It’s a Heartache | Bonnie Tyler | Pinterest | Ukulele, Guitar Chords and Songs
Bonnie Tyler singing for the UK at last year's Eurovision Song Contest in Malmo, Sweden. lush productions propelled by gated drums, power chords and baroque piano. When I used to come home from school, I would hear her singing from You'd put the record on the turntable and you'd always find. Song Holding Out For A Hero by Bonnie Tyler, song lyric for vocal performance . How to Sing Better and Improve Your Singing Voice. See more .. James Arthur Say You Won't Let Go Chords Lyrics for Guitar Ukulele Piano Keyboard with. so you can sing along. You may talk about your Clementine,. And sing of Rosalee, . We'll all go out to meet her when she comes. BY THE . TO THE TUNE OF “MY BONNIE LIES. OVER THE Woofer will play the following chord.
Patrick, thanks very much for the call. Here's an e-mail question we have. This from - I've got to hit F9 to hang up on Patrick, my apologies for that. And this an email question from Philip ph in Honolulu. What are Bonnie's thoughts about what happened to The Dixie Chicks? Well, I thought it was a shame when people can't speak out, and have that kind of corporate drive to condemn. You know, I mean, the cruelty and the vindictiveness, and the evilness that they've said.
And they did a beautiful interview on Larry King. The death threats and all that, I mean, come on. You know, give us a break. So I thought they stood up, and were very dignified and articulate in the way that they responded. And I just thought it was a shame. But, again, if, you know, as George W.
So that's not the problem. The problem was the absolute, you know, death threats, and all that. And just the volume of hate mail, and the corporate squashing of their records, I though was over the top.
What - you've never made a secret of your politics. And I wonder, have you ever gone under any sort of, you know, official or unofficial ban of your material from radio or from play lists?
Only because I wasn't a sex dolly, probably. No, let me explain that. Looks matter a lot. And sometimes whether you get played or not has more to do with age or looks or a powerful manager.
But my politics have never - I've basically been kind of a roots, public radio, kind of a college - you know, whatever you call the alternative FM But I would imagine if I had more conventional approach to the business, I would have made it farther. But I don't think my politics got in the way. I think it was more just a musical thing. Let's get another caller on the line. This is Vicky ph. Vicky is calling us from San Antonio.
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My question is, speaking about the Dixie Chicks and everything, I just feel like you're in a very bluesy type of genre. I just love your music. You inspired me to pick up the guitar; and not that I'm very good, but I try. But you've been a real inspiration. I'm just curious, do you find that you've, like, people are jealous because of your success, like from within your music genre? Wow, that's a - no, I haven't ever come across that.The Scientist - Coldplay (Boyce Avenue feat. Hannah Trigwell acoustic cover) on Spotify & Apple
I mean, nor if they are, they haven't said anything. I think it's more people were really genuinely happy for me when I won the Grammys and I think it's more good news, unless somebody who was just very angry at me for my politics. In which case, they just don't come to my concerts. So I probably don't run into people that are too negative very often, luckily.
Thank you for the compliment. We need more women guitar players. Thanks for the call, Vicky. Here's another email question. This from John ph. And we would remark on the fact that his son, John Raitt, was the famous actor and singer of stage. Wow, I didn't even - I knew Jackson was from there.
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Actually, my grandfather was a YMCA secretary, not a dentist, because it would have been great to have free dental work. But yeah, there's a street named after him, and my dad's very proud, we're very active in Fullerton and Orange County. And, you know, I really don't know. I think that sometimes people are surprised that Rye Cooter and Lowell George It's almost like you have to overcome the lack of culture out there to find one.
So you tend to latch on to, you know, Los Lobos and the Latino culture is incredibly rich in Los Angeles. When I came back as an adult, I realized there was all kinds of wonderful opportunities, but it was always a surprise to me when people came out of Orange County.
Take a question from the audience here in Studio 4A - Karen. I think one of the reasons that we all love your music so much is that there's an honesty in it, there's an authenticity in it, and it's also - it seems like there's a wholeness in your life. You're not afraid to be a fine woman, a bad woman, and to show your power, you know? And I think that Takes one to know one. Thank you, thank you. And I think that one of things I'm wondering is what keeps you centered now.
