Chords for Graham Nash on Neil Young from Strand Books
Tempo:
94.725 bpm
Chords used:
F#
G#
C#
D#
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
There were many things that we have done to each other that were not nice.
And Neil Young is an unbelievable musician.
And I both respect him and dislike him for the same reason.
And it's this.
Neil Young is completely dedicated to his music.
To the point where, if he doesn't feel it, it's not going to happen.
Right?
So let's say you want to book a tour of Europe.
And you get your crew of 30 people.
They all rearrange their lives.
They all get ready to go.
And the week before, Neil says,
Nah, I'm not feeling it, man.
We're not going.
That's okay for Neil.
And God bless him for following his muse so strongly.
But, there are other people involved.
That's the part that pisses me off.
Is the fact that, you know, when you
If you're going on tour and [F#] you're going to go, and you don't go,
it's hard to get a job because [C#] everybody else has been booked for the summer tour.
So all these 30 people [D#] have got no job.
[G] And they've got mouths to feed.
They've got people to take [F#] care of.
And so I was [N] explaining this to Neil.
And that's what he thought was a pile of shit.
My lunch with Neil could not have gone better.
Obviously, he hasn't read the book.
But [F#] we talked about getting back together.
Now, we haven't performed together [D] since 2006,
when we did the Living With Water, you know, [G#] with Neil.
[N] But we're going to work within, I don't know, three or four weeks
The Bridge benefit in San Francisco.
Neil and Peggy have had for, I think, the last 27 years,
an [A] organization called The Bridge, which deals with children with special needs.
You know, [E] that can't move any part of their body.
But if they can move anything at all,
then they're [G#] developing technology to [N] help them, you know,
access a computer and keep their eye on a certain letter for so many seconds,
and that letter appears on the screen.
And we did the very first one.
We have done five or six since.
And we're going to do the one in October.
Now then, I know Neil.
This is not all that he has in mind.
Because he realizes that the music
Here's what's going on.
I'm 11 mixes from the [A#] end of a [E] 40-song, 3-CD,
possibly 4-CD [A] box set of [F#m] Clarence B.
St.
Matthews' 1974.
We did 31 [C#] shows.
[Bm] Half of them were in [N] stadiums,
and the other half were in gigantic indoor basketball arenas.
The average audience was about [B] 70,000 people.
You try singing in winter, baby, 70,000 people.
No, we tried it without the million people.
Yeah, it didn't [F#] work then either.
But it [N] was
Neil was unbelievably friendly to me.
Not because he wants anything.
Because he is a friend.
We differ in terms of how we want to go about our [F#] lives,
but he's a dear friend, and I think Neil Young would be there for me
if ever I was in trouble.
There's no doubt in my mind that Neil Young would be there for me
if I needed him.
So, the lunch this week was incredible.
[A#]
One of the things we talked about is that
in 1974, there [G#] was no video
[F#] aid [D#] when you go to a sports game.
Right now, in the centre, with those four screens and flashing lights,
there's video all over the place.
But [N] in 1974, nobody ever did that,
except one place at the Capital Centre in Maryland.
And they had just set up
video assistance for sports games.
So they filmed us for one night.
Oh
Now then, it's the line cut,
so there's nothing we can do about it.
There's no different camera angles that we can cut to
if I'm picking my nose or whatever it is.
And Neil, when I first showed it to him
about a year ago, was not happy at all about it.
Because, in his mind,
I think he went back to the moment when we were all totally fucked up.
And it makes him uncomfortable.
So when he sees the video of that time,
that's what he feels like.
Me?
I don't care.
It's 40 years ago, right?
Let's get over it.
Historically, it's very important in a musical world.
This is not Beethoven, it's not Mozart,
it's rock and roll, right?
So, you know, depending on how you feel about how important rock and roll is,
which, you know, I actually think there is
I wish I was going to be alive for another 100 years.
I'd like to know what people [F#] are going to think about the 60s in 100 [N] years time.
It'd be very, very interesting.
Anyway, my point is that
I doctored the videos, I cleaned them up,
I re-showed it to Neil, and now he loves it.
So, we're up and running.
And in my perfect world,
and I have no idea whether this is going to happen at all,
I would love CSNY to go out in 1970,
excuse me, in 2014,
40 years, and play some incredible old music
and some incredible brand new music.
I
And Neil Young is an unbelievable musician.
And I both respect him and dislike him for the same reason.
And it's this.
Neil Young is completely dedicated to his music.
To the point where, if he doesn't feel it, it's not going to happen.
Right?
So let's say you want to book a tour of Europe.
And you get your crew of 30 people.
They all rearrange their lives.
They all get ready to go.
And the week before, Neil says,
Nah, I'm not feeling it, man.
We're not going.
That's okay for Neil.
And God bless him for following his muse so strongly.
But, there are other people involved.
That's the part that pisses me off.
Is the fact that, you know, when you
If you're going on tour and [F#] you're going to go, and you don't go,
it's hard to get a job because [C#] everybody else has been booked for the summer tour.
So all these 30 people [D#] have got no job.
[G] And they've got mouths to feed.
They've got people to take [F#] care of.
And so I was [N] explaining this to Neil.
And that's what he thought was a pile of shit.
My lunch with Neil could not have gone better.
