Chords for U2 talks about Rattle&Hum
Tempo:
135.25 bpm
Chords used:
C
Bb
A
Eb
Ab
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
But I wanted the film to just to capture you two in the studio, to capture you two live and do that.
Because I think our music is remarkable.
I don't think we are remarkable.
I think we're still the same four assholes who left Dublin ten years ago.
I think the biggest [Bb] concern was for the crew to get it together because we [N] couldn't take responsibility for the filming.
Our only responsibility at all times is to our audience.
But I didn't encourage the film crew to follow me around.
Where do you think Edge and Bono are in a position where they allow the film crew into places where I wouldn't allow them.
And the irony of that situation is that I'm more in the movie than any of those guys.
We said, well, can't we get somebody who would just follow us around and just try to capture the moment, which is what we try to do in our music.
You know, it's just trying to capture the moment.
[Ab]
[C]
That's what he wanted to do.
[Bb] And it just needed brilliance.
[N] Eric Dorado, we were talking about the film.
We said, we don't want you in our hotel rooms at night or worse in the morning.
We don't want you, you know, filming us getting out of limousines or whatever, because that's all just boring.
The main thing to remember is they're the enemy and they get out of the way for you.
You don't get out of the way for them.
What we want from the color is to capture the epic side of you two.
You know, [C] all those like when Edge hits a big E chord, it's like red.
You know, when we go into those drone tones, you know, we saw, you know, I see sometimes a lot of our songs in terms of color or black and white, like Silver and Gold's black and white song.
I don't know why it just always was to me.
I think with this movie, we've managed to capture a moment in time.
[A] We captured you two right now.
[Eb] What we're doing musically, where we are as artists [A] and songwriters and musicians and [Eb] performers.
Well, on the last night we had this choice.
We either play for the cameras or we play for the people, bought the tickets, queued up and come to the concert.
On the last night we decided to play for the cameras.
[D] [C]
Because I think our music is remarkable.
I don't think we are remarkable.
I think we're still the same four assholes who left Dublin ten years ago.
I think the biggest [Bb] concern was for the crew to get it together because we [N] couldn't take responsibility for the filming.
Our only responsibility at all times is to our audience.
But I didn't encourage the film crew to follow me around.
Where do you think Edge and Bono are in a position where they allow the film crew into places where I wouldn't allow them.
And the irony of that situation is that I'm more in the movie than any of those guys.
We said, well, can't we get somebody who would just follow us around and just try to capture the moment, which is what we try to do in our music.
You know, it's just trying to capture the moment.
[Ab]
[C]
That's what he wanted to do.
[Bb] And it just needed brilliance.
[N] Eric Dorado, we were talking about the film.
We said, we don't want you in our hotel rooms at night or worse in the morning.
We don't want you, you know, filming us getting out of limousines or whatever, because that's all just boring.
The main thing to remember is they're the enemy and they get out of the way for you.
You don't get out of the way for them.
What we want from the color is to capture the epic side of you two.
You know, [C] all those like when Edge hits a big E chord, it's like red.
You know, when we go into those drone tones, you know, we saw, you know, I see sometimes a lot of our songs in terms of color or black and white, like Silver and Gold's black and white song.
I don't know why it just always was to me.
I think with this movie, we've managed to capture a moment in time.
[A] We captured you two right now.
[Eb] What we're doing musically, where we are as artists [A] and songwriters and musicians and [Eb] performers.
Well, on the last night we had this choice.
We either play for the cameras or we play for the people, bought the tickets, queued up and come to the concert.
On the last night we decided to play for the cameras.
[D] [C]
Key:
C
Bb
A
Eb
Ab
C
Bb
A
_ _ _ _ _ _ _ _
_ _ _ _ But I wanted the film to _ just to capture you two in the studio, _ to capture you two live _ and do that.
Because I think our music is remarkable.
I don't think we are remarkable.
I think we're still the same four assholes who left Dublin ten years ago.
