Chords for Steve Hackett - Please Don't Touch [The Man, The Music]
Tempo:
78 bpm
Chords used:
E
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
![Steve Hackett - Please Don't Touch [The Man, The Music] chords](https://i.ytimg.com/vi/FEekzZfg5zs/mqdefault.jpg)
Start Jamming...
I first heard Steve's music, the album was Please Don't Touch, which is still I think one that has a special
place in my heart because it's in many ways, I think it's the most
eclectic and ambitious
solo record of all.
And
it was, maybe I was about 12 or 13 years old and I'd never, I hadn't even heard Genesis at that point.
So this was like really an introduction
not just to Steve's solo work, but to Steve in general.
And it was a friend of mine that bought it on, I think it was
a cassette tape
from WH Smiths in Hemel Hempstead.
And I remember just being kind of blown away by the whole kind of
musical journey, this
[E] incredibly diverse, eclectic, [F] you know all over the place.
[N] And that's the kind of records I really liked, the records that kind of always surprised you at every kind of turn.
So there I was doing this thing called Please Don't Touch.
Again, the title track was a reject Genesis piece.
It was something I'd written that had lots of
fives in it and I thought it was a real good piece and
good enough to leave the group for, good enough to leave home for in a way.
I recorded a lot of it in Los Angeles.
I worked with Brandy Crawford,
it was the first thing she'd ever had released in England.
And she was fabulous.
Chester Thompson, who was fabulous on it.
Ritchie Havens, who was glorious.
Of course, all the English people were fantastic too.
John Acook did a wonderful job.
My brother did a wonderful job on it.
Tom Fowler,
who I think had worked with Chester in Zappa's band.
You had people who'd worked with Zappa and Weather Report and
there was little old me, little thinking that
those on the other side of the Atlantic were listening to what we were doing as well.
I didn't expect any of those guys to actually like what I did.
But quite a few of them did.
I put a lot into that album.
I got sick halfway through, ended up in hospital with
ulcers and all sorts of stuff, but I
didn't want to down tools with it really.
So I resented the time off that I was sick.
And then, of course, I was back on the horse with it
in England and wanted to finish the thing off.
And I think in retrospect, the side two
was a lot stronger, perhaps, than side one.
But we don't have sides anymore unless you've got vinyl.
I think that's what I love about progressive rock.
You know, what people say is progressive rock is the idea that you don't
really have to subscribe to any blueprint or structure,
established structure in the way that people who write three minute pop songs,
of course, are always kind of drawn back to that same verse chorus.
With progressive rock or with longer form pieces, there are no rules really.
I mean, we talked about a piece on Please Don't Touch Again, Icarus Ascending.
That one?
Where there's like 30 seconds where you go through reggae.
Yeah.
What else do you go through?
You go through all sorts of different styles.
Sort of lounge jazz.
A bit of reggae, a bit of, oh God, well, childlike.
Ding, ding, ding, ding.
That's right.
And so it starts off as a child's toy.
And then I think I add some weird chords to it to make that dissonance.
That's right.
Screw that up.
And then, yeah, reggae and then lounge jazz at the end.
But all with the same
Actually very contrived, all of that.
But it's fantastic.
I love it.
But it makes perfect sense in the context of the music.
It doesn't feel contrived.
I felt so exposed with that album.
I have to say, you know, I made The Voyage of the Acolyte, which was with
some of the Genesis guys, and it was much more
In some ways, although my heart was very much in it, I was in love with it.
It was much more formula compared with Please Don't Touch.
And I thought, let's just go right off the mat with this.
And I'd done it and I thought, oh, my God, you know, I was so nervous
when I released that thing.
I felt really exposed at that point.
I thought, really, on them here, will people like it?
Will they?
I think it's got
That album's got a sense of real
willfulness about it, like I don't care.
Yeah.
And I've always
I think I've always
Not just in musicians, just in other people,
just filmmakers, for example.
I've always admired that kind of, fuck you, I'm doing this for me.
