Chords for The Cars Candy-O Expanded Edition – Interview with David Robinson about cover artwork
Tempo:
124.9 bpm
Chords used:
E
B
D
A
F#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
I accumulated all this Bargit stuff and I realized it was used the best.
So I thought, oh, we could do like a pin-up thing.
First thing I did was think, well, we have to hire somebody who can paint like that and
make us our cover.
And then I thought, I think that art is [Em] just still alive, [C] if I'm not mistaken.
So [A] I had the [E] art department check and they said, oh yeah, he's in Westwood.
And [F#] next thing I'm at his house.
I spent a whole day with him showing me his artwork.
[G#] That was unbelievable.
I had never [B] seen a real Bargit painting, ever.
[C#] He was taken out from under his bed.
[A] He was also chain-smoking like [F#] Lucky Strikes or something.
[B] While he was talking to me and the [E] paintings were just below him.
[B] And he's waving his arm, telling me stories.
I'm looking at that [D] ass, moving around.
He had a cup of [E] coffee.
Another time, waving the cup of coffee.
I'm [D] just like, my head's spinning.
And then he said, we can do it.
All [E] we said was, this is what we need her for and maybe what she should maybe look like.
It turned out her name was Candy.
So [G] people were thinking we named it after her.
No, we didn't.
We went to [C#] a Ferrari dealership [G] and I can't believe they let her get on the [E] car.
But she had her shoes on and it was like on the hood of the car.
[F#] And we moved her [Em] all around and she took pictures.
And then I think at one point I said, I think we're forgetting that she has to fit into a square.
[E] So at the very end, we were like, oh yeah, a lot of these pictures aren't really going to work.
If we want her to fill [C] up the entire square and [A] the poster, [B] I think we only took a couple of those, maybe the last picture.
The cover got so much attention, way more [G#] than I even expected.
We went to [G] Japan in anticipation.
[C] Art [E] magazines wanted to interview her.
They were [F#] so interested in the cover.
People would sit down and talk about Vargas' technique and [A] they knew the whole [Em] history of his work.
Pretty much their favorite album, actually, music-wise.
Vargas came eventually to one of our [B] shows and [E] he said, [D] he was a [B] courier or something.
He says [D] to me, I don't [E] really know about your music, but I know everybody likes it.
[D] And I'm sure it's really good music.
He said, [B] I think I see something you [E] like about it.
I go, what's that again?
Pretty girls everywhere.
So I thought, oh, we could do like a pin-up thing.
First thing I did was think, well, we have to hire somebody who can paint like that and
make us our cover.
And then I thought, I think that art is [Em] just still alive, [C] if I'm not mistaken.
So [A] I had the [E] art department check and they said, oh yeah, he's in Westwood.
And [F#] next thing I'm at his house.
I spent a whole day with him showing me his artwork.
[G#] That was unbelievable.
I had never [B] seen a real Bargit painting, ever.
[C#] He was taken out from under his bed.
[A] He was also chain-smoking like [F#] Lucky Strikes or something.
[B] While he was talking to me and the [E] paintings were just below him.
[B] And he's waving his arm, telling me stories.
I'm looking at that [D] ass, moving around.
He had a cup of [E] coffee.
Another time, waving the cup of coffee.
I'm [D] just like, my head's spinning.
And then he said, we can do it.
All [E] we said was, this is what we need her for and maybe what she should maybe look like.
It turned out her name was Candy.
So [G] people were thinking we named it after her.
No, we didn't.
We went to [C#] a Ferrari dealership [G] and I can't believe they let her get on the [E] car.
But she had her shoes on and it was like on the hood of the car.
[F#] And we moved her [Em] all around and she took pictures.
And then I think at one point I said, I think we're forgetting that she has to fit into a square.
[E] So at the very end, we were like, oh yeah, a lot of these pictures aren't really going to work.
If we want her to fill [C] up the entire square and [A] the poster, [B] I think we only took a couple of those, maybe the last picture.
The cover got so much attention, way more [G#] than I even expected.
We went to [G] Japan in anticipation.
[C] Art [E] magazines wanted to interview her.
They were [F#] so interested in the cover.
People would sit down and talk about Vargas' technique and [A] they knew the whole [Em] history of his work.
Pretty much their favorite album, actually, music-wise.
Vargas came eventually to one of our [B] shows and [E] he said, [D] he was a [B] courier or something.
He says [D] to me, I don't [E] really know about your music, but I know everybody likes it.
[D] And I'm sure it's really good music.
He said, [B] I think I see something you [E] like about it.
I go, what's that again?
Pretty girls everywhere.
