Chords for Daniel Lanois, Jolie Louise - Vidéo exclusive FEQ 2014
Tempo:
72.15 bpm
Chords used:
G
Bm
B
D
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Bm] [G] I come from east of Gatineau.
[Bm] My name is Jean-Guy [A] Majoli.
J'ai une [D] maison à la Fontaine, where we will live, [G] if you marry me.
[D] Belle maison à la Fontaine, where [G] we will live, you [C] and me.
Oh, oh, oh Louise, my [G] Jolly Louise, my Jolly Louise.
Le matin au soleil, I will work till work is done.
Le matin au soleil, [Bm] I did work till work was done.
Then one day, the poor man said, [C] Jean-Guy, we must [G] let you go.
C [Bm]'est pas bon, c'est pas bon, [Em] mother milk anymore.
Oh, [G] oh, oh Louise, I'm losing my head, I'm losing my head.
My kids are small, foreign-speak, [Bm] la bouteille, [G] she's mon amie.
I drink their rum till I can't see, it hides the shame Louise does not see.
The [Bm] carousel turns [D] in my head, I can't [C] hide, no, [G] no, no, no.
[Bm] And the rage turn in my head, [Em] Louise.
[C] I struck her down, down on the ground, I'm [G] losing my mind, I'm losing my mind.
Sept-hommes, soixante-trois, [D] kids are gone and [G] so is Louise.
Taddy-o, they did go, de la ville de Toronto.
[Bm] Now my tears, they are all down to les joues.
[G] Ah, la, la, la, as I [D] remember the days [Em] and the promises [C] that we made.
Oh, oh, oh Louise, ma [G] jolie Louise, ma jolie Louise.
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh.
[Bm] So, I mean, it's a pretty self-explanatory song, you [G] know.
Lots of promises.
They have kids, he loses his job, hits the bottle, [B] hits her, boom, she's gone.
Simple, eh?
Yep.
Still goes on, except now there's courtrooms, but back then, no courtrooms.
My mother, gone, never talked to them again.
[A] She was a strong [G] woman and a sad story, but an amazing song.
I think the, what's fascinating about songs, I mean, that's like a two and a half minute song,
[B] you can tell a hugely long tale in a short amount of time.
It's a whole movie in itself in two or three minutes.
It's kind of amazing as a medium to work with.
[Em] And you definitely produce magical [Bm] records.
I want to talk about a few of them.
You [C#] started in 84 working with U2 and [B] Brian Eno for a long [Bm] time.
Anything you want to say about that?
[B] Well, I was already working in Canada with Brian Eno.
From 79 to 83, we made a lot of ambient records in Hamilton.
Beautiful instrumental records.
[C] And that's how we developed [B] this textured [E] sound.
And then when the opportunity came to work with U2, well, we brought something to the table.
[B] We were very excited about this new way of processing sound.
That became the sound signature for U2.
[Bm] Yes, that record, Unforgettable Fire, had quite an expansive [Am] sound and a lot of texture.
[C] And so we, given that's what [A] we were excited about,
they embraced it because they were looking to find something new sonically for themselves.
[G] So it was a good marriage at that time.
[Am] I think everyone would agree on that.
86, Peter [Bm] Gabriel, so?
Different.
Yeah, Peter Gabriel, he heard one of the ambient records, a record called The Pearl, [B] that I made with Eno.
And decided to take a chance on me.
And he just called up out of the blue and the next morning I [A] was on the plane.
I [G] went to the West Country of England to work with him.
It [D] was a soundtrack for [F] a film called Birdie.
Young [Dm] Nicholas Kaye, he's a very good film.
A young man who comes back from [G] Vietnam, shell-shocked.
[F] He's perched like a bird.
[B] So Peter said, there's my library, take anything you want out of there and do whatever you want to it.
And let's start making a soundtrack [F] for this film.
So that was my introduction.
[Gm] And that went well and then he invited me to [B] do his next [G] singing record.
The after record called So.
An amazing [D] record.
[B] And I really loved Peter.
[Bm] When I first met him I thought he was [G] somebody I'd known in the past.
As soon as I saw him, I thought, oh, I know this guy from before.
Would you work with him again?
Oh yeah, man.
I've worked with [B] him a lot.
We made three albums and [A] then I mixed all his hits in 5.1.
[Bm] I mean, [G] we [B] haven't formalized a new work relationship or anything.
I'm always available.
Dylan or Mercy?
Well, you know, my agent at the time, Bono, got me the gig with Bob Dylan.
[Bm] Yeah, I read that somewhere.
And [C] I think it was, [B] he felt that Bob needed somebody in his corner who would tell him the truth.
[G] [A] [Bm] Aside from [B] anything else, I'm not about to let something slip through my [Bm] fingers because I'm on good behavior.
So I wanted to make sure that I could make the best record possible for Bob.
And I think he felt my level of commitment.
It's together that we managed to make that beautiful [B] work.
I'm not saying it was easy, but to [D] work with somebody that iconic,
I
[Bm] My name is Jean-Guy [A] Majoli.
J'ai une [D] maison à la Fontaine, where we will live, [G] if you marry me.
[D] Belle maison à la Fontaine, where [G] we will live, you [C] and me.
Oh, oh, oh Louise, my [G] Jolly Louise, my Jolly Louise.
Le matin au soleil, I will work till work is done.
Le matin au soleil, [Bm] I did work till work was done.
Then one day, the poor man said, [C] Jean-Guy, we must [G] let you go.
C [Bm]'est pas bon, c'est pas bon, [Em] mother milk anymore.
Oh, [G] oh, oh Louise, I'm losing my head, I'm losing my head.
My kids are small, foreign-speak, [Bm] la bouteille, [G] she's mon amie.
I drink their rum till I can't see, it hides the shame Louise does not see.
The [Bm] carousel turns [D] in my head, I can't [C] hide, no, [G] no, no, no.
[Bm] And the rage turn in my head, [Em] Louise.
[C] I struck her down, down on the ground, I'm [G] losing my mind, I'm losing my mind.
Sept-hommes, soixante-trois, [D] kids are gone and [G] so is Louise.
Taddy-o, they did go, de la ville de Toronto.
[Bm] Now my tears, they are all down to les joues.
[G] Ah, la, la, la, as I [D] remember the days [Em] and the promises [C] that we made.
Oh, oh, oh Louise, ma [G] jolie Louise, ma jolie Louise.
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh.
[Bm] So, I mean, it's a pretty self-explanatory song, you [G] know.
Lots of promises.
They have kids, he loses his job, hits the bottle, [B] hits her, boom, she's gone.
Simple, eh?
Yep.
Still goes on, except now there's courtrooms, but back then, no courtrooms.
My mother, gone, never talked to them again.
[A] She was a strong [G] woman and a sad story, but an amazing song.
I think the, what's fascinating about songs, I mean, that's like a two and a half minute song,
[B] you can tell a hugely long tale in a short amount of time.
It's a whole movie in itself in two or three minutes.
It's kind of amazing as a medium to work with.
[Em] And you definitely produce magical [Bm] records.
I want to talk about a few of them.
You [C#] started in 84 working with U2 and [B] Brian Eno for a long [Bm] time.
Anything you want to say about that?
[B] Well, I was already working in Canada with Brian Eno.
From 79 to 83, we made a lot of ambient records in Hamilton.
Beautiful instrumental records.
[C] And that's how we developed [B] this textured [E] sound.
And then when the opportunity came to work with U2, well, we brought something to the table.
[B] We were very excited about this new way of processing sound.
That became the sound signature for U2.
[Bm] Yes, that record, Unforgettable Fire, had quite an expansive [Am] sound and a lot of texture.
[C] And so we, given that's what [A] we were excited about,
they embraced it because they were looking to find something new sonically for themselves.
[G] So it was a good marriage at that time.