I think the biggest [Bb] concern was for the crew to get it together because we [N] couldn't take responsibility for the filming.
Our only responsibility at all times is to our audience.
But I didn't encourage the film crew to follow me around. _ _ _
_ Where do you think Edge and Bono _ are in a position where _ they allow the film crew into places where I wouldn't allow them. _ _ _
_ _ And the irony of that situation is that I'm more in the movie than any of those guys.
We said, well, can't we get somebody who would just follow us around and just try to capture the moment, which is what we try to do in our music.
You know, it's just trying to capture the moment.
_ [Ab] _ _
_ _ _ [C] _ _ _ _
That's what he wanted to do.
_ [Bb] And it just needed _ brilliance. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [N] _ _ Eric Dorado, we were talking about the film.
_ We said, we don't want you in our hotel rooms at night or worse in the morning.
We don't want you, _ you know, filming us getting out of _ limousines or whatever, because that's all just boring.
_ _ The main thing to remember is they're the enemy _ and they get out of the way for you.
You don't get out of the way for them.
What we want from the color is _ _ _ _ to capture the _ epic side of you two.
You know, [C] all those like when Edge hits a big E chord, it's like red. _
You know, when we go into those _ drone tones, _ you know, we saw, you know, I see sometimes a lot of our songs in terms of color or black and white, like Silver and Gold's black and white song.
I don't know why it just always was to me.
I think with this movie, we've managed to capture a moment in time. _
_ [A] We captured you two _ right now.
_ [Eb] _ _ What we're doing musically, _ _ where we are as artists [A] and songwriters and musicians and [Eb] performers.
Well, on the last night we had this choice. _ _ _
_ _ We either play for the cameras or we play for the people, _ bought the tickets, queued up and come to the concert.
_ On the last night we decided to play for the cameras.
[D] _ _ _ _ _ _ [C] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ But I wanted the film to _ just to capture you two in the studio, _ to capture you two live _ and do that.
Because I think our music is remarkable.
I don't think we are remarkable.
I think we're still the same four assholes who left Dublin ten years ago.
I think the biggest [Bb] concern was for the crew to get it together because we [N] couldn't take responsibility for the filming.
Our only responsibility at all times is to our audience.
But I didn't encourage the film crew to follow me around. _ _ _
_ Where do you think Edge and Bono _ are in a position where _ they allow the film crew into places where I wouldn't allow them. _ _ _
_ _ And the irony of that situation is that I'm more in the movie than any of those guys.
We said, well, can't we get somebody who would just follow us around and just try to capture the moment, which is what we try to do in our music.
You know, it's just trying to capture the moment.
_ [Ab] _ _
_ _ _ [C] _ _ _ _
That's what he wanted to do.
_ [Bb] And it just needed _ brilliance. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [N] _ _ Eric Dorado, we were talking about the film.
_ We said, we don't want you in our hotel rooms at night or worse in the morning.
We don't want you, _ you know, filming us getting out of _ limousines or whatever, because that's all just boring.
_ _ The main thing to remember is they're the enemy _ and they get out of the way for you.
You don't get out of the way for them.
What we want from the color is _ _ _ _ to capture the _ epic side of you two.
You know, [C] all those like when Edge hits a big E chord, it's like red. _
You know, when we go into those _ drone tones, _ you know, we saw, you know, I see sometimes a lot of our songs in terms of color or black and white, like Silver and Gold's black and white song.
I don't know why it just always was to me.
I think with this movie, we've managed to capture a moment in time. _
_ [A] We captured you two _ right now.
_ [Eb] _ _ What we're doing musically, _ _ where we are as artists [A] and songwriters and musicians and [Eb] performers.
Well, on the last night we had this choice. _ _ _
_ _ We either play for the cameras or we play for the people, _ bought the tickets, queued up and come to the concert.
_ On the last night we decided to play for the cameras.
[D] _ _ _ _ _ _ [C] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _