Chords for U2 - No Line On The Horizon (Behind the scenes)
Tempo:
115.2 bpm
Chords used:
G#
B
F#
A
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[F#] [F#m]
We [G] were all so curious, I think, because [G#]
you get all your information these days from the
TV screen or the computer screen, [F#m] and some, I suppose, from old-fashioned newspapers.
But there's a whole different thing when you go there, [C#] you see it in first [B] person.
[F#] It was a thing [G#] that we felt instinctively was right.
And [Am] so we came, [B] as Bonner describes, [G#] principally to see the performers at this
Sacred Music Festival, but we also persuaded Brian Eno and Daniel Anwar to come with us
to set up a kind of songwriting workshop, really as an experiment, just for a couple of weeks,
to see where it might take us.
And it was a particularly important couple of weeks,
and at the end of it, I think, we all sensed that we had actually just [C#m] been able to
create [A] the cornerstone of our album.
Your [E] [B] heart's black and blue
It was really [G#] not necessarily our intention.
We really were, in fact, we were making music
quite consciously [E] without a schedule or an agenda in mind.
[D#] So it was kind of a, almost
[G#] without trying, suddenly we arrived with this body of work.
Specifically, it's about rhythms, actually.
A lot is about rhythms.
[B] And then also call and response chanting.
But I hope it doesn't [G#] sound obvious.
And [C#m] we would not be bothered if people didn't spot any influence of North Africa,
[B] because the rhythms are subtle.
In [D#] Fez, we're not huge.
[F#] We're not huge anyway.
In Fez, you [E] probably spot us.
In Fez, we're not huge. So, [B] Fez
Size is everything.
No.
[F#] So I think, you know, we didn't have those kind of difficulties here.
It was an amazing place to record.
I think, you know, every [B] album, every piece of music has a home.
And so this album's home is Fez.
And we [G#] recorded elsewhere.
So we recorded in France.
And we did mixing in New York and [A] London.
But the [G#] call is back [B] to Fez.
And I'd [G#] like to think that we'd come back here again.
It was an amazing place to record.
We were experimenting a lot more on this [B] album.
[A] And [E] early on, we came up with [G#] so much music.
And I think maybe 40 pieces of music that we were excited about.
And maybe the time it took to make this record was [F#m] in going through all of the [G#] different pieces,
selecting the [F#] songs that we really believed in ultimately,
and then [A] finishing them, which is always the most difficult thing.
And [C#m] it did take us a [F#] little longer than we thought to finish.
It's very humbling to [C#] discover that you're not great naturally.
And well, it is for me.
But you know, it is.
I mean, and unfortunately, [F#] if you've been doing this for a [G#] while, you get very good.
You know, you get your craft gets sharper.
But [B] that's not what we're after.
We're looking for something for great, [F#] great, looking for greatness,
looking for great songs and great [C#] reasons to leave home.
You know, with those [A] songs, if you know what I mean.
And [Em] I mean, [E] you know, we've got [B] chemistry between us when we play something magic happens.
[Bm] But [F#] trying to make [C#] an album that would be [C#m] strong from beginning to [A] end,
rather [E] than the way it is now, or people just have, [B] you know,
they take two tracks [G#] from an album.
It was hard, you know, very good is the [F#m] enemy of great, we say.
[C#m] [A] [E]
We [G] were all so curious, I think, because [G#]
you get all your information these days from the
TV screen or the computer screen, [F#m] and some, I suppose, from old-fashioned newspapers.
But there's a whole different thing when you go there, [C#] you see it in first [B] person.
[F#] It was a thing [G#] that we felt instinctively was right.
And [Am] so we came, [B] as Bonner describes, [G#] principally to see the performers at this
Sacred Music Festival, but we also persuaded Brian Eno and Daniel Anwar to come with us
to set up a kind of songwriting workshop, really as an experiment, just for a couple of weeks,
to see where it might take us.
And it was a particularly important couple of weeks,
and at the end of it, I think, we all sensed that we had actually just [C#m] been able to
create [A] the cornerstone of our album.
Your [E] [B] heart's black and blue
It was really [G#] not necessarily our intention.
We really were, in fact, we were making music
quite consciously [E] without a schedule or an agenda in mind.
[D#] So it was kind of a, almost
[G#] without trying, suddenly we arrived with this body of work.
Specifically, it's about rhythms, actually.
A lot is about rhythms.
[B] And then also call and response chanting.
But I hope it doesn't [G#] sound obvious.
