,
and they'd do a bit of rehearsing and everything,
and I used to cook up, I don't know,
panfuls of chips and the fried egg sandwiches,
all that kind of thing that you do.
And it was just very, very nice.
But before that, before that,
Stephen came in one day with an album and said,
Listen to this, Mum.
It was called Trespass.
And I said, Oh, I love it!
Because to me, it's the combination of classical and rock,
and this was in the very early days.
And he said, I've auditioned with them.
And anyway, the rest is history.
Got the part, got the job.
Genesis, as a band,
weren't really looking for a guitar hero as such.
They wanted subtlety, little shades of things,
things tinkling away, 12-string, that was very important to them.
They certainly wanted a lead guitarist,
but at the time, they were very much into
accompanying what was going on with the vocals.
So I used to have to work very, very hard
within the five-piece, because three of the band,
Tony, Mike and Phil, were capable of sounding self-sufficient
without any vocals, without any extra guitar from me.
So they were really a power trio at that time.
I suspect the other two, Peter Gabriel and myself,
were trying to impinge upon and have some sort of relevance.
So I really used to have to work very hard to, at times,
become a cello, to double the bass line, to be the brass.
Mike used to come up with the most unlikely changes.
He would use open tunings for guitars
and managed to produce a rhythm guitar,
great riffs, great songs.
He was a 12-string fanatic, also a bass player at that time.
He hadn't really, when I worked with him,
fully engaged with six-string electric lead stuff,
but the stuff that he did before that, I think,
would give any of the great British rhythm players a run for their money.
Brilliant at coming up with bass lines, vocal lines,
very often very simple things that worked beautifully.
And I'm still looking for that level of immediacy and simplicity in my own work.
And I'm thinking now that you don't have to write everything
in a ridiculous time signature, with lots of hiccuping.
I think it's the downside of prog, in fact,
is that too much punctuation, not enough statement.
Downside of jazz, too much whittle, not enough tune.
[Gb] But it's what you get off on.
If someone gets off on the idea of encoded rhythm sounds,
can't find the one.
It's almost like bebop.
It's what drives it, it's what drives progressive,
but it's also what drives a lot of people now.
You tap your foot to it, and I think might bridge the gap
there between complicated progressive and prog,
and that sort of immediate thing that you'd get from the Stones or the Who.
When I first met Pete, I really didn't understand what he was talking about.
He seemed to be talking Venusian, but then I suspect I was probably
talking my own brand of Venusian, and indeed all the guys in Genesis
seemed to have their own language and their own reference points.
Pete was very creative.
I hadn't got a clue what he was talking about.
But by the time he'd worked with one other band member,
something would get knocked into shape.
[Db] So, you know, years later when Pete was working with Robert Fripp,
Robert Fripp said he spent two or three weeks working with Pete,
writing down everything on paper, because it seemed as if it was flexible.
The idea of a song with Pete was flexible.
In fact, I think what he enjoyed most of all was before a song was fixed,
whilst it was still flexible, while it was still in the process of becoming something.
That was what galvanised him most of all.
And Pete likes to take his time over that, I can understand that.
And Pete likes to take his time over that, I can understand that.
It's like endless foreplay.
Fantastic, wonderful.
[C]
[F] [Ebm] First of all, I'd be [Bb] advertising myself [Eb] as a [C] blues guitarist,
[F] harmonica player, Sikhs, [Ebm] work.
And then it sort of [Bb] ran the gamut [Eb] from that to the
to the guitarist, writer, Sikhs, creative [F]
musicians,
receptive musicians, [Eb] determined to strive beyond existing
stagnant music forms.
I thought I'd try and [Dbm] say it all, a bit of a mouthful to [Ab] speak,
but if you [D] read it, it sounds like someone who's focused
[G] and determined and [Ab] ex-grammar school boy wants to make his mark.
The extraordinary thing was I played to both Pete and Tony,
just some stuff with my brother in the bedroom,
and they seemed to like that.
And then I met Mike, who wasn't well and was [N] recovering
from some stomach problems.
And I think he had an ulcer or something, this young guy, 20,
with an ulcer.
