Chords for Carolina Chocolate Drops Preview "Genuine Negro Jig"
Tempo:
140.2 bpm
Chords used:
G
Gm
C
D
Dm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G]
Justin Robinson, I play [Cm] fiddle and [D] five string banjo, [C] jug,
[Eb] otter harp, [G] and human beatbox.
[C]
[G] My name is Rhiannon Giddens.
I [C] play [G] the [Fm] five [G] string banjo, the fiddle, and the [C] kazoo.
[Gm]
[G] Don [Gm] Flemmons, [G]
I play the guitar, the four string [Gm] banjo,
the harmonica, the jug, the snare drum, the [C] bones, [Gm] quills.
[Cm] [G]
[C] [Gm] We've all seen examples of people [Cm] who [B] very [Cm] reverently
recreate traditional music, [G] and it becomes,
it's already [D] a relic even as it's happening in real [Gm] time.
But then there are people like the Chocolate Drops, I think,
[Cm] who, as [E] much as you [D] can talk about the [Gm] tradition with them,
they have studied it, [Bb] but [Gm] nothing about their performance
seems to suggest that they're trapped by it.
[G]
The first one we're going to play for you is [D] a piece called
Don't Get Trouble in Your [G] Mind.
[C]
[G] I grew up in Greensboro, North Carolina.
I heard some bluegrass music and jazz records
and sang a lot [C] of folk songs like Peter Polymery,
that [G] kind of stuff, Rona.
I'm originally from Phoenix, Arizona.
A lot of the southern music I heard [E] came [C] from records
and it came from [G] libraries.
After a certain point, I started getting into the pre-war blues
and country and old-time music and jazz
and just learning [D] [G] songs.
I was playing on the [C] street corner.
[G] I grew up in a musical household.
My mom sang opera and played cello.
My [D] sister played the piano.
[G] [C] So I played the violin as a kid.
You need a [G] copperhead to watch your neck
Don't get trouble in your mind
Don't get trouble in your mind
I found out about something called
the Black Banjo Players Then and Now,
and it was an online group.
And I was like, gosh, it would [C] be so cool
to be in a black string band one day.
I was like, no, that's never gonna happen.
[G] They were gonna have a gathering
the next year in April in Boone, North Carolina.
And this fella here came all the way from Arizona.
[C] And Justin got a speeding ticket one day
[G] trying to get there, and that's where we all met.
[Ab] We don't have any particular [Gm] source for material,
like not any one place.
So what we try and do is that what works, works.
So if that's an original song
or if that's a song that is, you know, 120 [Dm] years old
[Gm] or if it's a song that somebody else has done recently
in the last [F] 2 years or something,
[G] we'll take it and use it
and do whatever we need to with it.
[D] [G]
[Dm] [G]
Are we reenactors or are we interpreters?
I think we all feel like we're interpreters
because we're living [Fm] human beings
that [Gm] have had our own, you know,
we've listened to different music,
we've grown up in this world,
not in a world with no running water.
And we can only [F] bring what [Gm] we have to the song.
[G] While he was scheming, I was [Dm] beaming
[G] And his beamer just beaming
Can't [Dm] believe that I [G] caught my man cheating
So [Dm] I found another [G] way to make him pay for it [Fm] all
[Gm] So I went [G] to Neiman [Dm] Marcus on a [G] shopping spree
And on [Dm] the way I grabbed [G] Soleil and Mia
And [Dm] as the cash box [Gm] rang, I threw [Dm] every [G] coin [Dm] away
The name of the album is Genuine [Gm] Negro Jig
It's [G] based on what it means to [F] be black
is [G] changing in America very fast.
It's almost like America has known it and been ready,
but actually like saying it out loud
and saying that we're different
than we were at one point,
you know, that's a [D] part of it.
[Bm] [D]
[Bm] [D]
And the waters flow and the grasses grow
In a pretty easy way
Give me enough of that pain
No stuff that's made to gobble me
One of the things we love is that when we do a show
and a black person will come up
and they'll be almost furtive, you know,
and they'll go, you know, I always love this music.
It's almost like they're getting it off their chest.
They're like, I love country music!
You know, it's just like, I'm glad
that we could help you with that, you know.
[N]
Justin Robinson, I play [Cm] fiddle and [D] five string banjo, [C] jug,
[Eb] otter harp, [G] and human beatbox.
[C]
[G] My name is Rhiannon Giddens.
I [C] play [G] the [Fm] five [G] string banjo, the fiddle, and the [C] kazoo.
