Chords for Boz Scaggs - MEMPHIS (Official EPK)
Tempo:
134.35 bpm
Chords used:
G
D
A
E
F#m
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[D]
I've got dust on my shoes.
[G]
[D]
[A] [G] I've got dust on my shoes.
You need me, frackish dream.
We're, as I speak, in Memphis,
where we're mixing our new record.
[C#]
This [D] album is primarily [N] classic material,
songs that have just been favorites
that I [E] just love to sing.
[A]
My baby's gone
[E] to [A] Canada, oh
to Canada, oh
When I was approached to [E] produce
a new Boz Kaggs album,
[A] I couldn't believe it.
I said, Jimmy, of course, this is amazing.
So I started thinking of people I wanted to play on it,
and [E] they [Am] all lived down south,
and it became very clear that we needed [D#] to come to [A] Memphis
to make this record.
She's a [E] Cadillac bomb [A] Cadillac bomb
My father [G] grew up [Dm] here, my [E] grandfather grew up here,
and [Em] although I've never lived here,
it felt like [A] something of a homecoming.
She [C] said, oh
But [Dm] also, I was looking [Em] for one of those [Am] situations
[A] where you have [G] a [Am] room that's connected perhaps
[A] to a small label that [Am] involves a [A] group of musicians
who've been together for a long time,
and which microphone [D] placement, acoustics in the control room
are just so set and so fixed that that is not an issue.
We're not going [A] into a favorite room in [F#m] New York
or Nashville [C#] or L.A. and try to create that vibe.
We want to go where the vibe is.
You see [D#m] me now on a two-way [A#m]
street
And [G#m] [D#m] I stayed [G#m] on a long [F#] way Highway [D#m] Love
I was told it was going to be kind [G] of a bluesier type [A#m] of album,
but when I heard all the songs, there was a lot of [G#] R [F#]&B type stuff
and some great original material as [Fm] well.
And then it hit [G] me in the middle of the night,
like, we've got to record at Royal.
[C#] [E]
[C#m] Both Steve and I have [F#m] worked at Willie [F#] Mitch Royal Studios,
[E] one of our real great common loves
is the music that came out of High Records in Memphis.
[F#m] The Al Green [B] material in particular is iconic to both of [E] us.
I'm
[C#m] a soulful [F#m] baby
[F#] I can come home to [E] you
That [C#m] sound and that feel, that vibe is a good part [G] of where [E] we come from.
[C#] I can't [F#m] imagine
[G#m] Me [F#m]
leaving you
Wasting our [G#m]
time
[A] When I want to, woo, [C] [F] with you [E] baby
So good [A] to be here
[Am] It seemed impossible,
[E] but we cut [C#] 13 songs in three days
[F#m] with no real rush or terrible urgency about it.
[G#m] In the [F#m] meantime, saying hello to [B] the 20 or 30 [F#m] musicians
who [G#m] wanted to come by and [A] say hi.
[F#m]
And stuff [G] was just coming up.
[D] [C]
[Bm] [Am]
[F] [G]
[D] I'm watered [C] down, you are [Bm] lean
[G] My
[D] baby's [C] the girl [Bm] of the corner
[G] [D] She's a charmer [C] like you've [Bm] never seen
[Am] Zingin' boo-lay, [F] boo-lay, boo-lay, [Em] boo
[G] It's [D] really in keeping [C] with the spirit [Bm] of this kind of recording.
[G] It used [D] to be that [C] when you worked in muscle [Bm] shows,
or you worked at, [G] say, American [D] Studios,
[G] if you're Aretha Franklin [Bm] or Wilson [Am] Pickett or whoever,
[Em] you're given a week [F] to do it.
[Em] You come in on Monday morning,
you walk out Saturday with an album.
[D]
[G] Just the fact that we had a limited time
gave it that urgency [D] and that vibe.
[G]
[D]
Candles [G] lit
Eyes are slit
[D] Jumping out
[G]
They flip
[D] Making moves
[G]
To sail the ship [D] Tapping, tapping [G] Moving lips
She's a mixed [D]-up sugar girl
[A] Got me so strung out, I [D] don't know what to [G] do
She's a mixed [A]-up, mixed-up sugar [D] girl
[G]
[D]
[G]
[N]
I've got dust on my shoes.
[G]
[D]
[A] [G] I've got dust on my shoes.
You need me, frackish dream.
We're, as I speak, in Memphis,
where we're mixing our new record.
[C#]
This [D] album is primarily [N] classic material,
songs that have just been favorites
that I [E] just love to sing.
[A]
My baby's gone
[E] to [A] Canada, oh
to Canada, oh
When I was approached to [E] produce
a new Boz Kaggs album,
[A] I couldn't believe it.