I was trying to figure that.
And he was sitting there in his pyjamas.
I was meeting him for the first time.
Again, all this stuff was going on in bedrooms.
And what I didn't realise was that as I was talking to them
about music, I was doing this sort of three-tier kind of audition
with them, you know, like a couple of guys thought I was all right,
the other guitarist thought I was all right.
And then we worked in a rehearsal room, and what I wasn't prepared for
was just how loud Phil Collins was acoustically in a rehearsal room.
And, you know, the amp that I had obviously wasn't going to pass muster.
The guitar I had, the amp I had.
So rather grandly I said to them,
really what I need is a Les Paul and a Marshall stack,
or was it a Hi-Watts stack?
It was something like that.
And I thought they're never going to wear this, it's never going to happen, forget it.
You know, he's just asking for too much.
And then practically the following day, it arrived!
So, you know, the old adage about if you don't ask, you don't get
was absolutely true.
So, you know, all I would say to anyone who's young watching this is, you know,
be outrageous with your dreams, your demands, whatever,
but don't stay silent.
Don't dream it, be it.
You've just got to go for it, whatever it is.
They were very nice guys, I have to say, they were all very polite.
We lived in a tiny flat, and they went in the bedroom,
and they'd do a bit of rehearsing and everything,
and I used to cook up, I don't know,
panfuls of chips and the fried egg sandwiches,
all that kind of thing that you do.
And it was just very, very nice.
But before that, before that,
Stephen came in one day with an album and said,
Listen to this, Mum.
It was called Trespass.
And I said, Oh, I love it!
Because to me, it's the combination of classical and rock,
and this was in the very early days.
And he said, I've auditioned with them.
And anyway, the rest is history.
Got the part, got the job.
Genesis, as a band,
weren't really looking for a guitar hero as such.
They wanted subtlety, little shades of things,
things tinkling away, 12-string, that was very important to them.
They certainly wanted a lead guitarist,
but at the time, they were very much into
accompanying what was going on with the vocals.
So I used to have to work very, very hard
within the five-piece, because three of the band,
Tony, Mike and Phil, were capable of sounding self-sufficient
without any vocals, without any extra guitar from me.
So they were really a power trio at that time.
I suspect the other two, Peter Gabriel and myself,
were trying to impinge upon and have some sort of relevance.
So I really used to have to work very hard to, at times,
become a cello, to double the bass line, to be the brass.
Mike used to come up with the most unlikely changes.
He would use open tunings for guitars
and managed to produce a rhythm guitar,
great riffs, great songs.
He was a 12-string fanatic, also a bass player at that time.
He hadn't really, when I worked with him,
fully engaged with six-string electric lead stuff,
but the stuff that he did before that, I think,
would give any of the great British rhythm players a run for their money.
Brilliant at coming up with bass lines, vocal lines,
very often very simple things that worked beautifully.
And I'm still looking for that level of immediacy and simplicity in my own work.
And I'm thinking now that you don't have to write everything
in a ridiculous time signature, with lots of hiccuping.
I think it's the downside of prog, in fact,
is that too much punctuation, not enough statement.
Downside of jazz, too much whittle, not enough tune.
[Gb] But it's what you get off on.
If someone gets off on the idea of encoded rhythm sounds,
can't find the one.
It's almost like bebop.
It's what drives it, it's what drives progressive,
but it's also what drives a lot of people now.
You tap your foot to it, and I think might bridge the gap
there between complicated progressive and prog,
and that sort of immediate thing that you'd get from the Stones or the Who.
When I first met Pete, I really didn't understand what he was talking about.
He seemed to be talking Venusian, but then I suspect I was probably
talking my own brand of Venusian, and indeed all the guys in Genesis
seemed to have their own language and their own reference points.
Pete was very creative.
I hadn't got a clue what he was talking about.
But by the time he'd worked with one other band member,
something would get knocked into shape.
[Db] So, you know, years later when Pete was working with Robert Fripp,
Robert Fripp said he spent two or three weeks working with Pete,
writing down everything on paper, because it seemed as if it was flexible.
The idea of a song with Pete was flexible.
