Chords for The Police Stewart Copeland Interview
Tempo:
75.1 bpm
Chords used:
E
F
D
Em
C#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[C#] I'll never have to [G#] sleep.
That familiar beat is the work of Stuart [Fm] Copeland, drummer and co-founder of the internationally celebrated rock group, The Police.
Last year, Stuart embarked on an ambitious solo project.
He traveled to some of the most remote areas of Africa
in search of the primal music and rhythms of the continent.
And Stuart took along a film crew and has made an hour-long videotape of his [E] journey.
It's called The Rhythmatist.
And here's a quick look at one of Stuart's typical adventures.
[D] [E]
[A] [F]
[C]
[G] And Stuart Copeland is with us this morning.
And good morning.
What an adventure this is.
Yeah, yeah, it was an adventure.
Why?
Why?
Yeah, I mean, you were there for a whole year and about two months of actual filming.
Why'd you do it?
Yeah, too much filming.
Well, doesn't everyone want to go to Africa?
I mean, lions, tigers, giraffes, watooses, Maasai warriors.
I mean, the mystique of the dark continent, I think, is felt by most people.
And as a drummer and a rhythmatist, obviously the rhythms of Africa appeal to me.
And so I went there to make a film about it.
Now, there are a number of unusual sequences, shall we say, in the film.
And there's one that features you playing drums in a cage while the lions charge the fence surrounding you.
Let's take a look.
[Em]
[F] What gave you the idea [Em] to even do [B] this, Stuart?
Well, I mean, this is, you know, like serious anthropological investigative stuff.
You know, like [D] what happens when you play rock music to lions when you're in a cage and they're on the [E] outside.
Do they get angry?
No, they got hungry.
They didn't like my music very much, but they fancied me.
In fact, we had, they hated my music.
Complete philistines, the lions are.
It's a good thing they don't buy records.
Really, exactly.
But since they didn't appreciate my music, we festooned the cage with hunks of meat so that they would charge the cage photogenically and everything.
But they quickly erased all the meat.
That went real fast.
But there's one piece of meat left in the cage.
But you kept your cool throughout.
What [F] was going through your mind?
I mean, they were really charging and banging against the fence.
It was, I did feel a certain amount of pressure.
The tempo increased slightly as the shot went on, I think, I'll confess.
My iron tempo faltered a little bit there.
Now, you, though, went back into some very remote areas where the natives really didn't have very little contact ever with the outside world.
Oh, none in some cases.
None at all.
And we went up the Congo River to the deepest, darkest Congo and struck out there.
And we found some pygmies.
We had to go stage by stage deeper into the jungle.
And finally, we found some pygmies who had never seen or heard of white people before.
And that was a real anthropological experience.
Was it scary?
No.
Gosh, it seems like it would be.
There were other tribes who were actually scarier.
The Maasai warriors were a little bit more daunting because they're, like, bigger.
And their weapons are sharper.
The pygmies were very, actually very timid people.
And they were hard to find.
It was more exciting than terrifying.
To actually finally find them and make contact with them was the big excitement.
I can see why you wanted to do this.
I mean, it seems terribly exciting.
But a lot of people would wonder why you went off.
Was it 1983, the summer of 1983 that you guys released Synchronicity?
That's right.
And then there was the big tour.
And then you guys just kind of stopped.
And three or four of you really struck out on your own projects.
Why did you do that?
Well, because there's only three of us.
And we've played together for eight years or so.
And because there aren't ten of us to trade ideas off and so on,
we actually felt that we kind of used each other up for the time being.
And we wanted to go off and rub up against other talents and have other experiences
so that when we come back to the group, we'll be stronger than ever before.
So, in other words, the group is getting back together. Absolutely.
There will be an album?
Yes.
When would we be expecting that?
No, no, that's pushing it.
We haven't got any studios booked or anything like that, but we are still a group.
We'll hear the police again.
Sure you will.
I hope so.
We'll also watch for the Rhythmatists.
Exciting.
Fun.
Nice to meet you.