Yeah.
And you really
You do feel that as a listener.
You can pick up on that.
Relaxation music for sharks, you know,
you can corner that area.
You can feel that the musician is doing this because he has to,
because he has a need, because he believes in it so much.
Yeah.
place in my heart because it's in many ways, I think it's the most
eclectic and ambitious
solo record of all.
And
it was, maybe I was about 12 or 13 years old and I'd never, I hadn't even heard Genesis at that point.
So this was like really an introduction
not just to Steve's solo work, but to Steve in general.
And it was a friend of mine that bought it on, I think it was
a cassette tape
from WH Smiths in Hemel Hempstead.
And I remember just being kind of blown away by the whole kind of
musical journey, this
[E] incredibly diverse, eclectic, [F] you know all over the place.
[N] And that's the kind of records I really liked, the records that kind of always surprised you at every kind of turn.
So there I was doing this thing called Please Don't Touch.
Again, the title track was a reject Genesis piece.
It was something I'd written that had lots of
fives in it and I thought it was a real good piece and
good enough to leave the group for, good enough to leave home for in a way.
I recorded a lot of it in Los Angeles.
I worked with Brandy Crawford,
it was the first thing she'd ever had released in England.
And she was fabulous.
Chester Thompson, who was fabulous on it.
Ritchie Havens, who was glorious.
Of course, all the English people were fantastic too.
John Acook did a wonderful job.
My brother did a wonderful job on it.
Tom Fowler,
who I think had worked with Chester in Zappa's band.
You had people who'd worked with Zappa and Weather Report and
there was little old me, little thinking that
those on the other side of the Atlantic were listening to what we were doing as well.
I didn't expect any of those guys to actually like what I did.
But quite a few of them did.
I put a lot into that album.
I got sick halfway through, ended up in hospital with
ulcers and all sorts of stuff, but I
didn't want to down tools with it really.
So I resented the time off that I was sick.
And then, of course, I was back on the horse with it
in England and wanted to finish the thing off.
And I think in retrospect, the side two
was a lot stronger, perhaps, than side one.
But we don't have sides anymore unless you've got vinyl.
I think that's what I love about progressive rock.
You know, what people say is progressive rock is the idea that you don't
really have to subscribe to any blueprint or structure,
established structure in the way that people who write three minute pop songs,
of course, are always kind of drawn back to that same verse chorus.
With progressive rock or with longer form pieces, there are no rules really.
I mean, we talked about a piece on Please Don't Touch Again, Icarus Ascending.
That one?
Where there's like 30 seconds where you go through reggae.
Yeah.
What else do you go through?
You go through all sorts of different styles.
Sort of lounge jazz.
A bit of reggae, a bit of, oh God, well, childlike.
Ding, ding, ding, ding.
That's right.
And so it starts off as a child's toy.
And then I think I add some weird chords to it to make that dissonance.
That's right.
Screw that up.
And then, yeah, reggae and then lounge jazz at the end.
But all with the same
Actually very contrived, all of that.
But it's fantastic.
I love it.
But it makes perfect sense in the context of the music.
It doesn't feel contrived.
I felt so exposed with that album.
I have to say, you know, I made The Voyage of the Acolyte, which was with
some of the Genesis guys, and it was much more
In some ways, although my heart was very much in it, I was in love with it.
It was much more formula compared with Please Don't Touch.
And I thought, let's just go right off the mat with this.
And I'd done it and I thought, oh, my God, you know, I was so nervous
when I released that thing.
I felt really exposed at that point.
I thought, really, on them here, will people like it?
Will they?
I think it's got
That album's got a sense of real
willfulness about it, like I don't care.
Yeah.
And I've always
I think I've always
Not just in musicians, just in other people,
just filmmakers, for example.
I've always admired that kind of, fuck you, I'm doing this for me.
Yeah.
And you really
You do feel that as a listener.
You can pick up on that.
Relaxation music for sharks, you know,
you can corner that area.