In fact, I think what he enjoyed most of all was before a song was fixed,
whilst it was still flexible, while it was still in the process of becoming something.
That was what galvanised him most of all.
And Pete likes to take his time over that, I can understand that.
And Pete likes to take his time over that, I can understand that.
It's like endless foreplay.
Fantastic, wonderful.
Key:
Eb
F
D
C
Ebm
Eb
F
D
_ _ _ [Eb] _ [D] What is your role as a music critic?
[C] _
_ [F] _ _ _ _ _ [Ebm] First of all, I'd be [Bb] advertising myself [Eb] _ as a [C] blues guitarist,
[F] harmonica player, Sikhs, [Ebm] work.
And then it sort of [Bb] ran the gamut [Eb] from that to the_ _ _
to the guitarist, writer, Sikhs, creative [F]
musicians,
receptive musicians, [Eb] determined to strive beyond existing
stagnant music forms.
I thought I'd try and [Dbm] say it all, a bit of a mouthful to [Ab] speak,
but if you [D] read it, it sounds like someone who's focused
[G] and determined and [Ab] _ _ ex-grammar school boy _ wants to make his mark. _ _
The extraordinary thing was _ I played to _ both Pete and Tony,
just some stuff with my brother in the bedroom,
and they seemed to like that.
And then I met Mike, _ who wasn't well and was [N] recovering
from some _ _ _ stomach problems.
And I think he had an ulcer or something, this young guy, 20,
with an ulcer.
I was trying to figure that.
And he was sitting there in his pyjamas.
I was meeting him for the first time.
Again, all this stuff was going on in bedrooms.
And what I didn't realise was that as I was talking to them
about music, I was doing this sort of three-tier kind of audition
with them, you know, like a couple of guys thought I was all right,
the other guitarist thought I was all right.
And then we worked in a rehearsal room, and what I wasn't prepared for
was just how loud _ Phil Collins was acoustically in a rehearsal room.
And, you know, the amp that I had _ _ _ obviously wasn't going to pass muster.
The guitar I had, the amp I had.
So rather grandly I said to them,
_ really what I need is a Les Paul and a Marshall stack,
or was it a Hi-Watts stack?
It was something like that.
And I thought they're never going to wear this, it's never going to happen, forget it.
You know, he's just asking for too much.
And then practically the following day, it arrived!
_ So, you know, the old adage about if you don't ask, you don't get
was absolutely true.
So, _ _ you know, all I would say to anyone who's young watching this is, you know,
_ _ be outrageous with your _ dreams, your demands, whatever,
but _ don't stay silent.
_ Don't dream it, be it.
_ _ _ You've just got to go for it, whatever it is.
They were very nice guys, I have to say, they were all very polite.
We lived in a tiny flat, and they went in the bedroom,
and they'd do a bit of rehearsing and everything,
and I used to cook up, I don't know,
panfuls of chips and the fried egg sandwiches,
all that kind of thing that you do. _
And it was just very, very nice.
_ But before that, before that,
Stephen came in one day with an album and said,
Listen to this, Mum.
It was called Trespass.
_ And I said, Oh, I love it!
Because to me, it's the combination of classical and rock,
and this was in the very early days.
And he said, I've auditioned with them.
_ _ And anyway, the rest is history.
Got the part, got the job.
_ _ _ Genesis, as a band,
_ _ weren't really looking for a guitar hero as such.
_ _ _ _ They wanted subtlety, little shades of things, _
things tinkling away, 12-string, that was very important to them. _
They certainly wanted a lead guitarist,
but at the time, they were very much into
_ accompanying what was going on with the vocals.
So I used to have to work very, very hard
_ _ _ within the five-piece, because _ three of the band,
Tony, Mike and Phil, were capable of sounding self-sufficient
without any vocals, without any extra guitar from me.
So they were really a power trio at that time.
I suspect _ the other two, Peter Gabriel and myself,
were trying to impinge upon and have some sort of relevance.
So I really used to have to work very hard to, at times,
become a cello, to double the bass line, _ to be the brass.
_ Mike used to come up with the most unlikely changes.