And [C#m] we would not be bothered if people didn't spot any influence of North Africa,
[B] because the rhythms are subtle.
In [D#] Fez, we're not huge.
[F#] We're not huge anyway.
In Fez, you [E] probably spot us.
In Fez, we're not huge. So, [B] Fez
Size is everything.
No.
[F#] So I think, you know, we didn't have those kind of difficulties here.
It was an amazing place to record.
I think, you know, every [B] album, every piece of music has a home.
And so this album's home is Fez.
And we [G#] recorded elsewhere.
So we recorded in France.
And we did mixing in New York and [A] London.
But the [G#] call is back [B] to Fez.
And I'd [G#] like to think that we'd come back here again.
It was an amazing place to record.
We were experimenting a lot more on this [B] album.
[A] And [E] early on, we came up with [G#] so much music.
And I think maybe 40 pieces of music that we were excited about.
And maybe the time it took to make this record was [F#m] in going through all of the [G#] different pieces,
selecting the [F#] songs that we really believed in ultimately,
and then [A] finishing them, which is always the most difficult thing.
And [C#m] it did take us a [F#] little longer than we thought to finish.
It's very humbling to [C#] discover that you're not great naturally.
And well, it is for me.
But you know, it is.
I mean, and unfortunately, [F#] if you've been doing this for a [G#] while, you get very good.
You know, you get your craft gets sharper.
But [B] that's not what we're after.
We're looking for something for great, [F#] great, looking for greatness,
looking for great songs and great [C#] reasons to leave home.
You know, with those [A] songs, if you know what I mean.
And [Em] I mean, [E] you know, we've got [B] chemistry between us when we play something magic happens.
[Bm] But [F#] trying to make [C#] an album that would be [C#m] strong from beginning to [A] end,
rather [E] than the way it is now, or people just have, [B] you know,
they take two tracks [G#] from an album.
It was hard, you know, very good is the [F#m] enemy of great, we say.
[C#m] [A] [E]
Key:
G#
B
F#
A
E
G#
B
F#
_ _ _ _ _ _ _ _
_ _ _ _ _ [F#] _ [F#m] _
We [G] were all so curious, I think, because [G#]
you get all your information these days from the
TV screen or the computer screen, [F#m] and some, I suppose, from old-fashioned newspapers.
But there's a whole different thing when you go there, [C#] you see it in first [B] person. _ _ _ _
[F#] _ It was a thing [G#] that we felt instinctively was right.
And [Am] so we came, [B] as Bonner describes, [G#] _ principally to see the performers at this
_ Sacred Music Festival, but we also persuaded Brian Eno and Daniel Anwar to come with us
to set up a kind of songwriting workshop, really as an experiment, just for a couple of weeks,
to see where it might take us.
And _ it was a particularly _ important couple of weeks,
and at the end of it, I think, we all sensed that we had actually just [C#m] been able to
create [A] the cornerstone of our album.
Your [E] _ _ _ [B] heart's black and blue
_ It was really [G#] not necessarily our intention.
We really were, _ in fact, we were making music
quite consciously [E] without a schedule or an agenda in mind.
[D#] So it was kind of a, almost
[G#] without trying, suddenly we arrived with this body of work.
Specifically, it's about rhythms, actually.
A lot is about rhythms.
_ [B] And then also call and response chanting. _ _
But I hope it doesn't [G#] sound obvious.
And _ _ [C#m] we would not be bothered if people didn't spot any influence of North Africa,
[B] because _ the rhythms are subtle.
In [D#] Fez, we're not huge.
_ _ _ [F#] We're not huge anyway.
In Fez, you [E] probably spot us.
In Fez, we're not huge. So, [B] Fez_
Size is everything.
No.
_ _ _ [F#] _ So I think, you know, we didn't have those kind of difficulties here.
It was an amazing place to record.
I think, you know, every [B] album, every piece of music has a home.
And so this album's home _ is Fez.
And we [G#] recorded elsewhere.
So we recorded in France.
And we did mixing in New York and [A] London.
But the [G#] call is back [B] to Fez.
And I'd [G#] like to think that we'd come back here again.
It was an amazing place to record.
We were experimenting a lot more on this [B] album.
[A] And [E] early on, we came up with [G#] so much music.
And I think maybe 40 pieces of music that we were excited about.
_ And maybe the time it took to make this record was [F#m] in going through all of the [G#] different pieces,
selecting the [F#] songs that we really believed in ultimately,
and then [A] _ finishing them, which is always the most difficult thing.