I know all of the - we've talked about some of the influences you had earlier - but what things, you know, give you - where do you get that strength from, you know, and keep it going?
Well, thank you for honoring me with that wonderful compliment. I don't always keep it together, because that's part of being authentic and human is that you are stressed out and snap at people that you love that don't deserve it.
And you get - you lose sight of the goal. And I'm really working, in my mid '50s now, to try to keep focused on what's in front of me and not try to - even though I can multitask really, really well, I know that it doesn't serve my purpose and I get too scattered.
And sometimes I compartmentalize my friends and my loved ones and put work ahead. Next thing you know, you snap at your family, you don't call your relatives for a month, and it's all because of the greater good, and that's all unintelligible.
So, you know, it's been a constant battle for me to try to prioritize my spiritual and emotional and physical health, my family and friends - because if you don't nurture those relationships, they will fade and go away. And my band is trying to convince me to spend more time at my music. And I call it my day job. I spend a lot of time being Bonnie Raitt and managing who I am in this -the lucky position I'm now in and have been.
But one of the things I don't get to do is play music for fun. And so my aim, after this cycle of touring for Souls Alike is over, is to find the joy and the bliss of just sitting down with my guitar and my instruments and listening to records and learning the song just for the sake of learning it, not because I got a gig coming up. So I have to really focus on it, and I have an incredibly supportive, great crew and staff and circle of friends and family, as well as my great band.
And without them, I literally would not be sitting here today, because they're the ones that keep me on course. And without - and that the pressure that we're under to be excellent all the time, and my pressure put on myself, without somebody reminding me that there is such a thing as a sense of humor And I'll tell you, the good thing about sobriety is once you admit that you messed up in public and you had a problem, you can just do it the rest of your life and people will just say, hey, me too you know.
I gained 10 pounds too over Christmas. And I snap at my family and I don't call my relatives, you know? And if that doesn't - if that comes through in your music, people will stay with you, because you're always going to be there the same as now. Karen, thanks very much. Should we play another song? That was just what I was going to say. Well, we could do an old song from my first album, which I think would be really fun. That would be great. This is written by the great Sippie Wallace, who was a very famous blues singer back in the era of Bessie Smith and Ma Rainey in the s.
I didn't even know she was alive when I cut this song. I just found an old record, fell in love with her feminism - you know, you can make me do what you want to do, but you've got to know how, you know.
And even at 21, I knew if you talked about your boyfriend, that somebody was going to nab him out from under you. So I rarely talk about whoever I'm seeing. So here's from our first album, reshaped by this miraculous band I have, Women Be Wise. Why don't you start us off, Jon? Soundbite of song, "Woman be Wise" Ms. Singing Oh, women be wise, keep your mouth shut, don't advertise your man. Don't kid around gossiping, explaining what your good man can do.
Some women nowadays, Lord they ain't no good. They'll laugh in your face, try to steal that man from you. Women be wise, keep your mouth shut, don't advertise your man. You know your best girlfriend, oh she's such a highbrow, she got to change three times a day.
What do you think she's doing now, while you're so far away? She's loving your man, that's what she's doing, in your own damn bed. You better call up a doctor mama, something wrong with your head. Got to be wise, keep your mouth shut, don't advertise your man.
Soundbite of musical interlude Ms. Women be wise, keep your mouth shut He weighed in on everything from bad grammar to bias. Today, though, the music of Bonnie Raitt - she's with us in Studio 4A along with her band: If you'd like to join the conversation, Our e-mail address is talk npr.
And let's get right back to the music, Bonnie. Here's a song from the new one called God Was in the Water. One, two, three, four. Soundbite of song, "God Was in the Water" Ms.
Singing God was in the water that day, picking through the roots and stones. Stepping over sunken logs, trying not to make his presence known. God was in the water that day, wading in careful steps, bubbles rising from his feet, coming up from the muddy depths. Casting out a line, casting out a line into the shadows. Casting out a line, but no one's biting. Soundbite of guitar solo Mr.
I am at a pitiful desk, staring at the colorless walls -wishing I was anyplace else, down into a dream I fall. Sitting in a tiny boat, drifting on a mindless sea, if I disappear, at least I'm floating free. Casting out a line, casting out a line into the darkness, casting out a line but no one's biting. Soundbite of guitar solo Ms. God was in the air that day, breathing out a haunted breeze, trying not to make a sound, shuffling through the dried up leaves.
