I need my girl the national chords
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The National - I Need My Girl
Though The National's latest release isn't a huge departure in any musical or conceptual sense, vocalist and songwriter Matt Berninger says it was made by a different group of men than those who made their previous albums.
For one, parenthood has a way of reordering priorities for the three band members who have started families, and recording and touring takes on a different weight when you have a wife and child waiting at home. For another, they're no longer particularly concerned with how their music is received, a revelation Berninger makes while acknowledging that he had often found the band's relatively few negative reviews to be more stinging than their mountains of positive press were gratifying.
That's a privileged position, he admits, as the band had followed a career trajectory that by had culminated in mope-rock masterpiece High Violet , an album whose triumph could have afforded them the opportunity to stand back and enjoy the spoils of their success for a few years. With brothers Aaron and Bryce Dessner starting a series of song sketches before they had even completed the touring for High Violet , the band soon had abandoned any plans to take a deserved hiatus.
Instead, they ended up with a collection of songs that are more nuanced and idiosyncratic than those on any previous release from the band, as well as one that adds humor and heart-on-sleeve sincerity to lighten the distinctly disenchanted worldview that has darkened Berninger's coal-smudged baritone.
Very much a songwriter's album, it's also full of odd and often elusive references that hang in the air between airy guitar textures and simmering rhythms. Here, Berninger offers a peek behind the curtain of his creative process and untangles some of the more knotted moments on Trouble Will Find Me.
Matt Fink Under the Radar : Was there anything about the arrangements that Aaron and Bryce were sending you that pulled you in a certain direction as a lyricist on Trouble Will Find Me? Matt Berninger: Yeah. I never write lyrics out of context with the music. I never sit with a notebook and just start writing lyrics.
I do it just with my headphones on, listening to whatever music sketches they've sent me, singing along. Most of the time, I'm looking for rhythm and melody, and by not worrying about lyrics I'll free associate with whatever comes to mind. I think sometimes the mood of the music that I'm singing to will pull me in directions lyrically. Often, I've gotten the credit or blame for the band being thought of as a dark, moody, miserablist band, or whatever we've been called over the years, but I think a lot of that comes from the music, and I'm just reacting to it.
I will admit that I easily and happily go to some of the sentimental and melodramatic, dark places in my head and heart, but I'm reacting to the music most of the time. Aaron said that he thought that if this record has one theme it would be death. Do you agree? It has a lot of different themes, but that is a recurring one. It comes up, and not in any sort of grim or depressing way, but I think there's a sense of addressing it.
I'm 42 — I don't feel that old. So it has nothing to do with aging. It's more of the idea that we have a short amount of time that we're around, and I don't believe in heaven, so I was singing songs about heaven just because it's an abstract thought. It's the impact that we have on our friends and the people around us that is our afterlife.
Now I have a daughter, and I can see that she's so much like me. It's your friends, it's your spouse, it's the people you pass on the street that you do a kind thing for. Or if you're an asshole, your afterlife is that you create a little bit of hell. You've brought something bad into the world, and that stays in the world if you've been bad to people.
I think the record is ruminating on that stuff, but in kind of a playful way. Some of the characters meet their demise in awkward situations. The song "Humiliation" is kind of about what if, outside of a dinner party or something, I was blown up by a drone missile, out by the pool. What an embarrassing way to go, and what would people say about me?
So the record is about death, but I don't think about it as being morbid in any way. Listening to this record, I picked up a lot more loneliness or longing than death. There's a lot of that, too. There's a lot of love songs. I wrote it about missing my wife and daughter.
It's pretty simple. It's not about any other thing. And there's a lot of romance, a lot of pining. A lot of songs are like that. I'm a romantic, and I love singing about that stuff.
I've been happily married for a long time, but all that romance and fear and anxiety and confusion continues to happen in any kind of relationship, whether it's a new one or one you've been in for 10 years. I just love making songs out of it. I was wondering about the song "I Should Live in Salt" and whether you envisioned that as a conversation between two people or one person's internal dialog? I think it's probably more of an internal dialog. In truth, that song is very much — but not on an every line level — about my younger brother, Tom.
He was very much in mind the whole time I was writing thoughts and lyrics for that song. It's about maybe feeling some guilt about having left somebody or abandoned somebody.
Not that I felt so guilty. I left for college when my little brother was nine years old, and then we became reunited when he joined us on tour. He just finished making a film about that, and it's really good. It's called Mistaken for Strangers. But we spent a lot of time together over the past couple years, and he lives with my wife and I still, actually.
It has been a great thing, and it has also been a really toxic situation. But now we know each other as adults, and I think the song is a reflection on our relationship, and some of it is my guilt or feeling that he went in a different direction than I did.
He's a brilliant, hilarious, happy man, but the spirit of the song is about him. The salt in the song, I couldn't say why I put that in there. It could be something like "I should live in tears" or something. I don't know. It just felt good. Maybe I'm hiding some of my earnest emotion in that one behind a weird title. It's funny, because people have assumed things about that. One person thought it was "Don't Swallow the Cat," and they thought it was an Alice in Wonderland reference.