[Am] I think everyone would agree on that.
86, Peter [Bm] Gabriel, so?
Different.
Yeah, Peter Gabriel, he heard one of the ambient records, a record called The Pearl, [B] that I made with Eno.
And decided to take a chance on me.
And he just called up out of the blue and the next morning I [A] was on the plane.
I [G] went to the West Country of England to work with him.
It [D] was a soundtrack for [F] a film called Birdie.
Young [Dm] Nicholas Kaye, he's a very good film.
A young man who comes back from [G] Vietnam, shell-shocked.
[F] He's perched like a bird.
[B] So Peter said, there's my library, take anything you want out of there and do whatever you want to it.
And let's start making a soundtrack [F] for this film.
So that was my introduction.
[Gm] And that went well and then he invited me to [B] do his next [G] singing record.
The after record called So.
An amazing [D] record.
[B] And I really loved Peter.
[Bm] When I first met him I thought he was [G] somebody I'd known in the past.
As soon as I saw him, I thought, oh, I know this guy from before.
Would you work with him again?
Oh yeah, man.
I've worked with [B] him a lot.
We made three albums and [A] then I mixed all his hits in 5.1.
[Bm] I mean, [G] we [B] haven't formalized a new work relationship or anything.
I'm always available.
Dylan or Mercy?
Well, you know, my agent at the time, Bono, got me the gig with Bob Dylan.
[Bm] Yeah, I read that somewhere.
And [C] I think it was, [B] he felt that Bob needed somebody in his corner who would tell him the truth.
[G] [A] [Bm] Aside from [B] anything else, I'm not about to let something slip through my [Bm] fingers because I'm on good behavior.
So I wanted to make sure that I could make the best record possible for Bob.
And I think he felt my level of commitment.
It's together that we managed to make that beautiful [B] work.
I'm not saying it was easy, but to [D] work with somebody that iconic,
I
Key:
G
Bm
B
D
C
G
Bm
B
_ _ _ _ _ _ _ _
_ _ [Bm] _ _ _ [G] I come from east of Gatineau.
[Bm] My name is Jean-Guy [A] Majoli.
J'ai une [D] maison à la Fontaine, where we will live, [G] if you marry me.
[D] Belle maison à la Fontaine, where [G] we will live, you [C] and me.
Oh, oh, oh Louise, my [G] Jolly Louise, my Jolly Louise. _
Le matin au soleil, I will work till work is done.
Le matin au soleil, [Bm] I did work till work was done.
Then one day, the poor man said, [C] Jean-Guy, we must [G] let you go.
C [Bm]'est pas bon, c'est pas bon, [Em] mother milk anymore.
Oh, [G] oh, oh Louise, I'm losing my head, I'm losing my head.
My kids are small, foreign-speak, [Bm] la bouteille, [G] she's mon amie.
I drink their rum till I can't see, it hides the shame Louise does not see.
The [Bm] carousel turns [D] in my head, I can't [C] hide, no, [G] no, no, no.
[Bm] And the rage turn in my head, [Em] Louise.
[C] I struck her down, down on the ground, I'm [G] losing my mind, I'm losing my mind.
Sept-hommes, soixante-trois, [D] kids are gone and [G] so is Louise.
Taddy-o, they did go, de la ville de Toronto.
[Bm] Now my tears, they are all down to les joues.
[G] Ah, la, la, la, as I [D] remember the days [Em] and the promises [C] that we made.
Oh, oh, oh Louise, ma [G] jolie Louise, ma jolie Louise.
_ Oh, oh, _ _ oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh. _
_ [Bm] So, I mean, it's a pretty self-explanatory song, you [G] know.
Lots of promises.
They have kids, he loses his job, hits the bottle, [B] hits her, boom, she's gone.
_ Simple, eh?
Yep.
Still goes on, except now there's courtrooms, but back then, no courtrooms.
My mother, gone, never talked to them again.
_ [A] She was a strong [G] woman and a sad story, but an amazing song.
I think the, _ what's fascinating about songs, I mean, that's like a two and a half minute song,
[B] you can tell a hugely long tale in a short amount of time.
It's a whole movie in itself in two or three minutes.
It's kind of amazing as a medium to work with.
[Em] And you definitely produce magical [Bm] records.
I want to talk about a few of them.
You [C#] started in 84 working with U2 and [B] Brian Eno for a long [Bm] time.
Anything you want to say about that?
[B] Well, I was already working in Canada with Brian Eno.
From 79 to 83, we made a lot of ambient records in Hamilton.
Beautiful instrumental records.
[C] And that's how we developed [B] this textured [E] sound.
And then when the opportunity came to work with U2, well, we brought something to the table.
[B] We were very excited about this new way of processing sound.
That became the sound signature for U2.
[Bm] Yes, that record, Unforgettable Fire, had quite an expansive [Am] sound and a lot of texture.
[C] And so we, given that's what [A] we were excited about,
they embraced it because they were looking to _ find something new sonically for themselves.
[G] So it was a good marriage at that time.
[Am] I think everyone would agree on that.
86, Peter [Bm] Gabriel, so?
_ Different.
Yeah, Peter Gabriel, he heard one of the ambient records, a record called The Pearl, [B] that I made with Eno.
And decided to take a chance on me.
And he just called up out of the blue and the next morning I [A] was on the plane.
I [G] went to the West Country of England to work with him.
It [D] was a soundtrack for [F] a film called Birdie.
Young [Dm] Nicholas Kaye, he's a very good film.
A young man who comes back from [G] Vietnam, shell-shocked.
[F] He's perched like a bird.
[B] So Peter said, there's my library, take anything you want out of there and do whatever you want to it.
And let's start making a soundtrack [F] for this film.
So that was my introduction.
[Gm] And that went well and then he invited me to [B] do his next [G] singing record.
The after record called So.
An amazing [D] record.
[B] And I really loved Peter.
[Bm] When I first met him I thought he was [G] somebody I'd known in the past.
As soon as I saw him, I thought, oh, I know this guy from before.
Would you work with him again?
Oh yeah, man.
I've worked with [B] him a lot.
We made three albums and [A] then I mixed all his hits in 5.1.
[Bm] I mean, _ [G] _ we [B] haven't formalized a new work relationship or anything.
I'm always available.
_ Dylan or Mercy?
Well, you know, my agent at the time, Bono, got me the gig with Bob Dylan.
[Bm] Yeah, I read that somewhere.
And [C] I think it was, [B] he felt that Bob needed somebody in his corner who would tell him the truth.
[G] _ _ [A] _ [Bm] Aside from [B] anything else, I'm not about to let something slip through my [Bm] fingers because I'm on good behavior.
So I wanted to make sure that I could make the best record possible for Bob.
And I think he felt my level of commitment.
It's together that we managed to make that beautiful [B] work. _
_ I'm not saying it was easy, but to [D] work with somebody that iconic,
I
_ _ [Bm] _ _ _ [G] I come from east of Gatineau.
[Bm] My name is Jean-Guy [A] Majoli.
J'ai une [D] maison à la Fontaine, where we will live, [G] if you marry me.
[D] Belle maison à la Fontaine, where [G] we will live, you [C] and me.
Oh, oh, oh Louise, my [G] Jolly Louise, my Jolly Louise. _
Le matin au soleil, I will work till work is done.
Le matin au soleil, [Bm] I did work till work was done.
Then one day, the poor man said, [C] Jean-Guy, we must [G] let you go.
C [Bm]'est pas bon, c'est pas bon, [Em] mother milk anymore.
Oh, [G] oh, oh Louise, I'm losing my head, I'm losing my head.
My kids are small, foreign-speak, [Bm] la bouteille, [G] she's mon amie.
I drink their rum till I can't see, it hides the shame Louise does not see.
The [Bm] carousel turns [D] in my head, I can't [C] hide, no, [G] no, no, no.