You can feel that the musician is doing this because he has to,
because he has a need, because he believes in it so much.
Yeah.
Key:
E
F
E
F
E
F
E
F
_ _ _ I first heard Steve's music, the album was Please Don't Touch, which is still I think one that has a special
place in my heart because it's in many ways, I think it's the most
eclectic and ambitious
solo record of all.
_ And
it was, maybe I was about 12 or 13 years old and I'd never, I hadn't even heard Genesis at that point.
So this was like really an introduction
not just to Steve's solo work, but to Steve in general.
And it was a friend of mine that bought it on, I think it was
a cassette tape
from WH Smiths in Hemel Hempstead.
And I remember just being kind of blown away by the whole kind of
musical journey, this
[E] incredibly diverse, eclectic, [F] you know all over the place.
[N] And that's the kind of records I really liked, the records that kind of always surprised you at every kind of turn.
So there I was doing this thing called Please Don't Touch.
Again, the title track was a reject Genesis piece.
It was something I'd written that had lots of
fives in it and I thought it was a real good piece and
good enough to leave the group for, good enough to leave home for in a way.
I recorded a lot of it in Los Angeles.
I worked with Brandy Crawford,
it was the first thing she'd ever had released in England. _
And she was fabulous.
Chester Thompson, who was fabulous on it. _
Ritchie Havens, who was glorious.
Of course, all the English people were fantastic too.
John Acook did a wonderful job.
My brother did a wonderful job on it.
Tom Fowler,
who I think had worked with Chester in Zappa's band.
You had people who'd worked with Zappa and Weather Report and
there was little old me, little thinking that
those on the other side of the Atlantic were listening to what we were doing as well.
I didn't expect any of those guys to actually like what I did.
But quite a few of them did.
I put a lot into that album.
I got sick halfway through, ended up in hospital with
ulcers and all sorts of stuff, but I
didn't want to down tools with it really.
So I resented the time off that I was sick.
And then, of course, I was back on the horse with it
in England and wanted to finish the thing off.
And _ I think in retrospect, the side two
was a lot stronger, perhaps, than side one.
But we don't have sides anymore unless you've got vinyl.
I think that's what I love about progressive rock.
You know, what people say is progressive rock is the idea that you don't
really have to subscribe to any blueprint or structure,
established structure in the way that people who write three minute pop songs,
of course, are always kind of drawn back to that same verse chorus.
With progressive rock or with longer form pieces, there are no rules really.
I mean, we talked about a piece on Please Don't Touch Again, Icarus Ascending.
That one?
Where there's like 30 seconds where you go through reggae.
Yeah.
What else do you go through?
You go through all sorts of different styles.
Sort of lounge jazz.
A bit of reggae, a bit of, oh God, well, childlike.
Ding, ding, ding, ding.
That's right.
And so it starts off as a child's toy.
And then I think I add some weird chords to it to make that dissonance.
That's right.
Screw that up.
And then, yeah, reggae and then lounge jazz at the end.
But all with the same_
Actually very contrived, all of that.
But it's fantastic.
I love it.
But it makes perfect sense in the context of the music.
It doesn't feel contrived.
I felt so exposed with that album.
I have to say, you know, I made The Voyage of the Acolyte, which was with
some of the Genesis guys, and it was much more_
In some ways, although my heart was very much in it, I was in love with it.
It was much more formula compared with Please Don't Touch.
And I thought, let's just go right off the mat with this.
And I'd done it and I thought, oh, my God, you know, I was so nervous
when I released that thing.
I felt really exposed at that point.
I thought, really, on them here, will people like it?
Will they?
I think it's got_
That album's got a sense of real
willfulness about it, like I don't care.
Yeah.
And I've always_
I think I've always_
Not just in musicians, just in other people,
just filmmakers, for example.
I've always admired that kind of, fuck you, I'm doing this for me.
Yeah.
And you really_
You do feel that as a listener.
You can pick up on that.
Relaxation music for sharks, you know,
you can corner that area.
