Chords for George Harrison Last Film

_ [Em] It's not exactly a _ EPK, but it is a threat to world order as we know [D#] it.
[B] _ _ _ [A] _ _ [Em] _
[B] _ _ _ _ [A] _ _ [E] _ _
_ _ [B] I'll [A] put my boots like they [E] were in the photo.
_ [B] I [A] don't know, my hands are probably like [E] this. _
[B] _ [E] Jail in the name of the Lord and you'll be free.
_ _ Cause the Lord is working [B] for me all the way.
_ _ [G#m] I _ [E] _
_ [C#m] _ _ [B] just think it's [E] [B] updated, it's just focused it again, it's brought it clearer, you know.
[G#m] And it's just pulled it from 1970 _ back up into _ [N] now.
_ No matter what you do, it sounds immediately like George Harrison.
It's cause I probably haven't got a clue.
I think anything, you know, including in the Beatles, we didn't really know anything.
We just followed our gut feeling, you know, we just made it up as we went along.
And I think that's really what you do in life.
What was the first track you actually put together?
I think the first track was Wawa.
[E] _ _ _ _ _
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[F#] _ _ _ _ _ _ _ _
_ _ _ [F#m] I think of [B] you, _ _ [F#m] _ all the things [B] that we've been through. _ _
_ _ [N] _ _ _ When you got the tapes back out here, were you, _ was it, what did you think?
You mean 30 years later?
Yeah, exactly.
_ I thought, _ God, too much echo.
_ Listening to them back, what's your favourite, do you think, listening to them all now?
_ Well, _ you know, I think anytime anybody does an album, it's usually the stuff you've just written, you know, just done the most recent that you like.
Because you, you know, it's more fresh.
So I've just [G] put like these five [F#] extra [Em] tracks on there.
And it's kind of interesting to hear those because [F#] some of them are made up from the demos, [Gm] which in fact [N] were, they weren't even made as demos.
They were, you know, I was working on the record with Phil Spector.
He was going to co-produce with me, so I had to like sing him the tunes so he got an idea of what the songs were about. _ _
The engineer just happened to stick a mic there.
The whole idea of, well, all things must pass is a very philosophical thing.
You know, sunrise doesn't last all morning. _
And, you know, a cloudburst doesn't last all day.
And a sunset doesn't last all evening.
But it's interesting, like this one on there now, Let It Down, which _ the studio version of it is quite good, but it's very big.
You know, I think if I, if I could, I'd like to sometime just reduce the studio ones down a bit.
_ _ _ [B] _
_ I just [F#m] thought it'd be nice just to [B] fiddle about with that one, just because, you know, [F#m] everybody knew it so much.
[B] And because of what [F#m] it's saying, the message [B] is nice and it's got a [E] little mantra going in it.
And [C#m] so, you know, it can [E] become _ [C#m] hypnotic.
So we'll just see what happens if [E] I freshen it up [G#] a little bit.
[F#m] _ [Bm] You know, I [F#m] grew up with just microphones [B] and tape recorders, you know, and [F#m] I kind of like that.
_ _ [B] This [F#m] halfway through, what I also did is instead [B] of coming out of the solo, the guitar [E] instrumental, going back into the [C#m] vocal, I doubled the [E] length of the solo.
[C#m] So the [G#m] guitar part now also plays on after the [C#] part that everybody knew as the guitar solo, and it plays just like the melody.
_ _ _ _ _ [F#m] _
_ _ _ [B] _ _ _ _ [F#m] _
_ _ _ [B] _ _ _ _ [F#m] _
_ _ _ [B] _ _ _ _ [F#m] _
_ _ _ [B] _ _ _ _ [E] _
_ _ _ [C#m] _ _ _ _ [E] _
_ _ _ [C#m] _ _ _ _ [E] _
_ _ _ Righto then.
[F#m] _
_ _ _ [B] _ _ My [F#m] sweet love, _ _ [B] _ _ oh [F#m] my love, _ _ [B] _ my [F#m] sweet love, _ [B] _ _ my [E] sweet love.
_ [C#m] _ I really [E] want to be with you.
[C#m] _ _ _ _ [E] I'd like to see you, Lord, [C#] with me takes a long, [F#m] _
_ _ _ [B] _ _ my [F#m]
sweet love.
_ [B] _ [C#] _ _ _ [G#m] _
_ _ [C#] _ _ My sweet [G#m] love.
_ _ [C#] We did this end bit, we went back to [G#m] a cavern to get [C#] a live atmosphere.
_ [F#] _
_ That's great.
That's marvelous, isn't it?
And [G#m] that is the cavern on the end.
_ [C#] _ _ [F#] When _ [G#m] _
did you write that song?
[C#] Oh, it was in Shea Stadium.
I'm mixed [G#m] up now.
No, they were screaming there.
You [C#m] couldn't have heard them.
They would round you out.
[E] _ _
[Am] And it's not [E] always gonna be [A] this way.
_ [Bm] _ _ All things [A] must _ pass.
[E] _ _
_ _ _ All things must pass away.
_ _ _ [F#] _ _ _ [E] _
_ _ [A] _ _ _ _ _ [E]
So what [N] brings you here?
_ I've come to deliver the guitar.
_ _ It doesn't take long to be from 17 to being 57.
40 years just goes like that.
_ You know, now I understand about 90 year old people who feel like teenagers.
You know, because nothing changes.
It's just the body that changes.
The soul in the body is there at birth and is there at death.
And the only thing that's changed is the bodily condition.
So, you know, all this stuff about where _ age groups fit or don't fit,
or where the music belonging to age groups fits or doesn't fit, is stupid.
It's all just in _ somebody's concept.
And all they do is limit _ the potential of the marketplace for the audience.
_ _ _ _ _ _ [D] _ [E] _ _ _ _ _ _ _ _
[B] _ _ _ _ _ _ _ [C#] _
_ _ _ [F#m] _ _ [G] _ _ _
_ _ [D] _ _ _ [E] _ _ [B] _
_ [A] _ _ _ [E] _ _ _ [B] _
[A] _ _ _ [E] _ _ _ [B] _ _
[A] _ _ _ [B] _ [E] _ [B] _ _ [A] _