I said, Jimmy, of course, this is amazing.
So I started thinking of people I wanted to play on it,
and [E] they [Am] all lived down south,
and it became very clear that we needed [D#] to come to [A] Memphis
to make this record.
She's a [E] Cadillac bomb [A] Cadillac bomb
My father [G] grew up [Dm] here, my [E] grandfather grew up here,
and [Em] although I've never lived here,
it felt like [A] something of a homecoming.
She [C] said, oh
But [Dm] also, I was looking [Em] for one of those [Am] situations
[A] where you have [G] a [Am] room that's connected perhaps
[A] to a small label that [Am] involves a [A] group of musicians
who've been together for a long time,
and which microphone [D] placement, acoustics in the control room
are just so set and so fixed that that is not an issue.
We're not going [A] into a favorite room in [F#m] New York
or Nashville [C#] or L.A. and try to create that vibe.
We want to go where the vibe is.
You see [D#m] me now on a two-way [A#m]
street
And [G#m] [D#m] I stayed [G#m] on a long [F#] way Highway [D#m] Love
I was told it was going to be kind [G] of a bluesier type [A#m] of album,
but when I heard all the songs, there was a lot of [G#] R [F#]&B type stuff
and some great original material as [Fm] well.
And then it hit [G] me in the middle of the night,
like, we've got to record at Royal.
[C#] [E]
[C#m] Both Steve and I have [F#m] worked at Willie [F#] Mitch Royal Studios,
[E] one of our real great common loves
is the music that came out of High Records in Memphis.
[F#m] The Al Green [B] material in particular is iconic to both of [E] us.
I'm
[C#m] a soulful [F#m] baby
[F#] I can come home to [E] you
That [C#m] sound and that feel, that vibe is a good part [G] of where [E] we come from.
[C#] I can't [F#m] imagine
[G#m] Me [F#m]
leaving you
Wasting our [G#m]
time
[A] When I want to, woo, [C] [F] with you [E] baby
So good [A] to be here
[Am] It seemed impossible,
[E] but we cut [C#] 13 songs in three days
[F#m] with no real rush or terrible urgency about it.
[G#m] In the [F#m] meantime, saying hello to [B] the 20 or 30 [F#m] musicians
who [G#m] wanted to come by and [A] say hi.
[F#m]
And stuff [G] was just coming up.
[D] [C]
[Bm] [Am]
[F] [G]
[D] I'm watered [C] down, you are [Bm] lean
[G] My
[D] baby's [C] the girl [Bm] of the corner
[G] [D] She's a charmer [C] like you've [Bm] never seen
[Am] Zingin' boo-lay, [F] boo-lay, boo-lay, [Em] boo
[G] It's [D] really in keeping [C] with the spirit [Bm] of this kind of recording.
[G] It used [D] to be that [C] when you worked in muscle [Bm] shows,
or you worked at, [G] say, American [D] Studios,
[G] if you're Aretha Franklin [Bm] or Wilson [Am] Pickett or whoever,
[Em] you're given a week [F] to do it.
[Em] You come in on Monday morning,
you walk out Saturday with an album.
[D]
[G] Just the fact that we had a limited time
gave it that urgency [D] and that vibe.
[G]
[D]
Candles [G] lit
Eyes are slit
[D] Jumping out
[G]
They flip
[D] Making moves
[G]
To sail the ship [D] Tapping, tapping [G] Moving lips
She's a mixed [D]-up sugar girl
[A] Got me so strung out, I [D] don't know what to [G] do
She's a mixed [A]-up, mixed-up sugar [D] girl
[G]
[D]
[G]
[N]
Key:
G
D
A
E
F#m
G
D
A
[D] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ I've got dust on my shoes.
[G] _ _ _ _
_ [D] _ _ _ _ _ _ _
_ [A] _ [G] I've got dust on my shoes.
You need me, frackish dream. _
_ We're, as I speak, in Memphis,
where we're mixing our new record.
_ [C#] _
This [D] album is primarily [N] classic material,
songs that have just been favorites
that I [E] just love to sing.
[A]
My _ _ _ _ baby's gone
_ [E] _ to [A] Canada, oh _
to _ Canada, oh
When I was approached to [E] produce
a new Boz Kaggs album,
[A] I couldn't believe it.
I said, Jimmy, of course, this is amazing.
So I started thinking of people I wanted to play on it,
and [E] they [Am] all lived down south,
and it became very clear that we _ needed [D#] to come to [A] Memphis
to make this record.