[Gm]
[G] Don [Gm] Flemmons, [G]
I play the guitar, the four string [Gm] banjo,
the harmonica, the jug, the snare drum, the [C] bones, [Gm] quills.
[Cm] [G]
[C] [Gm] We've all seen examples of people [Cm] who [B] very [Cm] reverently
recreate traditional music, [G] and it becomes,
it's already [D] a relic even as it's happening in real [Gm] time.
But then there are people like the Chocolate Drops, I think,
[Cm] who, as [E] much as you [D] can talk about the [Gm] tradition with them,
they have studied it, [Bb] but [Gm] nothing about their performance
seems to suggest that they're trapped by it.
[G]
The first one we're going to play for you is [D] a piece called
Don't Get Trouble in Your [G] Mind.
[C]
[G] I grew up in Greensboro, North Carolina.
I heard some bluegrass music and jazz records
and sang a lot [C] of folk songs like Peter Polymery,
that [G] kind of stuff, Rona.
I'm originally from Phoenix, Arizona.
A lot of the southern music I heard [E] came [C] from records
and it came from [G] libraries.
After a certain point, I started getting into the pre-war blues
and country and old-time music and jazz
and just learning [D] [G] songs.
I was playing on the [C] street corner.
[G] I grew up in a musical household.
My mom sang opera and played cello.
My [D] sister played the piano.
[G] [C] So I played the violin as a kid.
You need a [G] copperhead to watch your neck
Don't get trouble in your mind
Don't get trouble in your mind
I found out about something called
the Black Banjo Players Then and Now,
and it was an online group.
And I was like, gosh, it would [C] be so cool
to be in a black string band one day.
I was like, no, that's never gonna happen.
[G] They were gonna have a gathering
the next year in April in Boone, North Carolina.
And this fella here came all the way from Arizona.
[C] And Justin got a speeding ticket one day
[G] trying to get there, and that's where we all met.
[Ab] We don't have any particular [Gm] source for material,
like not any one place.
So what we try and do is that what works, works.
So if that's an original song
or if that's a song that is, you know, 120 [Dm] years old
[Gm] or if it's a song that somebody else has done recently
in the last [F] 2 years or something,
[G] we'll take it and use it
and do whatever we need to with it.
[D] [G]
[Dm] [G]
Are we reenactors or are we interpreters?
I think we all feel like we're interpreters
because we're living [Fm] human beings
that [Gm] have had our own, you know,
we've listened to different music,
we've grown up in this world,
not in a world with no running water.
And we can only [F] bring what [Gm] we have to the song.
[G] While he was scheming, I was [Dm] beaming
[G] And his beamer just beaming
Can't [Dm] believe that I [G] caught my man cheating
So [Dm] I found another [G] way to make him pay for it [Fm] all
[Gm] So I went [G] to Neiman [Dm] Marcus on a [G] shopping spree
And on [Dm] the way I grabbed [G] Soleil and Mia
And [Dm] as the cash box [Gm] rang, I threw [Dm] every [G] coin [Dm] away
The name of the album is Genuine [Gm] Negro Jig
It's [G] based on what it means to [F] be black
is [G] changing in America very fast.
It's almost like America has known it and been ready,
but actually like saying it out loud
and saying that we're different
than we were at one point,
you know, that's a [D] part of it.
[Bm] [D]
[Bm] [D]
And the waters flow and the grasses grow
In a pretty easy way
Give me enough of that pain
No stuff that's made to gobble me
One of the things we love is that when we do a show
and a black person will come up
and they'll be almost furtive, you know,
and they'll go, you know, I always love this music.
It's almost like they're getting it off their chest.
They're like, I love country music!
You know, it's just like, I'm glad
that we could help you with that, you know.
[N]
Key:
G
Gm
C
D
Dm
G
Gm
C
[G] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ Justin Robinson, I play [Cm] fiddle and [D] five string banjo, [C] jug,
[Eb] otter harp, [G] and human beatbox.
_ _ [C] _ _
[G] _ _ _ My name is Rhiannon Giddens.
I [C] play [G] the [Fm] five [G] string banjo, the fiddle, and the [C] kazoo. _ _ _
[Gm] _ _ _ _ _ _ _ _
_ [G] _ Don [Gm] Flemmons, _ [G] _ _
I play the guitar, the four string [Gm] banjo,
the harmonica, the jug, the snare drum, the [C] bones, [Gm] _ quills. _ _ _ _
_ _ _ _ [Cm] _ _ [G] _ _
_ _ _ _ [C] _ [Gm] _ We've all seen examples of people [Cm] who [B] very [Cm] reverently
recreate traditional music, [G] and it becomes,
it's already [D] a relic even as it's happening in real [Gm] time.
