Chords for David Crosby: "What we got right, and what we got wrong" Live on BRI.TV
Tempo:
94.975 bpm
Chords used:
E
D
C
Ab
Bb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Jam Along & Learn...
What do you see when you [Eb] look back on [D] your early writing that still continues to be very popular?
You say you had no [E] hits, but there are certainly songs of yours [N] that endure and have endured for decades.
see that [E] now with some perspective?
the same to you or do you [C] see them in a different light?
love.
I've written tons of them.
I
communication.
You say you had no [E] hits, but there are certainly songs of yours [N] that endure and have endured for decades.
see that [E] now with some perspective?
the same to you or do you [C] see them in a different light?
love.
I've written tons of them.
I
communication.
100% ➙ 95BPM
E
D
C
Ab
Bb
E
D
C
_ _ _ _ _ _ _ _
_ What do you see when you [Eb] look back on [D] your early writing that still continues to be very popular?
You say you had no [E] hits, but there are certainly songs of yours [N] that endure and have endured for decades.
[D] They were written at a different time in your life.
How do you see that [E] now with some perspective?
Do they still appear the same to you or do you [C] see them in a different light?
[E] The biggest continuing threat [Dbm] is love.
[N] I write love songs.
Over and over. _
I've written tons of them.
_ And that's what's taking me.
_ _ _ _ _ _ _ _
_ I_
[E] Sometimes songs engender streams of _ communication.
_ _ It's interesting to look back on.
Like, wouldn't shit.
_ _ You know, things are getting kind of screwed [F] up, we're going to sail away to some place
where it'll be better.
I've inspired [E] Jackson to write _ for everyone.
_ It's a [C] direct answer. _
_ _ _ That gives you some perspective.
[N] _
_ Well, what about all those of us who don't have a sailing boat, David?
You know.
_ _ _ I look back on the things that I've said and I don't think we were wrong about a whole
lot of stuff.
I think the ideas that we espoused in the 60s are probably mostly right.
[Ab] The main thing we were wrong about was drugs.
Hard drugs _ absolutely, completely ruin.
They ruin your [E] creativity, they ruin your life, they ruin your [C] family, they ruin everything. _
_ We were wrong about that.
_ _ Not wrong about civil rights.
Not wrong [N] about women's rights.
Not wrong about war.
War being a terrible, terrible thing.
There are so many musicians who produced great music under the influence of drugs of various types.
And sometimes [Em] people looking back say that was their best [E] period when they were most
tortured and most under the influence.
[D] Is there any currency to that or is that?
I don't think so.
[Db] I think it's a thing that a [E] lot of musicians say.
You know, they have to have tortured lives because that's where they're out of the turmoil
[Ab] comes the most.
_ You know, you look at Coltrane, you look at great musicians, stunners, you know.
_ Look how many we lost.
Just look at that.
_ Janis, Jimmy, _ _ _ yeah, probably more than that.
[E] How good would Janis [N] Joplin be singing by now?
How good would Jimi Hendrix be playing by now? _
How hard could John Volusia make you laugh by now? _
If they hadn't killed themselves with hard drugs. _ _ _
_ _ _ So no, I don't give any currency to it at all.
I don't give [E] any credence to that theory at all.
My own personal [E] experience was the more hard drugs I did, the [Bb] less I wrote.
_ [E]
And the writing is a direct window into your soul.
_ And at a certain point, you know, the drug use got so intense that the writing stopped.
And it wasn't until I stopped the drug use, _ forcibly by being put in prison, that the
writing came back.
I can only draw one conclusion from that.
[N] Those under the pretext, _ impossible to avoid.
How do you argue with that?
I did more [E] and more drugs and drugs until I couldn't write, stopped doing the drugs,
the writing came back.
I can only [Bb] draw one conclusion. _ _
I've _ [D] talked to a number of recovering _ musicians.
[Eb] And what's interesting [D] is that I think as far as that theory goes, it relates to [D] people
like Jimi [E] and Janice, who in fact [D] had no further chapter to their lives.
And so their great production was prior to their deaths.
But the people who've come through [Ab] and recovered create beautiful things.
_ [E] And we worthwhile lives.
Jesus, look at James Taylor.
[Ab] _ Lord, I'm messy.
He's one of the best [N] singer-songwriters of this century.
_ You know, look at Bonnie.
She'd be a quarter of a day drunk.
Look at her.
Look how she is since she got sober.
Give you a break.
Best singer [Bb] in the world. _
You know, I [C] think you [Bm] hit the nail on the head.
You know, they say, [B] well, it was a great period.
Well, that was because they were young and at the most intense period of creativity they
were going to have, [E] it would have been way better [N] if they hadn't been carrying that load.
_ [Ab] _ What they would have done if they hadn't would have been [E] much more intense and lasted a whole lot longer.
That's my feeling about it.
And I could [C] get a whole lot of people to tell you that they agree [D] with me, who are pretty
good creators of music. _ _ _
_ What do you see when you [Eb] look back on [D] your early writing that still continues to be very popular?
You say you had no [E] hits, but there are certainly songs of yours [N] that endure and have endured for decades.
[D] They were written at a different time in your life.
How do you see that [E] now with some perspective?
Do they still appear the same to you or do you [C] see them in a different light?
[E] The biggest continuing threat [Dbm] is love.
[N] I write love songs.
Over and over. _
I've written tons of them.
_ And that's what's taking me.
_ _ _ _ _ _ _ _
_ I_
[E] Sometimes songs engender streams of _ communication.
_ _ It's interesting to look back on.
Like, wouldn't shit.
_ _ You know, things are getting kind of screwed [F] up, we're going to sail away to some place
where it'll be better.
I've inspired [E] Jackson to write _ for everyone.
_ It's a [C] direct answer. _
_ _ _ That gives you some perspective.
[N] _
_ Well, what about all those of us who don't have a sailing boat, David?
You know.
_ _ _ I look back on the things that I've said and I don't think we were wrong about a whole
lot of stuff.
I think the ideas that we espoused in the 60s are probably mostly right.
[Ab] The main thing we were wrong about was drugs.
Hard drugs _ absolutely, completely ruin.
They ruin your [E] creativity, they ruin your life, they ruin your [C] family, they ruin everything. _
_ We were wrong about that.
_ _ Not wrong about civil rights.
Not wrong [N] about women's rights.
Not wrong about war.
War being a terrible, terrible thing.
There are so many musicians who produced great music under the influence of drugs of various types.
And sometimes [Em] people looking back say that was their best [E] period when they were most
tortured and most under the influence.
[D] Is there any currency to that or is that?
I don't think so.
[Db] I think it's a thing that a [E] lot of musicians say.
You know, they have to have tortured lives because that's where they're out of the turmoil
[Ab] comes the most.
_ You know, you look at Coltrane, you look at great musicians, stunners, you know.
_ Look how many we lost.
Just look at that.
_ Janis, Jimmy, _ _ _ yeah, probably more than that.
[E] How good would Janis [N] Joplin be singing by now?
How good would Jimi Hendrix be playing by now? _
How hard could John Volusia make you laugh by now? _
If they hadn't killed themselves with hard drugs. _ _ _
_ _ _ So no, I don't give any currency to it at all.
I don't give [E] any credence to that theory at all.
My own personal [E] experience was the more hard drugs I did, the [Bb] less I wrote.
_ [E]
And the writing is a direct window into your soul.
_ And at a certain point, you know, the drug use got so intense that the writing stopped.
And it wasn't until I stopped the drug use, _ forcibly by being put in prison, that the
writing came back.
I can only draw one conclusion from that.
[N] Those under the pretext, _ impossible to avoid.
How do you argue with that?
I did more [E] and more drugs and drugs until I couldn't write, stopped doing the drugs,
the writing came back.
I can only [Bb] draw one conclusion. _ _
I've _ [D] talked to a number of recovering _ musicians.
[Eb] And what's interesting [D] is that I think as far as that theory goes, it relates to [D] people
like Jimi [E] and Janice, who in fact [D] had no further chapter to their lives.
And so their great production was prior to their deaths.
But the people who've come through [Ab] and recovered create beautiful things.
_ [E] And we worthwhile lives.
Jesus, look at James Taylor.
[Ab] _ Lord, I'm messy.
He's one of the best [N] singer-songwriters of this century.
_ You know, look at Bonnie.
She'd be a quarter of a day drunk.
Look at her.
Look how she is since she got sober.
Give you a break.
Best singer [Bb] in the world. _
You know, I [C] think you [Bm] hit the nail on the head.
You know, they say, [B] well, it was a great period.
Well, that was because they were young and at the most intense period of creativity they
were going to have, [E] it would have been way better [N] if they hadn't been carrying that load.
_ [Ab] _ What they would have done if they hadn't would have been [E] much more intense and lasted a whole lot longer.
That's my feeling about it.
And I could [C] get a whole lot of people to tell you that they agree [D] with me, who are pretty
good creators of music. _ _ _
