Chords for CROSBY, STILLS NASH & YOUNG - FIFTY BY FOUR - Movie Trailer
Tempo:
127.65 bpm
Chords used:
B
E
C#
Bm
F#m
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Jam Along & Learn...
[B]
At the close of the 1960s, as the heat dissipated from a decade of rapid, radical changes, cultural revolutions and artistic renovations,
a new type of musician appeared in Los Angeles, California, the singer-songwriter.
Clustered in and around the city's rural canyons, singer-songwriters worked as solo troubadours,
pursuing introspective, lyrical music as a medium [E] of self-expression [B] and personal examination.
[E] [B] Together, they became seen as a new movement, one that had begun with a landmark album from three amongst their [Bm] number,
Crosby, Stills and Nash.
[B] The major contribution, I think, was spearheading that whole singer-songwriter movement of the early 70s.
There was a gap after the Beatles had split up, etc.
There was a need, I think, for a supergroup,
and a supergroup that actually worked, and they were one of the few supergroups, if any,
that genuinely did actually contribute something.
Culturally, there was the beginning of [C#] this sense of moving back to [A] something [E] folkier,
it was a little bit more organic, [B] it was something that seemed more beautiful, actually,
and more internal at the same time, and California really became the centre for that.
Alongside occasional collaborator Neil Young, Crosby, Stills and Nash refused to be labelled a band,
describing themselves as a collection of singer-songwriters,
a loose aggregation of friends free from the inhibiting commitments of the music business.
This is the story of CSNY's experiment, a journey of breakthroughs, breakdowns, triumphs and incredible music,
from the band that claimed it didn't exist.
Four different individuals [C#] playing [B] together, and it wasn't like a band.
It wasn't really a band, it was a [F#m] sort [B] of [F#m] gathering of the [C#] elders, I [B] suppose, in some way.
These four quite different individuals who had formed this sort of alliance.
I have love for every single one of those guys, because they're all headstrong personalities,
and it's amazing that they even came together in the first place.
[E] These guys are all [B] bulls.
Every single one of them have a way about doing their music, period.
Those [E] guys came [B] from a period of time in our history where song content was vitally important to their way of life,
their political opinions, you know, I think they took their music as serious as life and death.
[E] [Bm]
[B]
At the close of the 1960s, as the heat dissipated from a decade of rapid, radical changes, cultural revolutions and artistic renovations,
a new type of musician appeared in Los Angeles, California, the singer-songwriter.
Clustered in and around the city's rural canyons, singer-songwriters worked as solo troubadours,
pursuing introspective, lyrical music as a medium [E] of self-expression [B] and personal examination.
[E] [B] Together, they became seen as a new movement, one that had begun with a landmark album from three amongst their [Bm] number,
Crosby, Stills and Nash.
[B] The major contribution, I think, was spearheading that whole singer-songwriter movement of the early 70s.
There was a gap after the Beatles had split up, etc.
There was a need, I think, for a supergroup,
and a supergroup that actually worked, and they were one of the few supergroups, if any,
that genuinely did actually contribute something.
Culturally, there was the beginning of [C#] this sense of moving back to [A] something [E] folkier,
it was a little bit more organic, [B] it was something that seemed more beautiful, actually,
and more internal at the same time, and California really became the centre for that.
Alongside occasional collaborator Neil Young, Crosby, Stills and Nash refused to be labelled a band,
describing themselves as a collection of singer-songwriters,
a loose aggregation of friends free from the inhibiting commitments of the music business.
This is the story of CSNY's experiment, a journey of breakthroughs, breakdowns, triumphs and incredible music,
from the band that claimed it didn't exist.
Four different individuals [C#] playing [B] together, and it wasn't like a band.
It wasn't really a band, it was a [F#m] sort [B] of [F#m] gathering of the [C#] elders, I [B] suppose, in some way.
These four quite different individuals who had formed this sort of alliance.
I have love for every single one of those guys, because they're all headstrong personalities,
and it's amazing that they even came together in the first place.
[E] These guys are all [B] bulls.
Every single one of them have a way about doing their music, period.
Those [E] guys came [B] from a period of time in our history where song content was vitally important to their way of life,
their political opinions, you know, I think they took their music as serious as life and death.
[E] [Bm]
[B]
100% ➙ 128BPM
B
E
C#
Bm
F#m
B
E
C#
[B] _ _ _ _ _ _ _ _
_ _ _ _ _ At the close of the 1960s, as the heat dissipated from a decade of rapid, radical changes, cultural revolutions and artistic renovations,
a new type of musician appeared in Los Angeles, California, the singer-songwriter.
