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"I Think I'm Paranoid" is a song written, performed and produced by rock band Garbage and was the second single released from their second album Version 2.0. The song was released internationally in July 1998, following up on the success of the band's prior hit, " Push It ".
The song is an E minor pentatonic and only uses power chords. The guitar solo is a dry signal on the left channel, which is patched through a ring modulator and routed to the right channel; this effect was used again on the 1978 song, "Johnny Blade". According to extant lyric sheets, "Paranoid" was at one time titled "The Paranoid." [7]
The implementation of chords using particular tunings is a defining part of the literature on guitar chords, which is omitted in the abstract musical-theory of chords for all instruments. For example, in the guitar (like other stringed instruments but unlike the piano ), open-string notes are not fretted and so require less hand-motion.
Paranoid was recorded at Regent Sound Studios and Island Studios in London, England. [7] The album's title track was written as an afterthought. As drummer Bill Ward explains: "We didn't have enough songs for the album, and Tony [Iommi] just played the guitar lick and that was it. It took twenty, twenty-five minutes from top to bottom."
Terence Michael Joseph "Geezer" Butler (born 17 July 1949) [1] is an English musician, best known as the bassist and primary lyricist of the heavy metal band Black Sabbath.He has also recorded and performed with Heaven & Hell, GZR, Ozzy Osbourne, and Deadland Ritual.
There are few keys in which one may play the progression with open chords on the guitar, so it is often portrayed with barre chords ("Lay Lady Lay"). The use of the flattened seventh may lend this progression a bluesy feel or sound, and the whole tone descent may be reminiscent of the ninth and tenth chords of the twelve bar blues (V–IV).
The chord notation N.C. indicates the musician should play no chord. The duration of this symbol follows the same rules as a regular chord symbol. This is used by composers and songwriters to indicate that the chord-playing musicians (guitar, keyboard, etc.) and the bass player should stop accompanying for the length covered by the "No Chord ...
Their and other early bands' profligate use and combination of black, occult, tattoo/piercings, and other features in stage- and album-styling; repeated musical features like distorted guitar-filters, open/power chords, riffs (including chords with roots a tritone apart); and moody explorations of diverse spiritual themes (including the social ...