She's a [E] Cadillac bomb _ _ _ _ [A] Cadillac bomb
My father [G] grew up [Dm] here, my [E] grandfather grew up here,
and [Em] although I've never lived here,
it felt like [A] something of a _ homecoming.
She [C] said, oh
_ _ But [Dm] also, I was looking [Em] for one of those [Am] situations
_ _ [A] where you have [G] a [Am] room that's connected perhaps
[A] to a small label that [Am] involves a [A] group of musicians
who've been together for a long time,
and which microphone [D] placement, acoustics in the control room
are just so set and so fixed that that is not an issue.
We're not going [A] into a favorite room in [F#m] New York
or Nashville [C#] or L.A. and try to _ create that vibe.
We want to go where the vibe is.
You see [D#m] me now on a two-way [A#m]
street
_ _ _ And [G#m] [D#m] I stayed [G#m] on a long [F#] way _ Highway _ _ _ [D#m] Love
I was told it was going to be kind [G] of a bluesier type [A#m] of album, _
but when I heard all the songs, there was a lot of [G#] R [F#]&B type stuff
and some great original material as [Fm] well.
And then it hit [G] me in the middle of the night,
like, we've got to record at Royal.
_ [C#] _ [E] _ _ _ _ _ _
[C#m] _ _ _ _ _ Both Steve and I have [F#m] worked at Willie [F#] Mitch Royal Studios,
[E] one of our real great common loves
is the music that came out of High Records in Memphis.
[F#m] The Al Green [B] material in particular _ is iconic to both of [E] us.
_ _ _ I'm _
_ [C#m] a soulful [F#m] baby _
_ _ [F#] I can come home to [E] you
_ _ _ That [C#m] sound and that feel, that vibe is a good part [G] of where [E] we come from.
_ _ _ [C#] _ I can't [F#m] imagine
_ _ [G#m] Me _ [F#m] _
leaving you
_ _ Wasting our [G#m] _
time
[A] When I want to, woo, [C] [F] with you [E] baby
_ So good [A] to be here
_ _ [Am] _ It seemed impossible,
[E] _ _ but we cut [C#] 13 songs in three days
_ _ [F#m] with no real rush or terrible urgency about it.
[G#m] In the [F#m] meantime, saying hello to [B] the 20 or 30 [F#m] musicians
who [G#m] wanted to come by and [A] say hi.
_ [F#m]
And stuff [G] was just coming up. _ _ _
_ _ _ _ [D] _ _ _ [C] _
_ _ [Bm] _ _ _ [Am] _ _ _
[F] _ _ _ [G] _ _ _ _ _
_ _ _ [D] I'm watered [C] down, you are [Bm] lean
_ _ [G] My _
[D] _ baby's [C] the girl [Bm] of the corner
_ [G] _ _ [D] She's a charmer [C] like you've [Bm] never seen
_ [Am] Zingin' boo-lay, [F] boo-lay, boo-lay, [Em] boo _ _ _ _
[G] It's _ _ [D] really in keeping [C] with the spirit [Bm] of this kind of recording.
[G] _ It used [D] to be that [C] when you worked in muscle [Bm] shows,
or you worked at, [G] say, American [D] Studios,
[G] if you're Aretha Franklin [Bm] or Wilson [Am] Pickett or whoever,
[Em] you're given a week [F] to do it.
[Em] You come in on Monday morning,
you walk out Saturday with an album.
[D] _ _ _
_ _ _ [G] Just the fact that we had a limited time
gave it that urgency [D] _ and that vibe.
_ _ _ [G] _ _ _
_ _ _ _ _ [D] _ _ _
_ Candles [G] lit _ _ _
Eyes are slit
_ [D] _ _ _ Jumping out
_ [G] _ _ _
They flip
_ _ [D] _ _ _ Making _ moves
[G] _ _
To sail the _ ship [D] _ Tapping, tapping _ _ _ [G] _ Moving _ lips
_ _ _ She's a mixed [D]-up sugar girl
[A] Got me so strung out, I [D] don't know what to [G] do
She's a mixed [A]-up, mixed-up sugar [D] girl _
_ _ _ _ _ [G] _ _ _
_ _ _ _ _ [D] _ _ _
_ _ _ _ _ [G] _ _ _
_ _ _ _ _ _ [N] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ I've got dust on my shoes.
[G] _ _ _ _
_ [D] _ _ _ _ _ _ _
_ [A] _ [G] I've got dust on my shoes.
You need me, frackish dream. _
_ We're, as I speak, in Memphis,
where we're mixing our new record.
_ [C#] _
This [D] album is primarily [N] classic material,
songs that have just been favorites
that I [E] just love to sing.
[A]
My _ _ _ _ baby's gone
_ [E] _ to [A] Canada, oh _
to _ Canada, oh
When I was approached to [E] produce
a new Boz Kaggs album,
[A] I couldn't believe it.
I said, Jimmy, of course, this is amazing.
So I started thinking of people I wanted to play on it,
and [E] they [Am] all lived down south,
and it became very clear that we _ needed [D#] to come to [A] Memphis
to make this record.
She's a [E] Cadillac bomb _ _ _ _ [A] Cadillac bomb
My father [G] grew up [Dm] here, my [E] grandfather grew up here,
and [Em] although I've never lived here,
it felt like [A] something of a _ homecoming.
She [C] said, oh
_ _ But [Dm] also, I was looking [Em] for one of those [Am] situations
_ _ [A] where you have [G] a [Am] room that's connected perhaps
[A] to a small label that [Am] involves a [A] group of musicians
who've been together for a long time,
and which microphone [D] placement, acoustics in the control room
are just so set and so fixed that that is not an issue.
We're not going [A] into a favorite room in [F#m] New York
or Nashville [C#] or L.A. and try to _ create that vibe.
We want to go where the vibe is.
You see [D#m] me now on a two-way [A#m]
street
_ _ _ And [G#m] [D#m] I stayed [G#m] on a long [F#] way _ Highway _ _ _ [D#m] Love
I was told it was going to be kind [G] of a bluesier type [A#m] of album, _
but when I heard all the songs, there was a lot of [G#] R [F#]&B type stuff
and some great original material as [Fm] well.
And then it hit [G] me in the middle of the night,
like, we've got to record at Royal.
_ [C#] _ [E] _ _ _ _ _ _
[C#m] _ _ _ _ _ Both Steve and I have [F#m] worked at Willie [F#] Mitch Royal Studios,
[E] one of our real great common loves
is the music that came out of High Records in Memphis.
[F#m] The Al Green [B] material in particular _ is iconic to both of [E] us.
_ _ _ I'm _
_ [C#m] a soulful [F#m] baby _
_ _ [F#] I can come home to [E] you
_ _ _ That [C#m] sound and that feel, that vibe is a good part [G] of where [E] we come from.
_ _ _ [C#] _ I can't [F#m] imagine
_ _ [G#m] Me _ [F#m] _
leaving you
_ _ Wasting our [G#m] _
time
[A] When I want to, woo, [C] [F] with you [E] baby
_ So good [A] to be here
_ _ [Am] _ It seemed impossible,
[E] _ _ but we cut [C#] 13 songs in three days
_ _ [F#m] with no real rush or terrible urgency about it.
[G#m] In the [F#m] meantime, saying hello to [B] the 20 or 30 [F#m] musicians
who [G#m] wanted to come by and [A] say hi.
_ [F#m]
And stuff [G] was just coming up. _ _ _
_ _ _ _ [D] _ _ _ [C] _
_ _ [Bm] _ _ _ [Am] _ _ _
[F] _ _ _ [G] _ _ _ _ _
_ _ _ [D] I'm watered [C] down, you are [Bm] lean
_ _ [G] My _
[D] _ baby's [C] the girl [Bm] of the corner
_ [G] _ _ [D] She's a charmer [C] like you've [Bm] never seen
_ [Am] Zingin' boo-lay, [F] boo-lay, boo-lay, [Em] boo _ _ _ _
[G] It's _ _ [D] really in keeping [C] with the spirit [Bm] of this kind of recording.
[G] _ It used [D] to be that [C] when you worked in muscle [Bm] shows,
or you worked at, [G] say, American [D] Studios,
[G] if you're Aretha Franklin [Bm] or Wilson [Am] Pickett or whoever,
[Em] you're given a week [F] to do it.
[Em] You come in on Monday morning,
you walk out Saturday with an album.
[D] _ _ _
_ _ _ [G] Just the fact that we had a limited time
gave it that urgency [D] _ and that vibe.
_ _ _ [G] _ _ _
_ _ _ _ _ [D] _ _ _
_ Candles [G] lit _ _ _
Eyes are slit
_ [D] _ _ _ Jumping out
_ [G] _ _ _
They flip
_ _ [D] _ _ _ Making _ moves
[G] _ _
To sail the _ ship [D] _ Tapping, tapping _ _ _ [G] _ Moving _ lips
_ _ _ She's a mixed [D]-up sugar girl
[A] Got me so strung out, I [D] don't know what to [G] do
She's a mixed [A]-up, mixed-up sugar [D] girl _
_ _ _ _ _ [G] _ _ _
_ _ _ _ _ [D] _ _ _
_ _ _ _ _ [G] _ _ _
_ _ _ _ _ _ [N] _ _