And [C#m] it did take us a [F#] little longer than we thought to finish.
It's very _ _ _ humbling to [C#] discover that you're not great naturally.
And well, it is for me.
But you know, it is.
I mean, and unfortunately, [F#] if you've been doing this for a [G#] while, you get very good.
You know, you get your craft gets sharper.
But [B] _ that's not what we're after.
We're looking for something for great, [F#] great, looking for greatness,
looking for great songs and great [C#] reasons to leave home.
You know, _ with those [A] songs, if you know what I mean.
And [Em] I mean, [E] you know, we've got [B] chemistry between us when we play something magic happens.
[Bm] But [F#] trying to make [C#] an album that would be [C#m] strong from beginning to [A] end,
rather [E] than the way it is now, or people just have, [B] you know,
they take two tracks [G#] from an album.
It was hard, you know, very good is the [F#m] enemy of great, we say.
_ _ [C#m] _ _ [A] _ _ _ _ [E] _ _ _
_ _ _ _ _ [F#] _ [F#m] _
We [G] were all so curious, I think, because [G#]
you get all your information these days from the
TV screen or the computer screen, [F#m] and some, I suppose, from old-fashioned newspapers.
But there's a whole different thing when you go there, [C#] you see it in first [B] person. _ _ _ _
[F#] _ It was a thing [G#] that we felt instinctively was right.
And [Am] so we came, [B] as Bonner describes, [G#] _ principally to see the performers at this
_ Sacred Music Festival, but we also persuaded Brian Eno and Daniel Anwar to come with us
to set up a kind of songwriting workshop, really as an experiment, just for a couple of weeks,
to see where it might take us.
And _ it was a particularly _ important couple of weeks,
and at the end of it, I think, we all sensed that we had actually just [C#m] been able to
create [A] the cornerstone of our album.
Your [E] _ _ _ [B] heart's black and blue
_ It was really [G#] not necessarily our intention.
We really were, _ in fact, we were making music
quite consciously [E] without a schedule or an agenda in mind.
[D#] So it was kind of a, almost
[G#] without trying, suddenly we arrived with this body of work.
Specifically, it's about rhythms, actually.
A lot is about rhythms.
_ [B] And then also call and response chanting. _ _
But I hope it doesn't [G#] sound obvious.
And _ _ [C#m] we would not be bothered if people didn't spot any influence of North Africa,
[B] because _ the rhythms are subtle.
In [D#] Fez, we're not huge.
_ _ _ [F#] We're not huge anyway.
In Fez, you [E] probably spot us.
In Fez, we're not huge. So, [B] Fez_
Size is everything.
No.
_ _ _ [F#] _ So I think, you know, we didn't have those kind of difficulties here.
It was an amazing place to record.
I think, you know, every [B] album, every piece of music has a home.
And so this album's home _ is Fez.
And we [G#] recorded elsewhere.
So we recorded in France.
And we did mixing in New York and [A] London.
But the [G#] call is back [B] to Fez.
And I'd [G#] like to think that we'd come back here again.
It was an amazing place to record.
We were experimenting a lot more on this [B] album.
[A] And [E] early on, we came up with [G#] so much music.
And I think maybe 40 pieces of music that we were excited about.
_ And maybe the time it took to make this record was [F#m] in going through all of the [G#] different pieces,
selecting the [F#] songs that we really believed in ultimately,
and then [A] _ finishing them, which is always the most difficult thing.
And [C#m] it did take us a [F#] little longer than we thought to finish.
It's very _ _ _ humbling to [C#] discover that you're not great naturally.
And well, it is for me.
But you know, it is.
I mean, and unfortunately, [F#] if you've been doing this for a [G#] while, you get very good.
You know, you get your craft gets sharper.
But [B] _ that's not what we're after.
We're looking for something for great, [F#] great, looking for greatness,
looking for great songs and great [C#] reasons to leave home.
You know, _ with those [A] songs, if you know what I mean.
And [Em] I mean, [E] you know, we've got [B] chemistry between us when we play something magic happens.
[Bm] But [F#] trying to make [C#] an album that would be [C#m] strong from beginning to [A] end,
rather [E] than the way it is now, or people just have, [B] you know,
they take two tracks [G#] from an album.
It was hard, you know, very good is the [F#m] enemy of great, we say.
_ _ [C#m] _ _ [A] _ _ _ _ [E] _ _ _