He would use open tunings for guitars
and _ managed to produce a rhythm guitar, _
_ great riffs, great songs. _
_ _ _ He was a 12-string fanatic, _ _ also a bass player at that time.
He hadn't really, when I worked with him,
_ fully engaged with six-string electric lead stuff,
but _ the stuff that he did before that, I think,
would give any of the great British rhythm players a run for their money.
_ Brilliant at coming up with bass lines, vocal lines,
_ _ very often very simple _ things that worked beautifully.
And I'm still looking for that level _ of immediacy and simplicity in my own work.
And I'm thinking now that you don't have to write everything
in a ridiculous time signature, _ with lots of hiccuping.
_ _ I think _ it's the downside of prog, in fact,
is that too much punctuation, not enough statement.
_ _ Downside of jazz, too much whittle, not enough tune.
[Gb] _ But it's what you get off on.
If someone gets off on the idea of encoded _ _ rhythm sounds,
_ _ can't find the one.
It's almost like bebop.
_ _ It's what drives it, it's what drives progressive,
but it's also what drives a lot of people now.
You tap your foot to it, and I think might bridge the gap
there between _ _ _ complicated progressive and prog,
and _ _ that sort of immediate thing that you'd get from the Stones or the Who.
_ _ When I first met Pete, I really didn't understand what he was talking about.
He seemed to be talking Venusian, but then I suspect I was probably
talking my own brand of Venusian, and indeed all the guys in Genesis
seemed to have their own language and their own reference points.
Pete was very creative.
I hadn't got a clue what he was talking about.
_ But by the time he'd worked with one other band member,
something would get knocked into _ shape. _ _ _
_ _ _ [Db] _ So, you know, years later when Pete was working with Robert Fripp,
Robert Fripp said he spent two or three weeks working with Pete,
writing down everything on paper, because it seemed as if it was flexible.
The idea of a song with Pete was flexible.
In fact, I think what he enjoyed most of all was before a song was fixed,
whilst it was still flexible, while it was still in the process of becoming something. _
That was what galvanised him most of all. _ _
_ And Pete likes to take his time over that, I can understand that.
And _ _ _ Pete likes to take his time over that, I can understand that.
_ It's like _ _ _ _ endless foreplay. _
_ _ Fantastic, wonderful. _ _ _
_ _ _ _ _ _ _ _
[C] _
_ [F] _ _ _ _ _ [Ebm] First of all, I'd be [Bb] advertising myself [Eb] _ as a [C] blues guitarist,
[F] harmonica player, Sikhs, [Ebm] work.
And then it sort of [Bb] ran the gamut [Eb] from that to the_ _ _
to the guitarist, writer, Sikhs, creative [F]
musicians,
receptive musicians, [Eb] determined to strive beyond existing
stagnant music forms.
I thought I'd try and [Dbm] say it all, a bit of a mouthful to [Ab] speak,
but if you [D] read it, it sounds like someone who's focused
[G] and determined and [Ab] _ _ ex-grammar school boy _ wants to make his mark. _ _
The extraordinary thing was _ I played to _ both Pete and Tony,
just some stuff with my brother in the bedroom,
and they seemed to like that.
And then I met Mike, _ who wasn't well and was [N] recovering
from some _ _ _ stomach problems.
And I think he had an ulcer or something, this young guy, 20,
with an ulcer.
I was trying to figure that.
And he was sitting there in his pyjamas.
I was meeting him for the first time.
Again, all this stuff was going on in bedrooms.
And what I didn't realise was that as I was talking to them
about music, I was doing this sort of three-tier kind of audition
with them, you know, like a couple of guys thought I was all right,
the other guitarist thought I was all right.
And then we worked in a rehearsal room, and what I wasn't prepared for
was just how loud _ Phil Collins was acoustically in a rehearsal room.
And, you know, the amp that I had _ _ _ obviously wasn't going to pass muster.
The guitar I had, the amp I had.
So rather grandly I said to them,
_ really what I need is a Les Paul and a Marshall stack,
or was it a Hi-Watts stack?
It was something like that.
And I thought they're never going to wear this, it's never going to happen, forget it.
You know, he's just asking for too much.
