Chords for The 1975 Unpack The Stems and Demo ‘For Part Of The Band’

I suppose if you have like three things that like really speak to [D] you and you
kind of have [F#m] the skills to put them together _ [E] _
_ [D] _ then_
_ _ [C#] _ _
_ [D] _ _ _ _ [D#] _ _ [C#] _
_ This is a perfect example that like songs are songs.
So we were saying like
when we started making Being Funny we had this myriad of _ genre-less stuff and
_ _ when we knew what type of record we wanted to make we were like right where's
the songs? _
_ So then we went and found part of the band that was us being like what
were we doing?
_ Being like the Hold Steady or something like that it was this like_
It's kind of Springsteen but_
Go on just play it, just play what it is.
_ [D] East Street Band kind of_
[C] Pretty hard to explain.
I can't even remember what this sounds like.
[F#] Go on play it. _ _ _ _ _ _
_ _ [C#] _ _ _ [D#m] _ _
And I [F#] haven't got the lyrics yet you can hear but I've got the kind of_
I was [C#] body age in the _ 50s. _
[B] _ _ _ _ [F#] _ _ _ _
_ [C#] _ I was [D#m] part of the FBI. _
[G#] _ _ But [F#] I'm a _ _
[C#] bitch.
_ _ Keep it going. _
[F#] _ _ _ _ _ _ _ _
[C#] _ _ I was born [D#m] a bitch. _
I [F#] kind of like it.
But I'm a bitch.
[C#] So is this all four of you or is this just a couple?
No it's just me and George [G#] messing around.
And Jamie.
But I'm a nigger.
_ _ _ _ _ _ Okay so this is all still [C#] there and then what does it do? _ _
_ _ _ [D#m] _ _ _ _
Stop!
_ _ _ _ That's where it goes bad.
[C] Jamie loved that bit [N] though.
I actually like that bit but we used it for _ _ _ something else.
So it kind of got cannibalized.
So there you go that's where part of the band starts. _ _ _
So when we got into the studio we were like_
We were having this conversation about like macho and tough.
You know like _ bands when they grow up a little bit _ _ a lot of them become a bit_
Like men bands they've become macho.
_ Like Metallica or something.
Well they were always macho but like you know like R.E..M were like tough but they weren't macho. So we were looking at songs like that and we were like that is just a bit macho. _ But we quite like the_ _ _ _ _ _ _ We like the kind of as George calls it like throw away. Like I have four voices what are they like Elvis or Elvis guy or like throw away. Like the characters that I have do you know what I mean? It's like love me character. So when we went in the studio me and George and Jack were talking about music. And then I think it was_ I mean we started to re-record that similar to that. And then Jack started adding a bunch of cello samples. _ _ [D] And then [F] we sort of were like we [E] loved all the [C#] parts in solo. [C] And then [D] when we played [B] the song together we were [C] just a bit like [D] I just don't [F#] know. So we just took the drums out. So then we were just like [C] soloing stuff. And it's quite often the way that you kind of have a breakthrough [F] with stuff. This is Jack Antonoff. Yeah yeah. Jack grew [G] this track Creelish. _ _ _ And it plays for City. _ _ _ _ _ [E] Amazing producer. [G] Amazing. Good reference for the America. [D#] _ _ Go on explain what you mean then. So yeah we were just listening stuff in solo. And we ended up with like [Dm] a bunch of the [F#] [C#] cellos. And just like a kick drum [F] and the vocal and the bass. And then there was a moment where we were all just sort of looked around at each other. This _ [B] feels like something really cool. And let [C] me try and recreate what [B] that was. _ _ _ [F#] Yeah we started listening to [C#] this. Right. _ _ [D#m] _ _ And is [G#m] that a real cello? Is [F#] that you playing that George? Is that you? _ [E] That one is [G] not. [N] Right because you mentioned to me earlier I play a lot of cello on this. Well that sounds a bit earnest. It was _ _ _ we kind of as whenever we could [E] we were like okay someone [C#] play the instrument that they don't [C] play because it was kind of a good way of _ getting interesting. Getting sort of imperfections that you wouldn't get if you're really good at your instrument. _ [F] Start with one and then layer up to [D#] four. You want to [C#] hear the worst [Dm] cello ever. _ [F#] _ _ _ _ _ _ _ _ _ _ _ _ [D#] _
_ [F#] _ _ _ _ _ But it's actually. _ _ That's Jack. _ _ That's you and Jack. This is me and Jack. It's actually our new band. Just. So let me hear all [G#] of them together now. [F#] _ _ _ _ _ That's the song. So then we were like right that's the song. [D#] We were like street [F#] hassle and I was like okay easy. _ _ [B] _ [F#] And then actually funnily enough I remember we had a well it wasn't an argument. We [B] had a debate about [F#] the kick drum. _ _ [F] We did. The one [D#m] that Jack reached to was like [B] actually [C#] very modern. Almost like a hip-hop sounding kick and [E] you were like no. And [D#] _ [C] then. _ Yeah. We [B] realized there was actually a really nice sort of juxtaposition between a really modern kick and the rest sounding a bit. Yeah what does the kick sound [G#] like? _ _ Oh yeah. _ [B] _ _ _ It's like almost like Metro Boomin. [A] Yeah it's kind [G#] of like a Metro Boomin kind of. There [D#m] is there is there is a real one. There's a real one there. _ But I thought [C] it was really nice. [E] And then the bass everyone's like [F] oh the double [D] bass [C#] is really cool. [D] It's not a bass. [D#] It's a bass with a [B] tremolo on. _ _ _ [F#] _ _ _ _ [C#] It's a bass. _ _ [D#m] _ And then [B] the trem is. _ _ [F#] _ _ _ _ [C#] So it's [G#] like you're kind of getting a [G#] bowed instrument. And then I was bowing. I was doing the the _ cello bow on _ the 330 with like loads of distortion. That's what this is. Bowed guitar. _ _ _ Horrible but amazing. _ _ There's like 10 minutes of just nightmare sounds and then we found that and we were like okay. That's [B] great. But it's very difficult to get anything [F#] nice sounding out of it. _ [D#] _ _ _ It's so good. It is really good when you get it [B] right. _ _ _ _ [C#] _ _ _ It's harmonic but it's [B] also like it's [D#m] faded splendor. You know [G#] that's the thing that we always talk about. And then so what happened was the song was literally. I was part of the [D#] Air Force, part of the band. _ _ And then you got to [N] talk about the people baby. _ _ _ Then it went back to Vex and Lisa, Topek, She Brewsters. And then we went to New York and I was like it doesn't need a chorus but it needs something. And I'd just opened Phoebe Bridges had just asked me if I wanted to open up for The Greek. We were going to LA to go and write for a bit anyway. I was like I'd love to. So I went and played and I don't have that many songs that I play on my acoustic guitar. So I wanted to do this kind of like Greenwich Village kind of thing where you like play songs that are around and we're mates for songwriters. My mate Ben Leftwich has this song called New York that I love but it wasn't finished. _ It didn't have a bridge. So when I turned up to the Phoebe show, I don't want to say like I improv to bridge. In the dressing room, I kind of just came up with a bridge that became _ what is now the chorus of part of the band. So if you got that there like me playing it live so you can hear. So we're now moving to a YouTube [F#] clip of you performing. On the 22nd of October 21. _ 22nd of October 21 is when that got real. This is within a Benjamin Francis Leftwich song. Yes. If you [D#] want to be released. It still hasn't been released. Well, amazing. _ _ _ _ [G#] _ _ Move [A#] _ on by [D#] now and it should be cold. I [Cm] know. _ _ _ [A] No one [F] here in New York [D#] seems to care. _ [A#] But _ I'm [Cm] _ alone _ somewhere. [D#] I don't like eating stuff off of [C] motorbikes. Different lyrics now. [Cm] Calling in a day. [D#] I'm calling [A#] you. _ _ _ _ _ _ [B] _ _ [D#] Some drunk stupid fisty cops [G#] reminds me [D#] of the tulip. [C] I ended up changing the lyrics. But [D#] that's essentially if you play the chorus of part of the [G#] band, George. I got to New York and I was like, oh, maybe. But that's kind of the [F#] idea. At home somewhere [C#] I [F#] don't like eating stuff off of motorbikes. [G#] And then changed it to. Coming to [B] the looking like. _ [C#] _ _ _ Same structure. _ _ [F#] Some [C#] drunk stupid fisty [F#] cops reminds me of the tulip. _ _ _ _ _ [G#] _ _ _ _ _ [C#] So it was it was _ _ [F#] _ some songs are completely a complete Frankenstein, you know, [D] and they feel the most natural. But I suppose if you have like three things that really speak to you and you kind of have the skills to put them together, then _ _ that's what a lot of _ _ _ stuff. Yeah. It's that's great, but it's great. I love the idea that you're constantly _ _ grasping at whatever opportunities. _ _ _ _ [G#] _ _ _ _ [C#m] _ _ _
[D#] _ _ [E] _ _ _ _ _ [N] _