Key:
E
B
D
A
F#
E
B
D
_ _ _ _ _ _ I accumulated all this Bargit stuff and I realized it was used the best.
So I thought, oh, we could do like a pin-up thing.
First thing I did was think, well, we have to hire somebody who can paint like that and
make us our cover.
And then I thought, I think that art is [Em] just still alive, [C] if I'm not mistaken.
So [A] I had the [E] art department check and they said, oh yeah, he's in Westwood. _
_ And [F#] next thing I'm at his house.
I spent a whole day with him showing me his artwork.
[G#] That was unbelievable.
I had never [B] seen a real Bargit painting, ever.
[C#] He was taken out from under his bed.
[A] He was also chain-smoking like [F#] Lucky Strikes or something.
[B] While he was talking to me and the [E] paintings were just below him.
[B] And he's waving his arm, telling me stories.
I'm looking at that [D] ass, moving around.
He had a cup of [E] coffee.
Another time, waving the cup of coffee.
I'm [D] just like, my head's spinning.
And then he said, we can do it.
All [E] we said was, this is what we need her for and maybe what she should maybe look like.
It turned out her name was Candy.
So [G] people were thinking we named it after her.
No, we didn't.
We _ went to [C#] a Ferrari dealership [G] and I can't believe they let her get on the [E] car.
But she had her shoes on and it was like on the hood of the car.
[F#] And we moved her [Em] all around and she took pictures.
And then I think at one point I said, I think we're forgetting that she has to fit into a square.
[E] So at the very end, we were like, _ oh yeah, a lot of these pictures aren't really going to work.
If we want her to fill [C] up the entire square and [A] the poster, [B] I think we only took a couple of _ _ _ those, maybe the last picture.
_ _ The cover got so much attention, way more [G#] than I even expected.
We went to [G] Japan in anticipation.
[C] Art [E] magazines wanted to interview her.
They were [F#] so interested in the cover.
People would sit down and talk about Vargas' technique and [A] they knew the whole [Em] history of his work.
Pretty much their favorite album, actually, music-wise.
Vargas came eventually to one of our [B] shows and [E] he _ _ said, [D] he was a [B] courier or something.
He says [D] to me, I don't [E] really know about your music, but I know everybody likes it.
[D] And I'm sure it's really good music.
He said, [B] I think I see something you [E] like about it.
I go, what's that again?
Pretty girls everywhere. _
_ _ _ _ _ _ _ _
So I thought, oh, we could do like a pin-up thing.
First thing I did was think, well, we have to hire somebody who can paint like that and
make us our cover.
And then I thought, I think that art is [Em] just still alive, [C] if I'm not mistaken.
So [A] I had the [E] art department check and they said, oh yeah, he's in Westwood. _
_ And [F#] next thing I'm at his house.
I spent a whole day with him showing me his artwork.
[G#] That was unbelievable.
I had never [B] seen a real Bargit painting, ever.
[C#] He was taken out from under his bed.
[A] He was also chain-smoking like [F#] Lucky Strikes or something.
[B] While he was talking to me and the [E] paintings were just below him.
[B] And he's waving his arm, telling me stories.
I'm looking at that [D] ass, moving around.
He had a cup of [E] coffee.
Another time, waving the cup of coffee.
I'm [D] just like, my head's spinning.
And then he said, we can do it.
All [E] we said was, this is what we need her for and maybe what she should maybe look like.
It turned out her name was Candy.
So [G] people were thinking we named it after her.
No, we didn't.
We _ went to [C#] a Ferrari dealership [G] and I can't believe they let her get on the [E] car.
But she had her shoes on and it was like on the hood of the car.
[F#] And we moved her [Em] all around and she took pictures.
And then I think at one point I said, I think we're forgetting that she has to fit into a square.
[E] So at the very end, we were like, _ oh yeah, a lot of these pictures aren't really going to work.
If we want her to fill [C] up the entire square and [A] the poster, [B] I think we only took a couple of _ _ _ those, maybe the last picture.
_ _ The cover got so much attention, way more [G#] than I even expected.
We went to [G] Japan in anticipation.
[C] Art [E] magazines wanted to interview her.
They were [F#] so interested in the cover.
People would sit down and talk about Vargas' technique and [A] they knew the whole [Em] history of his work.
Pretty much their favorite album, actually, music-wise.
Vargas came eventually to one of our [B] shows and [E] he _ _ said, [D] he was a [B] courier or something.
He says [D] to me, I don't [E] really know about your music, but I know everybody likes it.
[D] And I'm sure it's really good music.
He said, [B] I think I see something you [E] like about it.
I go, what's that again?
Pretty girls everywhere. _
_ _ _ _ _ _ _ _