[N] Thank you.
That familiar beat is the work of Stuart [Fm] Copeland, drummer and co-founder of the internationally celebrated rock group, The Police.
Last year, Stuart embarked on an ambitious solo project.
He traveled to some of the most remote areas of Africa
in search of the primal music and rhythms of the continent.
And Stuart took along a film crew and has made an hour-long videotape of his [E] journey.
It's called The Rhythmatist.
And here's a quick look at one of Stuart's typical adventures.
[D] [E]
[A] [F]
[C]
[G] And Stuart Copeland is with us this morning.
And good morning.
What an adventure this is.
Yeah, yeah, it was an adventure.
Why?
Why?
Yeah, I mean, you were there for a whole year and about two months of actual filming.
Why'd you do it?
Yeah, too much filming.
Well, doesn't everyone want to go to Africa?
I mean, lions, tigers, giraffes, watooses, Maasai warriors.
I mean, the mystique of the dark continent, I think, is felt by most people.
And as a drummer and a rhythmatist, obviously the rhythms of Africa appeal to me.
And so I went there to make a film about it.
Now, there are a number of unusual sequences, shall we say, in the film.
And there's one that features you playing drums in a cage while the lions charge the fence surrounding you.
Let's take a look.
[Em]
[F] What gave you the idea [Em] to even do [B] this, Stuart?
Well, I mean, this is, you know, like serious anthropological investigative stuff.
You know, like [D] what happens when you play rock music to lions when you're in a cage and they're on the [E] outside.
Do they get angry?
No, they got hungry.
They didn't like my music very much, but they fancied me.
In fact, we had, they hated my music.
Complete philistines, the lions are.
It's a good thing they don't buy records.
Really, exactly.
But since they didn't appreciate my music, we festooned the cage with hunks of meat so that they would charge the cage photogenically and everything.
But they quickly erased all the meat.
That went real fast.
But there's one piece of meat left in the cage.
But you kept your cool throughout.
What [F] was going through your mind?
I mean, they were really charging and banging against the fence.
It was, I did feel a certain amount of pressure.
The tempo increased slightly as the shot went on, I think, I'll confess.
My iron tempo faltered a little bit there.
Now, you, though, went back into some very remote areas where the natives really didn't have very little contact ever with the outside world.
Oh, none in some cases.
None at all.
And we went up the Congo River to the deepest, darkest Congo and struck out there.
And we found some pygmies.
We had to go stage by stage deeper into the jungle.
And finally, we found some pygmies who had never seen or heard of white people before.
And that was a real anthropological experience.
Was it scary?
No.
Gosh, it seems like it would be.
There were other tribes who were actually scarier.
The Maasai warriors were a little bit more daunting because they're, like, bigger.
And their weapons are sharper.
The pygmies were very, actually very timid people.
And they were hard to find.
It was more exciting than terrifying.
To actually finally find them and make contact with them was the big excitement.
I can see why you wanted to do this.
I mean, it seems terribly exciting.
But a lot of people would wonder why you went off.
Was it 1983, the summer of 1983 that you guys released Synchronicity?
That's right.
And then there was the big tour.
And then you guys just kind of stopped.
And three or four of you really struck out on your own projects.
Why did you do that?
Well, because there's only three of us.
And we've played together for eight years or so.
And because there aren't ten of us to trade ideas off and so on,
we actually felt that we kind of used each other up for the time being.
And we wanted to go off and rub up against other talents and have other experiences
so that when we come back to the group, we'll be stronger than ever before.
So, in other words, the group is getting back together. Absolutely.
There will be an album?
Yes.
When would we be expecting that?
No, no, that's pushing it.
We haven't got any studios booked or anything like that, but we are still a group.
We'll hear the police again.
Sure you will.
I hope so.
We'll also watch for the Rhythmatists.
Exciting.
Fun.
Nice to meet you.
[N] Thank you.
Key:
E
F
D
Em
C#
E
F
D
[C#] I'll never have to [G#] sleep.