[Bm] And the rage turn in my head, [Em] Louise.
[C] I struck her down, down on the ground, I'm [G] losing my mind, I'm losing my mind.
Sept-hommes, soixante-trois, [D] kids are gone and [G] so is Louise.
Taddy-o, they did go, de la ville de Toronto.
[Bm] Now my tears, they are all down to les joues.
[G] Ah, la, la, la, as I [D] remember the days [Em] and the promises [C] that we made.
Oh, oh, oh Louise, ma [G] jolie Louise, ma jolie Louise.
_ Oh, oh, _ _ oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh. _
_ [Bm] So, I mean, it's a pretty self-explanatory song, you [G] know.
Lots of promises.
They have kids, he loses his job, hits the bottle, [B] hits her, boom, she's gone.
_ Simple, eh?
Yep.
Still goes on, except now there's courtrooms, but back then, no courtrooms.
My mother, gone, never talked to them again.
_ [A] She was a strong [G] woman and a sad story, but an amazing song.
I think the, _ what's fascinating about songs, I mean, that's like a two and a half minute song,
[B] you can tell a hugely long tale in a short amount of time.
It's a whole movie in itself in two or three minutes.
It's kind of amazing as a medium to work with.
[Em] And you definitely produce magical [Bm] records.
I want to talk about a few of them.
You [C#] started in 84 working with U2 and [B] Brian Eno for a long [Bm] time.
Anything you want to say about that?
[B] Well, I was already working in Canada with Brian Eno.
From 79 to 83, we made a lot of ambient records in Hamilton.
Beautiful instrumental records.
[C] And that's how we developed [B] this textured [E] sound.
And then when the opportunity came to work with U2, well, we brought something to the table.
[B] We were very excited about this new way of processing sound.
That became the sound signature for U2.
[Bm] Yes, that record, Unforgettable Fire, had quite an expansive [Am] sound and a lot of texture.
[C] And so we, given that's what [A] we were excited about,
they embraced it because they were looking to _ find something new sonically for themselves.
[G] So it was a good marriage at that time.
[Am] I think everyone would agree on that.
86, Peter [Bm] Gabriel, so?
_ Different.
Yeah, Peter Gabriel, he heard one of the ambient records, a record called The Pearl, [B] that I made with Eno.
And decided to take a chance on me.
And he just called up out of the blue and the next morning I [A] was on the plane.
I [G] went to the West Country of England to work with him.
It [D] was a soundtrack for [F] a film called Birdie.
Young [Dm] Nicholas Kaye, he's a very good film.
A young man who comes back from [G] Vietnam, shell-shocked.
[F] He's perched like a bird.
[B] So Peter said, there's my library, take anything you want out of there and do whatever you want to it.
And let's start making a soundtrack [F] for this film.
So that was my introduction.
[Gm] And that went well and then he invited me to [B] do his next [G] singing record.
The after record called So.
An amazing [D] record.
[B] And I really loved Peter.
[Bm] When I first met him I thought he was [G] somebody I'd known in the past.
As soon as I saw him, I thought, oh, I know this guy from before.
Would you work with him again?
Oh yeah, man.
I've worked with [B] him a lot.
We made three albums and [A] then I mixed all his hits in 5.1.
[Bm] I mean, _ [G] _ we [B] haven't formalized a new work relationship or anything.
I'm always available.
_ Dylan or Mercy?
Well, you know, my agent at the time, Bono, got me the gig with Bob Dylan.
[Bm] Yeah, I read that somewhere.
And [C] I think it was, [B] he felt that Bob needed somebody in his corner who would tell him the truth.
[G] _ _ [A] _ [Bm] Aside from [B] anything else, I'm not about to let something slip through my [Bm] fingers because I'm on good behavior.
So I wanted to make sure that I could make the best record possible for Bob.
And I think he felt my level of commitment.
It's together that we managed to make that beautiful [B] work. _
_ I'm not saying it was easy, but to [D] work with somebody that iconic,
I