But then there are people like the Chocolate Drops, I think,
[Cm] who, as [E] much as you [D] can talk about the [Gm] tradition with them,
they have studied it, [Bb] but [Gm] nothing about their performance
seems to suggest that they're trapped by it. _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [G] _ _ _
The first one we're going to play for you is [D] a piece called
Don't Get Trouble in Your [G] Mind. _ _ _
_ _ _ [C] _ _ _ _ _
_ [G] _ _ _ I grew up in Greensboro, North Carolina.
I heard some bluegrass music and _ jazz records
and _ sang a lot [C] of folk songs like Peter Polymery,
that [G] kind of stuff, Rona. _ _ _ _ _
_ _ _ _ _ I'm originally from Phoenix, Arizona.
A lot of the southern music I heard [E] came [C] from records
and it came from _ [G] libraries.
After a certain point, I started getting into the pre-war blues
and country and old-time music and jazz
and just learning [D] [G] songs.
I was playing on the [C] street corner. _ _ _ _ _
_ [G] _ _ _ _ I grew up in a musical _ household.
_ My mom sang opera and played cello.
My [D] sister played the piano.
[G] _ [C] So I played the violin as a kid.
You need a [G] copperhead to watch your neck
Don't get trouble in your mind
Don't get trouble in your mind
I found out about something called
the Black Banjo Players Then and Now,
and it was an online group.
And I was like, gosh, it would [C] be so cool
to be in a black string band one day.
I was like, no, that's never gonna happen.
[G] They were gonna have a gathering
the next year in April in Boone, North Carolina.
_ And _ this fella here came all the way from Arizona.
_ [C] And Justin got a speeding ticket one day
[G] trying to get there, and that's where we all met. _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [Ab] We don't have any particular _ [Gm] source for material,
like not any one place.
So what we try and do is that what works, works.
So if that's an original song
or if that's a song that is, you know, 120 [Dm] years old
[Gm] or if it's a song that somebody else has done recently
in the last [F] 2 years or something,
[G] we'll take it and use it
and do whatever we need to with it.
_ _ [D] _ _ [G] _ _ _
_ _ _ _ _ _ _ _
[Dm] _ [G] _ _ _ _ _ _ _
_ Are we reenactors or are we interpreters?
I think we all feel like we're interpreters
because we're living [Fm] human beings
that [Gm] have had our own, you know,
we've listened to different music,
we've grown up in this world,
not in a world with no running water.
_ And we can only [F] bring what [Gm] we have to the song.
[G] While he was scheming, I was [Dm] beaming
[G] And his beamer just beaming
Can't [Dm] believe that I [G] caught my man cheating
So [Dm] I found another [G] way to make him pay for it [Fm] all
[Gm] So I went [G] to Neiman [Dm] Marcus on a [G] shopping spree
And on [Dm] the way I grabbed [G] Soleil and Mia
And [Dm] as the cash box [Gm] rang, I threw [Dm] every [G] coin [Dm] away
The name of the album is Genuine [Gm] Negro Jig _ _
_ It's [G] based on what it means to [F] be black
is [G] changing in America very fast.
It's almost like America has known it and been ready,
but actually like saying it out loud
and saying that we're different
than we were at one point,
you know, _ _ _ _ that's a [D] part of it. _ _ _
_ _ _ [Bm] _ _ _ [D] _ _
_ _ _ _ _ _ _ _
_ _ _ _ [Bm] _ _ _ [D] _
_ _ _ _ _ _ And the waters flow and the grasses grow
In a pretty easy way
Give me enough of that pain
No stuff that's made to gobble me
One of the things we love is that when we do a show
and a black person will come up
and they'll be almost furtive, you know,
and they'll go, you know, I always love this music. _ _
It's almost like they're getting it off their chest.
They're like, I love country music!
You know, it's just like, I'm glad
that we could help you with that, you know. _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [N] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ Justin Robinson, I play [Cm] fiddle and [D] five string banjo, [C] jug,
[Eb] otter harp, [G] and human beatbox.
_ _ [C] _ _
[G] _ _ _ My name is Rhiannon Giddens.