Some people thought it was a druggy reference. And some people have interpreted it as "don't swallow the cap on a mushroom," like LSD. I honestly don't know. It sounded good. Some people think I was referencing Tennessee Williams, because there's something about how he died drinking a cap of something. I'm not sure. It might be because I have a 4-year-old, and they're always sticking things in their mouths, like the cap on toothpaste.
I don't actually know what that title is about. I was just singing along and free associating with the ways words sounded, and weird little phrases ended up in there, and you don't know where it comes from.
You forget, and it evolves into other meanings. I mean, R. It was more about how they sounded than having some sort of message in the lyrics. I always loved R. I could interpret it in ways that pulled me into their music. It wasn't like I was being told a message or told a story.
It sucked me into it because it was so blurry, and I could make their songs about whatever I was dealing with. Maybe I do a bit of that. I was also wondering about really specific references, like in "I Need My Girl" when you mention being a 45 percent-er. That was one of the first songs I was interested in, and that was way before Romney made his comments about the 47 percent or whatever.
And then there was also the Occupy Wall Street stuff, and it wasn't necessarily about that, the lyrics. It was, I think, about not totally being there for somebody. It's probably about my wife, and I was gone so much. We've been together for 10 years, and a lot of that time I've been touring. It was probably shades of not being present enough as a father and a husband, and I think that's what that's about, when you're only halfway there.
Or not even halfway. Luckily, my wife has been very patient with this band and me, and we've made it work. But I think I have a little bit of guilt about being so distant so often, because the band has swallowed so much of my life up — in a great way.
I'm grateful for it, but there are other things that suffer. That was just a little bit of an acknowledgement of that and probably a bit of an apology. No, no. In that song, I think the character isn't as fireproof or an invulnerable as they wish they were. I think it's a romance song. I think it's a love song in a way, probably a little bit about myself.
When you put a specific name in that song, like Jennifer, do you expect that anyone you know named Jennifer will think it's about her?
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Many a band waffles after success, making, instead, what they think the audience wants to hear. The angelic harmonies and those sky-searching guitar lines keep the head up, rather than staring down towards the cracked earth in disappointment. Like previous entries in their catalogue, Trouble is littered with an endless plethora of quotable lyrical phrases that hide between the choruses. And confident in their own skins, The National invited some more friends to help out on Trouble , including Sufjan Stevens, who contributed drum machines to several tracks, and guest vocals from Annie Clark aka St.
Following the release of debut album Good at Falling , Amber Bain — aka The Japanese House — reveals to Pip Williams the nine songs that have inspired her above all others. Amber Bain's musical education leans as much as her own intuition as it does the influence of her father's tastes. Although many of these artists' heydays were more than a lifetime ago for Bain, she deftly identifies the elements she has collected from each of them, magpie-like, to infuse into her own songwriting, performance, and production. Accordingly, her full length debut Good at Falling is an album that's informed by the listening habits of Bain's entire life, though its sound is indisputably, almost compulsively current. From the unflinching honesty of recent single "We Talk All the Time" to the self-described "weird chords" of "Follow My Girl" , the record is a patchwork tour of a sprawling and diverse record collection, as viewed through the lens of one of 's most distinctive producers.
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The National 29 Years. The National 90 Mile Water Wall. The National A Little Faith. The National About Today. The National Afraid Of Everyone. The National All Dolled. The National All The Wine. The National American Mary. The National Anna Freud.
Though The National's latest release isn't a huge departure in any musical or conceptual sense, vocalist and songwriter Matt Berninger says it was made by a different group of men than those who made their previous albums. For one, parenthood has a way of reordering priorities for the three band members who have started families, and recording and touring takes on a different weight when you have a wife and child waiting at home. For another, they're no longer particularly concerned with how their music is received, a revelation Berninger makes while acknowledging that he had often found the band's relatively few negative reviews to be more stinging than their mountains of positive press were gratifying. That's a privileged position, he admits, as the band had followed a career trajectory that by had culminated in mope-rock masterpiece High Violet , an album whose triumph could have afforded them the opportunity to stand back and enjoy the spoils of their success for a few years.
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ROME — It started with the national anthem. Italians remain essentially under house arrest as the nation, the European front in the global fight against the coronavirus, has ordered extraordinary restrictions on their movement to prevent contagions. As of Saturday, the virus had infected more than 21, Italians and left more than 1, dead, according to national officials — the worst toll reported anywhere outside of China. Italy has closed all of its schools, bars and restaurants, and restricted movement for anything other than work, health or the procurement of essentials. But the cacophony erupting over the streets, from people stuck in their homes, reflects the spirit, resilience and humor of a nation facing its worst national emergency since the Second World War.
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What's also present throughout almost all kinds of music is a harmonic language. This language is much simpler than a spoken language, often using only a few common chords. Being aware of and fluent in this harmonic language is an essential part of playing and understanding popular music. Most beginner musicians learn songs through the aid of chord charts, online tutorials, or sheet music. Even some intermediate and professional musicians are dependent on learning this way. These methods temporarily work but only focus on the 'what' and not the 'why' of music. Chordal offers a more streamlined way to learn this language by always teaching music in context.
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I Need My Girl sheet music for voice, piano or guitar