And then practically the following day, it arrived!
_ So, you know, the old adage about if you don't ask, you don't get
was absolutely true.
So, _ _ you know, all I would say to anyone who's young watching this is, you know,
_ _ be outrageous with your _ dreams, your demands, whatever,
but _ don't stay silent.
_ Don't dream it, be it.
_ _ _ You've just got to go for it, whatever it is.
They were very nice guys, I have to say, they were all very polite.
We lived in a tiny flat, and they went in the bedroom,
and they'd do a bit of rehearsing and everything,
and I used to cook up, I don't know,
panfuls of chips and the fried egg sandwiches,
all that kind of thing that you do. _
And it was just very, very nice.
_ But before that, before that,
Stephen came in one day with an album and said,
Listen to this, Mum.
It was called Trespass.
_ And I said, Oh, I love it!
Because to me, it's the combination of classical and rock,
and this was in the very early days.
And he said, I've auditioned with them.
_ _ And anyway, the rest is history.
Got the part, got the job.
_ _ _ Genesis, as a band,
_ _ weren't really looking for a guitar hero as such.
_ _ _ _ They wanted subtlety, little shades of things, _
things tinkling away, 12-string, that was very important to them. _
They certainly wanted a lead guitarist,
but at the time, they were very much into
_ accompanying what was going on with the vocals.
So I used to have to work very, very hard
_ _ _ within the five-piece, because _ three of the band,
Tony, Mike and Phil, were capable of sounding self-sufficient
without any vocals, without any extra guitar from me.
So they were really a power trio at that time.
I suspect _ the other two, Peter Gabriel and myself,
were trying to impinge upon and have some sort of relevance.
So I really used to have to work very hard to, at times,
become a cello, to double the bass line, _ to be the brass.
_ Mike used to come up with the most unlikely changes.
He would use open tunings for guitars
and _ managed to produce a rhythm guitar, _
_ great riffs, great songs. _
_ _ _ He was a 12-string fanatic, _ _ also a bass player at that time.
He hadn't really, when I worked with him,
_ fully engaged with six-string electric lead stuff,
but _ the stuff that he did before that, I think,
would give any of the great British rhythm players a run for their money.
_ Brilliant at coming up with bass lines, vocal lines,
_ _ very often very simple _ things that worked beautifully.
And I'm still looking for that level _ of immediacy and simplicity in my own work.
And I'm thinking now that you don't have to write everything
in a ridiculous time signature, _ with lots of hiccuping.
_ _ I think _ it's the downside of prog, in fact,
is that too much punctuation, not enough statement.
_ _ Downside of jazz, too much whittle, not enough tune.
[Gb] _ But it's what you get off on.
If someone gets off on the idea of encoded _ _ rhythm sounds,
_ _ can't find the one.
It's almost like bebop.
_ _ It's what drives it, it's what drives progressive,
but it's also what drives a lot of people now.
You tap your foot to it, and I think might bridge the gap
there between _ _ _ complicated progressive and prog,
and _ _ that sort of immediate thing that you'd get from the Stones or the Who.
_ _ When I first met Pete, I really didn't understand what he was talking about.
He seemed to be talking Venusian, but then I suspect I was probably
talking my own brand of Venusian, and indeed all the guys in Genesis
seemed to have their own language and their own reference points.
Pete was very creative.
I hadn't got a clue what he was talking about.
_ But by the time he'd worked with one other band member,
something would get knocked into _ shape. _ _ _
_ _ _ [Db] _ So, you know, years later when Pete was working with Robert Fripp,
Robert Fripp said he spent two or three weeks working with Pete,
writing down everything on paper, because it seemed as if it was flexible.
The idea of a song with Pete was flexible.
In fact, I think what he enjoyed most of all was before a song was fixed,
whilst it was still flexible, while it was still in the process of becoming something. _
That was what galvanised him most of all. _ _
_ And Pete likes to take his time over that, I can understand that.
And _ _ _ Pete likes to take his time over that, I can understand that.
_ It's like _ _ _ _ endless foreplay. _
_ _ Fantastic, wonderful. _ _ _
_ _ _ _ _ _ _ _