_ _ _ Clustered in and around the city's rural canyons, singer-songwriters worked as solo troubadours,
pursuing introspective, lyrical music as a medium [E] of self-expression [B] and personal examination.
[E] _ _ [B] Together, they became seen as a new movement, one that had begun with a landmark album from three amongst their [Bm] number,
Crosby, Stills and Nash. _ _
_ [B] The major contribution, I think, was spearheading that whole singer-songwriter movement of the early 70s. _
There was a gap after the Beatles had split up, etc.
There was a need, I think, for _ a supergroup,
and a supergroup that actually worked, and they were one of the few supergroups, if any,
that genuinely did actually contribute something. _ _
Culturally, there was the beginning of [C#] this sense of moving back to [A] something [E] folkier,
it was a little bit more organic, [B] it was something that seemed more beautiful, actually,
_ and more internal at the same time, and California really became the centre for that. _
Alongside occasional collaborator Neil Young, Crosby, Stills and Nash refused to be labelled a band,
describing themselves as a collection of singer-songwriters,
a loose aggregation of friends free from the inhibiting commitments of the music business.
_ This is the story of CSNY's experiment, a journey of breakthroughs, breakdowns, triumphs and incredible music,
from the band that claimed it didn't exist.
Four different individuals [C#] playing [B] together, _ _ _ _ _ and it wasn't like a band.
It wasn't really a band, it was a [F#m] sort [B] of _ _ _ [F#m] gathering of the [C#] elders, I [B] suppose, in some way.
These _ four quite different individuals who had formed this sort of alliance.
I have love for every single one of those guys, because they're all headstrong personalities,
and it's amazing that they even came together in the first place.
_ [E] These guys are all [B] bulls.
Every single one of them have a way about doing their music, period. _
_ Those [E] guys came [B] from a period of time in our history where song content _ was _ vitally important to their way of life,
their political opinions, you know, I think they took their music as serious as life and death.
_ _ _ [E] _ _ _ [Bm] _ _
_ _ _ _ _ [B] _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ At the close of the 1960s, as the heat dissipated from a decade of rapid, radical changes, cultural revolutions and artistic renovations,
a new type of musician appeared in Los Angeles, California, the singer-songwriter.
_ _ _ Clustered in and around the city's rural canyons, singer-songwriters worked as solo troubadours,
pursuing introspective, lyrical music as a medium [E] of self-expression [B] and personal examination.
[E] _ _ [B] Together, they became seen as a new movement, one that had begun with a landmark album from three amongst their [Bm] number,
Crosby, Stills and Nash. _ _
_ [B] The major contribution, I think, was spearheading that whole singer-songwriter movement of the early 70s. _
There was a gap after the Beatles had split up, etc.
There was a need, I think, for _ a supergroup,
and a supergroup that actually worked, and they were one of the few supergroups, if any,
that genuinely did actually contribute something. _ _
Culturally, there was the beginning of [C#] this sense of moving back to [A] something [E] folkier,
it was a little bit more organic, [B] it was something that seemed more beautiful, actually,
_ and more internal at the same time, and California really became the centre for that. _
Alongside occasional collaborator Neil Young, Crosby, Stills and Nash refused to be labelled a band,
describing themselves as a collection of singer-songwriters,
a loose aggregation of friends free from the inhibiting commitments of the music business.
_ This is the story of CSNY's experiment, a journey of breakthroughs, breakdowns, triumphs and incredible music,
from the band that claimed it didn't exist.
Four different individuals [C#] playing [B] together, _ _ _ _ _ and it wasn't like a band.
It wasn't really a band, it was a [F#m] sort [B] of _ _ _ [F#m] gathering of the [C#] elders, I [B] suppose, in some way.
These _ four quite different individuals who had formed this sort of alliance.
I have love for every single one of those guys, because they're all headstrong personalities,
and it's amazing that they even came together in the first place.
_ [E] These guys are all [B] bulls.
Every single one of them have a way about doing their music, period. _
_ Those [E] guys came [B] from a period of time in our history where song content _ was _ vitally important to their way of life,
their political opinions, you know, I think they took their music as serious as life and death.
_ _ _ [E] _ _ _ [Bm] _ _
_ _ _ _ _ [B] _ _ _
_ _ _ _ _ _ _ _