I [C] play [G] the [Fm] five [G] string banjo, the fiddle, and the [C] kazoo. _ _ _
[Gm] _ _ _ _ _ _ _ _
_ [G] _ Don [Gm] Flemmons, _ [G] _ _
I play the guitar, the four string [Gm] banjo,
the harmonica, the jug, the snare drum, the [C] bones, [Gm] _ quills. _ _ _ _
_ _ _ _ [Cm] _ _ [G] _ _
_ _ _ _ [C] _ [Gm] _ We've all seen examples of people [Cm] who [B] very [Cm] reverently
recreate traditional music, [G] and it becomes,
it's already [D] a relic even as it's happening in real [Gm] time.
But then there are people like the Chocolate Drops, I think,
[Cm] who, as [E] much as you [D] can talk about the [Gm] tradition with them,
they have studied it, [Bb] but [Gm] nothing about their performance
seems to suggest that they're trapped by it. _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [G] _ _ _
The first one we're going to play for you is [D] a piece called
Don't Get Trouble in Your [G] Mind. _ _ _
_ _ _ [C] _ _ _ _ _
_ [G] _ _ _ I grew up in Greensboro, North Carolina.
I heard some bluegrass music and _ jazz records
and _ sang a lot [C] of folk songs like Peter Polymery,
that [G] kind of stuff, Rona. _ _ _ _ _
_ _ _ _ _ I'm originally from Phoenix, Arizona.
A lot of the southern music I heard [E] came [C] from records
and it came from _ [G] libraries.
After a certain point, I started getting into the pre-war blues
and country and old-time music and jazz
and just learning [D] [G] songs.
I was playing on the [C] street corner. _ _ _ _ _
_ [G] _ _ _ _ I grew up in a musical _ household.
_ My mom sang opera and played cello.
My [D] sister played the piano.
[G] _ [C] So I played the violin as a kid.
You need a [G] copperhead to watch your neck
Don't get trouble in your mind
Don't get trouble in your mind
I found out about something called
the Black Banjo Players Then and Now,
and it was an online group.
And I was like, gosh, it would [C] be so cool
to be in a black string band one day.
I was like, no, that's never gonna happen.
[G] They were gonna have a gathering
the next year in April in Boone, North Carolina.
_ And _ this fella here came all the way from Arizona.
_ [C] And Justin got a speeding ticket one day
[G] trying to get there, and that's where we all met. _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [Ab] We don't have any particular _ [Gm] source for material,
like not any one place.
So what we try and do is that what works, works.
So if that's an original song
or if that's a song that is, you know, 120 [Dm] years old
[Gm] or if it's a song that somebody else has done recently
in the last [F] 2 years or something,
[G] we'll take it and use it
and do whatever we need to with it.
_ _ [D] _ _ [G] _ _ _
_ _ _ _ _ _ _ _
[Dm] _ [G] _ _ _ _ _ _ _
_ Are we reenactors or are we interpreters?
I think we all feel like we're interpreters
because we're living [Fm] human beings
that [Gm] have had our own, you know,
we've listened to different music,
we've grown up in this world,
not in a world with no running water.
_ And we can only [F] bring what [Gm] we have to the song.
[G] While he was scheming, I was [Dm] beaming
[G] And his beamer just beaming
Can't [Dm] believe that I [G] caught my man cheating
So [Dm] I found another [G] way to make him pay for it [Fm] all
[Gm] So I went [G] to Neiman [Dm] Marcus on a [G] shopping spree
And on [Dm] the way I grabbed [G] Soleil and Mia
And [Dm] as the cash box [Gm] rang, I threw [Dm] every [G] coin [Dm] away
The name of the album is Genuine [Gm] Negro Jig _ _
_ It's [G] based on what it means to [F] be black
is [G] changing in America very fast.
It's almost like America has known it and been ready,
but actually like saying it out loud
and saying that we're different
than we were at one point,
you know, _ _ _ _ that's a [D] part of it. _ _ _
_ _ _ [Bm] _ _ _ [D] _ _
_ _ _ _ _ _ _ _
_ _ _ _ [Bm] _ _ _ [D] _
_ _ _ _ _ _ And the waters flow and the grasses grow
In a pretty easy way
Give me enough of that pain
No stuff that's made to gobble me
One of the things we love is that when we do a show
and a black person will come up
and they'll be almost furtive, you know,
and they'll go, you know, I always love this music. _ _
It's almost like they're getting it off their chest.
They're like, I love country music!
You know, it's just like, I'm glad
that we could help you with that, you know. _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [N] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _