Chords for The Barber's Chair, Daryl Hall 1993 - @rocknsoul72 on Instagram

[G] The song every day.
_ _ [Bb] And [Gm] in the barber's chair this week.
He writes massive tunes [Eb] like Every [Gm] Time You Go Away.
He was [A] mates with Marvin Gaye and The Temptations.
He was in [D] a chart-topping duo but no longer gets [C] his oats.
We know he's got soul.
We're doing the dog with Daryl Hall.
[N]
Hi Daryl.
Hi.
[Gb] I have to say I've done a lot of pop [Abm] stars' hair in [Bb] my time.
And only, [N] I would say you and probably Brian Ferrier are the only ones who [E] really have great hair.
Good hair?
Okay, well, [N] that's good to know.
You must look after it.
[Gbm] Actually I don't [Ab] really do too much to it.
Really?
[Gm] No.
I hardly ever put [B] conditioner on it or [N] any of that kind of thing.
Don't say those sort of things.
It's kind of gross. _
_ _ [E] So, the [A] silver album [N] that you did in 1980 [Dbm] had you and John in [Ab] full make-up.
That was 75, by the way.
Was [G] it 75?
Uh-huh.
Oh, God.
It's got 1980 [Abm] written on it.
It must have been a reprint.
[G] Yeah, it was.
Now I know that you had a lot of flack at the time because everybody kind of thought you [Db] were gay and stuff like that.
How did you kind of live with that at the time?
Well, I think [G] it was sort of living it down, to tell you the truth.
I mean, I think when I look [N] back on things that I've done, it's like I didn't pay enough [Abm] attention to my…
When you start out to pay attention to your [Gb] image, I didn't do that.
I just let people do things to me.
[Dbm] Now you've worked with some of the [E] big soul greats, [N] you know, like the Stylistics and stuff like that.
I mean, have you seen a lot of racism in the music industry?
Or does that not really occur?
[G] I think to some degree it does, yeah.
It's hard to say.
I mean, when I grew up in [Ab] Philadelphia, I was working with all those [G] people and it was a very integrated scene.
[E] I don't think anybody thought too much about it then.
It seems like [Ab] that now it seems to be getting [Bb] worse in the States.
Really?
Yeah.
[Db] I think it's sort of an unhealthy sign.
[Eb] I think that [Ab] things seem to be separating more than [N] ever in the States.
[G] Well…
Just, I think, a segregation on radio, a social segregation.
I think that _ [Bm] black people tend to be from [N] _ the mainstream, whatever, you know, [D] artistically.
They're going for their own thing.
I understand why.
But it's an unhealthy thing.
[G] I see a lot of breakdown in people working together.
Which is really [Db] ironic because there's so much [Cm] black music on [Ab] pop charts now.
Much more than [Gb] there ever was.
_ _ Let's make it [B] groove.
Let's make it groove.
[Bm] Get it nice and smooth.
Nice and [E] smooth.
I'm in a Philly mood.
[A]
Philly [Abm] mood.
[Gb] So hot.
So hot. _
[B] We need to calm down.
[Db] _ [D] _ [E] _ _ _ [A] _
_ [Dbm] You've got a lot of respect for people like Marvin Gaye.
And I know [Db] that you've reworked some of his [G] songs as well.
How is it that so many of those [N] greats always come to sort of untimely deaths all the time?
I mean, I know, obviously, he was shot by his father.
But so many always come to sticky ends.
Well, soul singers are strange people.
I mean, you're living with your emotions and your nerves very close to the surface.
Did you know Marvin?
Yeah, I knew him.
And I mean, I especially knew David Ruffett, Eddie [G] Kendricks, and the rest of the Temptations,
who were all part of that [Bb] scene.
You know, that [Fm] sort of [Bbm] started with them.
[Ab] And they also sort of met the same end.
Three of the Temptations met really horrible ends.
[N] And I would say that soul singing is sort of crying in tune.
[G] You know, that's sort of the definition.
And _ it's not the blues, but there's a certain kind of sensitivity [Ab] and_ [G] Romanticism, maybe?
Yeah, poignance, all [Abm] those things.
I don't think you can lead a really [Ab] carefree and happy, non _ -introspective life and sing soul.
I think you have [A] to have a little bit of darkness to yourself.
Well, a lot of your [Db] music has a great deal of emotion [A] and [Abm] _ romanticism.
I mean, would you say that you're a romantic kind of guy?
[Ab] Yeah.
[A] Are you in love at the moment?
[N] Uh_
Ooh!
Good question.
Good question.
Kind of, huh?
Yeah, I'm just trying to stay happy.
Let's put it that way.
Because I do have a dark side.
So you [D] don't know whether or not you believe in love at first sight?
Yeah, I believe in love at first sight.
I don't know about second and third.
Well, I kind [G] of think, you know.
Shh! _ _
People are trying to_
The [Ab] song, Every Time You Go Away, is one of my personal [Db] favorites.
And I remember when [D] I saw you in [N] concert in New York,
I kind of got the impression that you were [F] really pissed off that Paul Young had got a cover version and got it to [Ab] number one as well.
[G] No way, man.
I was really happy that [D] Paul cut that song,
[G] because it always sort of laid around on the B-side of the Voices album,
and nobody really [E] knew the song, and I always wanted to play it.
But I always liked that song a lot [Gm] myself.
And when Paul cut it, [Ab]
everybody_
He [N] did a good job with it, and it became a world hit, so now I can sing it, he can sing it, and everybody wins.
You didn't [Ab] sing it before.
When you were in London, I was there, you didn't sing it there.
You didn't have the [Abm] courage of your convictions.
I didn't start singing until it became a hit.
That's the whole thing.
Have some of your [Db] experiences in life helped you, you know, in your songwriting?
I mean, [D] a couple have come to mind, [Bbm] you know, things like, you know, She's Gone and [N] stuff like that.
Were they truthful?
[Bb] She's Gone was.
[B] She's Gone was a real_ She went.
Yeah, [Dbm] she went.
[Gb] _ _ _ _ [D] _
[A] _ _ [Bm] _ _ [A] _ I [Gbm] _
[Gb] _ _ _ _ _ _ _ _
_ [D] _ _ _ _ [E] _ _
read [Gb] in the press that you have a son.
Is that [G] true, or is that made up?
You know, somebody asked me that yesterday.
No, I don't.
No?
Somebody said I had a [A] 16-year-old son, [N] which is absolutely not true.
That's probably something [B] your record company put out.
I don't know where it came from.
[G] Maybe it was at the time in the 70s, you know.
Oh, maybe I do and don't know about it.
There you go.
_ [Bb] [Db] So you don't have kids?
No, no kids.
You're going to have kids?
[B] I don't know.
It's [N] hard to say.
If I find the right person to have them with.
You don't know if you're with the right person now.
Well, [E] I don't think [G] kids are in [Ebm] the cards with what I'm doing right now.
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