God was in the air that day, circling like a drunken hawk, sweeping with a hungry eye. Over ground I walked. Casting out a line. Casting out a line into the shadows. No one, no one. Casting out a line into the darkness. Casting out a line, but no one is biting. Soundbite of music Soundbite of applause Ms. Thank you very much.
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Can I ask a really dumb question? You're playing slide guitar -what is a slide? It's actually a bottleneck cut from a neck that has to be straight, not a curved one? So it's usually a Bordeaux bottle? And it was a challenge, because when I was growing up and I saw people say that on the back of the record, I was a little kid in L.
By then I'd gotten used to it. And how did - is the guitar in the normal tuning when you No, it's an open tuning, and I learned early on, my grandpa was a - my other grandpa was a Methodist minister and he played hymns on a Hawaiian lap steel. And I learned early on that because of the open chord I could just move the bar on his lap steel and immediately play, you know, Jesus Love Me, or whatever he paid me a quarter to learn. Which is how I ended up a Quaker, because - but anyway, if you don't want to learn the chords and you want to play the guitar, I highly recommend tuning it to an open tuning and playing bottleneck.
I do understand you have learned a chord or two in the intervening years. I have, but only - still only kind of folk music chords. I never took guitar lessons, so I'm kind of rudimentary.
This is Gypsy ph. Gypsy is calling from Phoenix, Arizona. I'm a working musician here in Phoenix, and I guess the biggest question I have for you, because you have plenty of accolades from plenty of people besides me, is how you rectify the artistic thing that you get from having a really hard and really unhappy life versus a happy life.
And the fact that it just makes better music. You mean to be unhappy? And I can tell you that it's a great dichotomy in my life in the fact that when I'm unhappy, I write much better songs. I do, then when I'm happy. Yeah, well people used to say you had to have - be poor and miserable to have the blues, but, you know, life is a full banquet, you know?
I mean, Muddy Waters was one of the most joyous people I know. I'm sure he had got mad and had his heart broken and was poor at one point, certainly, but he didn't sing the blues with any less fervor or meaning. So I don't think - I mean, I understand the point and I get, and I actually get asked a lot about what are you going to do when you get straight and successful, what're you going to do? But the blues are, for me, the truth and the - in the arc of a day or in a full life, you know, you're going to be miserable or forlorn or horny or bereft or angry or frustrated, no matter what level of income you're at or who you're with, you know.
So, I find that surprisingly, even though I'm better off than I was, and more stable so to speak, some of the hours of the day, I still can summon up those feelings of absolute rage and charge and loneliness and all the things that infuse the songs I do. But absolute feeling them - I feel them as real as if I'm going through them. Because blues is a music of authenticity. Yeah, but you play blues to make yourself feel better. I mean, the same with gospel music.
I mean, you don't have to be - there's miserable lonely blues and there's jump blues and stuff that'll just make you feel better. But, you know, whatever touches your heart is what makes you. But I don't know whether Stevie Ray Vaughn was any less effective when he was sober or happier than when he was unhappy, and, you know. If I could say one other thing. A lot of - you get a lot of acclaim and stuff for your music and your artistic-ship, but having played and lived in St.
Louis and on the east coast and in New Orleans, a lot of times things that don't get said about you, Bonnie, is the fact that you are such a supporter of unknowns and local bands and people like that, and you've given so many breaks to so many people.
And that's the thing, if I had to thank you, I'd really like to thank you for. Oh, that's very sweet, Gypsy. I hope I get to hear your music too, in Phoenix. Because, if you like funk music like I do, keep it going, because that place needs to get funky. It is funky, but it's just, you know, we need to support our blues clubs and local bands, live bands.
Most places could use more. Most places could use a little more. Thanks very much for the call. Let's see if we can squeeze in -we have, we're going to hear one more tune in a bit, but, Peter, you have the last call.
Hey, thank you so much for taking my call. Bonnie, I met you in New Orleans, backstage at Jazz Fest, and I want to thank you for the generous handshake and the warm smile that you gave me. I'm sure it was mutual. My question is, since it was there I New Orleans at the Jazz Fest, and you perform there a lot in other places, what kind of connection you have with New Orleans and whether you have any special affinities for it.
And I'll take my answer off the air, off the phone. I sure do have an affinity. And Fats Domino was my favorite artist as a little kid. And when I grew up and learned more about where the roots of rock 'n roll came from, and the great Earl Palmer played drums on so many things, and we had him play on my third album. And Little Feat, like myself, all of us were in absolutely stone-fans of New Orleans' music. And without the rich cultural gumbo that New Orleans is, country and French and Spanish and African-American and Congolese drumming and, you know, the soul music from gospel and jazz and blues all has its roots in New Orleans, Louisiana.
And Jon Cleary ph is getting a call. Jon Cleary is getting a call right now. You know, you can't say enough about the importance of New Orleans and how important it is for us to let the community that was living there be able to move back as much as they can, and not turn it into some kind of McMardi Gras Convention Center with the developers salivating. You know, it's important - what makes New Orleans is not Jazz Fest exclusively.
It reflects the rich culture that it is, but those people deserve to come back at the price level that they can afford. So, not to be too political, but New Orleans - I wouldn't be sitting here talking to you, that's how important it is.
Bonnie Raitt and her band with us here in Studio 4A. And that one last tune? And thank you for having me, Neal.
Oh, believe me, it's our pleasure. This is a major legitimate thing for me. I've gone legit being on your show. And then we get to go play at the national park. That makes me so happy to think of our tax dollars going for someplace like Wolf Trap. I like to champion songwriters that are kind of unheard of and up and coming, and one of my favorite solo artists as well as others represented on this new album, Souls Alike, is Maia Sharp. She did three of the songs on my album and was my special guest on the tour.
She co-wrote this song, and I really love it, so I want to close with this. I've got to get Ricky up in my headphone.
I do have you now, darling. Thanks to my band - thank you guys! Singing Sleepless nights aren't so bad. Because people can listen closely, you know, you can sit with headphones or you just concentrate on music, you can just hear, sometimes, the desires of the voice itself.
Was that emotional thing, or the voice wanting to go? What was the mood like recording that album? It seems to have a singular atmosphere W: Well, all the material was pre-written, and all the song structures existed basically as they were, in terms of bars and measures and chord progressions and all that, they were pretty set.
But then it was about taking advantage of what group we were, and the record is the same six people, I think, all over the record, but on one song, Brian McMahon might play drums, on another song he might play guitar, and another might play bass. Everybody is switching around on every song.
So there was no need for credits? Well, I felt like credits, I thought that would be distracting, because I thought that people would try to puzzle over who plays what were, or just that it was too much detail that had nothing to do with people having a pure experience with the music.
You know, like, records up until, say, the 70s it seemed like pop records, a Frank Sinatra record was like, The Nelson Riddle Orchestra. Elvis Presley records, zero information. And the magic is gone? Actually, at that point that was more exciting, because the Rolling Stones started sounding like weird lab experiments from that point through to the early 80s, I think, for the Rolling Stones.
That kind of creative messiness, or the organic way it develops? Organic way it develops, and as well, like, my impression of how those records were made, at least, was to treat each song as if it was a single, kind of? I feel like that was something that I had read about how the Rolling Stones approached specifically those records….
But I think they did carry on that way through, even like Black And Blue probably. Is that a long process for recording? Was it a pro studio? If I even picked my favourite records, if I could, I have no idea if they were made in a day, or made in a week, or made over a year, or five years… so I have no idea. I feel like we spent about…. A month, more or less with that record? The engineer was a guy named Grant Barger who had been at audio engineering school with Todd Brasheer, who is very significantly over that record….
And he had an eight track cassette recorder, and that's what it was recorded on in two locations, one was in a sort of super-sized shotgun house in a neighbourhood of Louisville called Butcher Town. A shotgun house is sort of a detached row house…. And this was a kind of neat, big, old shotgun house that had been built on what later turned out to be just the riverside of the flood wall.
Because there were a couple of significantly damaging floods, when the river flooded, so they built this floodwall at some point, in the latter half on the 20th century.
And so this house was on the other side of the flood wall, like on the riverside, so my friend was able to get it relatively cheaply, because it was potentially under threat, it was difficult to insure.
And he had essentially occupied the upstairs, and the downstairs was just a big, dusty unfinished brick open space. The other house we could sleep in our own houses, but when we were at this house, this house was called Merciful, on Big Bend. And to some extend I think the vocal qualities were affected by the wood burning stove that we used to heat the room, and the smoke, it made the air a little harsh.
He actually just gave me the stereo amp and speakers that we had used to mix the record on, he just gave them to me a couple of months ago, which was pretty neat. I imagine at that time you were maybe making a little bit of music? I had no interest at all in music at that point. I was in acting, and had never played a note of music at that point, never imagined that I ever would. So, they were my friends. But it felt great, being part of the Louisville music scene, something that I started to hear about through my older brother, he sort of left the house and went to punk shows and hung out with the boho, punk, art scene, and would start to hear about David Grubbs, or Tim Harris and Tara Key who are now in Antiedam.
But, you know, I was mostly listening to Elvis, and the Everly Brothers and Buddy Holly and things like that, so it was a far cry, sonically.
And that was sort of the beginning of understanding how interesting and exciting music was in Louisville, and then as well, starting to be turned onto what was the independent or underground music world at the time, labels like SST or Touch And Go or Homestead, specifically.
And pretty soon this great relationship with the Chicago scene started to form, specifically though, like, Grubbs and Clark Johnson and Squirrel Bait, tying into, like, Naked Raygun and Urge Overkill and Big Black, so yeah, it was really fucking exciting times. So it was incredible, really exciting, you felt like you were connected to it in some way, it was just a couple of people removed, between me and, like Mike Watt…. And he was still, you know, an icon.
How did the release of the first record come about? The release of the first record came about…. And I just thought….
You'll Always Be In My Heart lyrics chords | Maxine, Bonnie and Jim Ed Brown
I was pretty out of touch with most of the world at that point, kind of, and I thought it would be …. So I sent those around, to a couple of labels. So as soon as they said that I was like, [adopts businesslike voice] now, right now. At one point, were you studying at Brown College, is that right? So there was always historical references in your songs? I know there was the Washington Phillips. He seemed to be…. Where did they come from? The Alain Fournier came from. My friend Brian who I met in Montana who I had lived with in New York, he then moved to Russia, and I went to visit him, and Pushkin references more, like, the experience of seeing the Pushkin statue.
Is that a change which has happened a lot over time. Do you miss that communal feel of those older albums? No, I mean the communal feel is completely there, completely, and probably more so, I think. I feel like the Bonnie 'Prince' Billy are much more communal and natural than any of the records before than one.
It was a very hard record to make, that first record. It was very difficult. They are… some of those gentleman are very complicated people.
Sometimes it is a bad thing. How do you feel about how your voice has changed over the years? Um… it seems I can do much more with it. You can only learn so much if you create your own boundaries all the time. But then, other people can really teach you something. It seems to me you approach each album afresh.
When did you start thinking about the current album? When did you start writing songs for it? So it was kind of like doing a record…. I wanted to fully enjoy that record, in the writing, in the recording, and the releasing of it, so that meant not marketing it. And so I wanted to enjoy that record.
Was that a positive experience, not being on stage, not being on tour? More than not being on stage, more than not being on tour, it was… you know, one thing that Merle Haggard said at one point, the worst thing about his life — which was otherwise a pretty incredible life — was having to live a year in advance.
And it is terrible. So it was basically wanting to live a week in advance, a month in advance. I could do them relatively last minute. You do a lot of guest appearances, for instance the Current 93 one.
Is that almost like a double life? Do you still work with the Boxhead Ensemble? Could you play that one theme you got into? Essentially directing but leaving a lot of things open. And every night was different, you know, the groupings that he put together were different.
Quite a lot of trying to capture little moments. Is it still easy to capture that sense of intuitiveness? Do you think some albums captured it better? Something like "Come In" and "Trudy Dies", Neil and Jennifer from Royal Trux were the producers of that, which was really … great because at that time I was still very much learning about recording.
And Neil and Jennifer both are very confident and accomplished people in the recording studio and also on stage. Are you playing much guitar on your new album? And on this record I played, at least tracking on every song.
To me my initial impression is that it seems to be one of your funniest records. There seem to be a lot of good gags. Is that intentional, that finely honed humour? Living moment to moment, and very quick with their brains, quick with their voices, or in the case of Harpo Marx, quick with their actions.