You can feel that the musician is doing this because he has to,
because he has a need, because he believes in it so much.
Yeah. _ _ _ _ _ _ _
place in my heart because it's in many ways, I think it's the most
eclectic and ambitious
solo record of all.
_ And
it was, maybe I was about 12 or 13 years old and I'd never, I hadn't even heard Genesis at that point.
So this was like really an introduction
not just to Steve's solo work, but to Steve in general.
And it was a friend of mine that bought it on, I think it was
a cassette tape
from WH Smiths in Hemel Hempstead.
And I remember just being kind of blown away by the whole kind of
musical journey, this
[E] incredibly diverse, eclectic, [F] you know all over the place.
[N] And that's the kind of records I really liked, the records that kind of always surprised you at every kind of turn.
So there I was doing this thing called Please Don't Touch.
Again, the title track was a reject Genesis piece.
It was something I'd written that had lots of
fives in it and I thought it was a real good piece and
good enough to leave the group for, good enough to leave home for in a way.
I recorded a lot of it in Los Angeles.
I worked with Brandy Crawford,
it was the first thing she'd ever had released in England. _
And she was fabulous.
Chester Thompson, who was fabulous on it. _
Ritchie Havens, who was glorious.
Of course, all the English people were fantastic too.
John Acook did a wonderful job.
My brother did a wonderful job on it.
Tom Fowler,
who I think had worked with Chester in Zappa's band.
You had people who'd worked with Zappa and Weather Report and
there was little old me, little thinking that
those on the other side of the Atlantic were listening to what we were doing as well.
I didn't expect any of those guys to actually like what I did.
But quite a few of them did.
I put a lot into that album.
I got sick halfway through, ended up in hospital with
ulcers and all sorts of stuff, but I
didn't want to down tools with it really.
So I resented the time off that I was sick.
And then, of course, I was back on the horse with it
in England and wanted to finish the thing off.
And _ I think in retrospect, the side two
was a lot stronger, perhaps, than side one.
But we don't have sides anymore unless you've got vinyl.
I think that's what I love about progressive rock.
You know, what people say is progressive rock is the idea that you don't
really have to subscribe to any blueprint or structure,
established structure in the way that people who write three minute pop songs,
of course, are always kind of drawn back to that same verse chorus.
With progressive rock or with longer form pieces, there are no rules really.
I mean, we talked about a piece on Please Don't Touch Again, Icarus Ascending.
That one?
Where there's like 30 seconds where you go through reggae.
Yeah.
What else do you go through?
You go through all sorts of different styles.
Sort of lounge jazz.
A bit of reggae, a bit of, oh God, well, childlike.
Ding, ding, ding, ding.
That's right.
And so it starts off as a child's toy.
And then I think I add some weird chords to it to make that dissonance.
That's right.
Screw that up.
And then, yeah, reggae and then lounge jazz at the end.
But all with the same_
Actually very contrived, all of that.
But it's fantastic.
I love it.
But it makes perfect sense in the context of the music.
It doesn't feel contrived.
I felt so exposed with that album.
I have to say, you know, I made The Voyage of the Acolyte, which was with
some of the Genesis guys, and it was much more_
In some ways, although my heart was very much in it, I was in love with it.
It was much more formula compared with Please Don't Touch.
And I thought, let's just go right off the mat with this.
And I'd done it and I thought, oh, my God, you know, I was so nervous
when I released that thing.
I felt really exposed at that point.
I thought, really, on them here, will people like it?
Will they?
I think it's got_
That album's got a sense of real
willfulness about it, like I don't care.
Yeah.
And I've always_
I think I've always_
Not just in musicians, just in other people,
just filmmakers, for example.
I've always admired that kind of, fuck you, I'm doing this for me.
Yeah.
And you really_
You do feel that as a listener.
You can pick up on that.
Relaxation music for sharks, you know,
you can corner that area.
You can feel that the musician is doing this because he has to,
because he has a need, because he believes in it so much.
Yeah. _ _ _ _ _ _ _