_ That familiar beat is the work of Stuart [Fm] Copeland, drummer and co-founder of the internationally celebrated rock group, The Police.
Last year, Stuart embarked on an ambitious solo project.
He traveled to some of the most remote areas of Africa
in search of the primal music and rhythms of the continent.
And Stuart took along a film crew and has made an hour-long videotape of his [E] journey.
It's called The Rhythmatist.
And here's a quick look at one of Stuart's typical adventures.
_ _ [D] _ _ _ [E] _ _
_ [A] _ _ _ [F] _ _ _ _
[C] _ _ _ _ _ _ _ _
_ _ [G] _ And Stuart Copeland is with us this morning.
And good morning.
What an adventure this is.
Yeah, yeah, it was an adventure.
Why?
Why?
Yeah, I mean, you were there for a whole year and about two months of actual filming.
Why'd you do it?
Yeah, too much filming.
Well, doesn't everyone want to go to Africa?
I mean, lions, tigers, giraffes, watooses, Maasai warriors.
I mean, the mystique of the dark continent, I think, is felt by most people.
And as a drummer and a rhythmatist, obviously the rhythms of Africa appeal to me.
And so I went there to make a film about it.
Now, there are a number of unusual sequences, shall we say, in the film.
And there's one that features you playing drums in a cage while the lions charge the fence surrounding you.
Let's take a look. _
[Em] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _
[F] What gave you the idea [Em] to even do [B] this, Stuart?
Well, I mean, this is, you know, like serious anthropological investigative stuff.
You know, like [D] what happens when you play rock music to lions when you're in a cage and they're on the [E] outside.
Do they get angry?
No, they got hungry.
They didn't like my music very much, but they fancied me.
In fact, we had, they hated my music.
Complete philistines, the lions are.
It's a good thing they don't buy records.
Really, exactly.
But since they didn't appreciate my music, we festooned the cage with hunks of meat so that they would charge the cage photogenically and everything.
But they quickly erased all the meat.
That went real fast.
But there's one piece of meat left in the cage.
But you kept your cool throughout.
What [F] was going through your mind?
I mean, they were really charging and banging against the fence.
It was, I did feel a certain amount of pressure.
The tempo increased slightly as the shot went on, I think, I'll confess.
My iron tempo faltered a little bit there.
Now, you, though, went back into some very remote areas where the natives really didn't have very little contact ever with the outside world.
Oh, none in some cases.
None at all.
And we went up the Congo River to the deepest, darkest Congo and struck out there.
And we found some pygmies.
We had to go stage by stage deeper into the jungle.
_ And finally, we found some pygmies who had never seen or heard of white people before.
And that was a real _ anthropological experience.
Was it scary?
No.
Gosh, it seems like it would be.
There were other tribes who were actually scarier.
The Maasai warriors were a little bit more daunting because they're, like, bigger.
And their weapons are sharper.
The pygmies were very, actually very timid people.
And they were hard to find.
It was more exciting than terrifying.
To actually finally find them and make contact with them was the big excitement.
I can see why you wanted to do this.
I mean, it seems terribly exciting.
But a lot of people would wonder why you went off.
Was it 1983, the summer of 1983 that you guys released Synchronicity?
That's right.
And then there was the big tour.
And then you guys just kind of stopped.
And three or four of you really struck out on your own projects.
Why did you do that?
Well, because there's only three of us.
And we've played together for eight years or so.
And because there aren't ten of us to trade ideas off and so on,
we actually felt that we kind of used each other up for the time being.
And we wanted to go off and rub up against other talents and have other experiences
so that when we come back to the group, we'll be stronger than ever before.
So, in other words, the group is getting back together. Absolutely.
There will be an album?
Yes.
When would we be expecting that?
No, no, that's pushing it.
We haven't got any studios booked or anything like that, but we are still a group.
We'll hear the police again.
Sure you will.
I hope so.
We'll also watch for the Rhythmatists.
Exciting.
Fun.
Nice to meet you.
[N] Thank you. _
_ That familiar beat is the work of Stuart [Fm] Copeland, drummer and co-founder of the internationally celebrated rock group, The Police.
Last year, Stuart embarked on an ambitious solo project.
He traveled to some of the most remote areas of Africa
in search of the primal music and rhythms of the continent.
And Stuart took along a film crew and has made an hour-long videotape of his [E] journey.
It's called The Rhythmatist.
And here's a quick look at one of Stuart's typical adventures.
_ _ [D] _ _ _ [E] _ _
_ [A] _ _ _ [F] _ _ _ _
[C] _ _ _ _ _ _ _ _
_ _ [G] _ And Stuart Copeland is with us this morning.
And good morning.
What an adventure this is.
Yeah, yeah, it was an adventure.
Why?
Why?
Yeah, I mean, you were there for a whole year and about two months of actual filming.
Why'd you do it?
Yeah, too much filming.
Well, doesn't everyone want to go to Africa?
I mean, lions, tigers, giraffes, watooses, Maasai warriors.
I mean, the mystique of the dark continent, I think, is felt by most people.
And as a drummer and a rhythmatist, obviously the rhythms of Africa appeal to me.
And so I went there to make a film about it.
Now, there are a number of unusual sequences, shall we say, in the film.
And there's one that features you playing drums in a cage while the lions charge the fence surrounding you.
Let's take a look. _
[Em] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _
[F] What gave you the idea [Em] to even do [B] this, Stuart?
Well, I mean, this is, you know, like serious anthropological investigative stuff.
You know, like [D] what happens when you play rock music to lions when you're in a cage and they're on the [E] outside.
Do they get angry?
No, they got hungry.
They didn't like my music very much, but they fancied me.
In fact, we had, they hated my music.
Complete philistines, the lions are.
It's a good thing they don't buy records.
Really, exactly.
But since they didn't appreciate my music, we festooned the cage with hunks of meat so that they would charge the cage photogenically and everything.
But they quickly erased all the meat.
That went real fast.
But there's one piece of meat left in the cage.
But you kept your cool throughout.
What [F] was going through your mind?
I mean, they were really charging and banging against the fence.
It was, I did feel a certain amount of pressure.
The tempo increased slightly as the shot went on, I think, I'll confess.
My iron tempo faltered a little bit there.
Now, you, though, went back into some very remote areas where the natives really didn't have very little contact ever with the outside world.
Oh, none in some cases.
None at all.
And we went up the Congo River to the deepest, darkest Congo and struck out there.
And we found some pygmies.
We had to go stage by stage deeper into the jungle.
_ And finally, we found some pygmies who had never seen or heard of white people before.
And that was a real _ anthropological experience.
Was it scary?
No.
Gosh, it seems like it would be.
There were other tribes who were actually scarier.
The Maasai warriors were a little bit more daunting because they're, like, bigger.
And their weapons are sharper.
The pygmies were very, actually very timid people.
And they were hard to find.
It was more exciting than terrifying.
To actually finally find them and make contact with them was the big excitement.
I can see why you wanted to do this.
I mean, it seems terribly exciting.
But a lot of people would wonder why you went off.
Was it 1983, the summer of 1983 that you guys released Synchronicity?
That's right.
And then there was the big tour.
And then you guys just kind of stopped.
And three or four of you really struck out on your own projects.
Why did you do that?
Well, because there's only three of us.
And we've played together for eight years or so.
And because there aren't ten of us to trade ideas off and so on,
we actually felt that we kind of used each other up for the time being.
And we wanted to go off and rub up against other talents and have other experiences
so that when we come back to the group, we'll be stronger than ever before.
So, in other words, the group is getting back together. Absolutely.
There will be an album?
Yes.
When would we be expecting that?
No, no, that's pushing it.
We haven't got any studios booked or anything like that, but we are still a group.
We'll hear the police again.
Sure you will.
I hope so.
We'll also watch for the Rhythmatists.
Exciting.
Fun.
Nice to meet you.
[N] Thank you. _