Obviously, he hasn't read the book.
But [F#] we talked about getting back together.
Now, we haven't performed together [D] since 2006,
when we did the Living With Water, you know, [G#] with Neil.
[N] But we're going to work within, I don't know, three or four weeks
The Bridge benefit in San Francisco.
Neil and Peggy have had for, I think, the last 27 years,
an [A] organization called The Bridge, which deals with children with special needs.
You know, [E] that can't move any part of their body.
But if they can move anything at all,
then they're [G#] developing technology to [N] help them, you know,
access a computer and keep their eye on a certain letter for so many seconds,
and that letter appears on the screen.
And we did the very first one.
We have done five or six since.
And we're going to do the one in October.
Now then, I know Neil.
This is not all that he has in mind.
Because he realizes that the music
Here's what's going on.
I'm 11 mixes from the [A#] end of a [E] 40-song, 3-CD,
possibly 4-CD [A] box set of [F#m] Clarence B.
St.
Matthews' 1974.
We did 31 [C#] shows.
[Bm] Half of them were in [N] stadiums,
and the other half were in gigantic indoor basketball arenas.
The average audience was about [B] 70,000 people.
You try singing in winter, baby, 70,000 people.
No, we tried it without the million people.
Yeah, it didn't [F#] work then either.
But it [N] was
Neil was unbelievably friendly to me.
Not because he wants anything.
Because he is a friend.
We differ in terms of how we want to go about our [F#] lives,
but he's a dear friend, and I think Neil Young would be there for me
if ever I was in trouble.
There's no doubt in my mind that Neil Young would be there for me
if I needed him.
So, the lunch this week was incredible.
[A#]
One of the things we talked about is that
in 1974, there [G#] was no video
[F#] aid [D#] when you go to a sports game.
Right now, in the centre, with those four screens and flashing lights,
there's video all over the place.
But [N] in 1974, nobody ever did that,
except one place at the Capital Centre in Maryland.
And they had just set up
video assistance for sports games.
So they filmed us for one night.
Oh
Now then, it's the line cut,
so there's nothing we can do about it.
There's no different camera angles that we can cut to
if I'm picking my nose or whatever it is.
And Neil, when I first showed it to him
about a year ago, was not happy at all about it.
Because, in his mind,
I think he went back to the moment when we were all totally fucked up.
And it makes him uncomfortable.
So when he sees the video of that time,
that's what he feels like.
Me?
I don't care.
It's 40 years ago, right?
Let's get over it.
Historically, it's very important in a musical world.
This is not Beethoven, it's not Mozart,
it's rock and roll, right?
So, you know, depending on how you feel about how important rock and roll is,
which, you know, I actually think there is
I wish I was going to be alive for another 100 years.
I'd like to know what people [F#] are going to think about the 60s in 100 [N] years time.
It'd be very, very interesting.
Anyway, my point is that
I doctored the videos, I cleaned them up,
I re-showed it to Neil, and now he loves it.
So, we're up and running.
And in my perfect world,
and I have no idea whether this is going to happen at all,
I would love CSNY to go out in 1970,
excuse me, in 2014,
40 years, and play some incredible old music
and some incredible brand new music.
I
Key:
F#
G#
C#
D#
A
F#
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C#
_ _ There were many things that we have done to each other that were not nice.
_ And Neil Young is an unbelievable musician.
And I both respect him and dislike him for the same reason.
And it's this.
Neil Young is completely dedicated to his music.
_ To the point where, if he doesn't feel it, it's not going to happen.
Right?
So let's say you want to book a tour of Europe.
And you get your crew of 30 people.
They all rearrange their lives.
They all get ready to go.
And the week before, Neil says,
Nah, I'm not feeling it, man.
We're not going.
That's okay for Neil.
And God bless him for following his muse so strongly.
_ But, there are other people involved.
That's the part that pisses me off.
Is the fact that, you know, when you_
_ _ If you're going on tour and [F#] you're going to go, and you don't go,
it's hard to get a job because [C#] everybody else has been booked for the summer tour.
So all these 30 people [D#] have got no job.
[G] And they've got mouths to feed.
They've got people to take [F#] care of.
And so I was [N] explaining this to Neil.
And that's what he thought was a pile of shit. _ _
_ My lunch with Neil could not have gone better. _ _
Obviously, he hasn't read the book. _ _ _ _
_ _ _ _ _ _ _ _
But [F#] we talked about getting back together.
Now, we haven't performed together [D] since 2006,
when we did the Living With Water, you know, [G#] with Neil.
_ [N] But we're going to work within, I don't know, three or four weeks
The Bridge benefit in San Francisco.
Neil and Peggy have had for, I think, the last 27 years,
an [A] organization called The Bridge, which deals with children with special needs.
You know, [E] that can't move any part of their body.
But if they can move anything at all,
then they're [G#] developing technology to [N] help them, you know,
access a computer and keep their eye on a certain letter for so many seconds,
and that letter appears on the screen.
And we did the very first one.
We have done five or six since.
And we're going to do the one in October.
Now then, I know Neil.
_ _ This is not all that he has in mind. _
Because he realizes that the music_
Here's what's going on.
I'm 11 mixes from the [A#] end of a [E] 40-song, 3-CD,
possibly 4-CD [A] box set of [F#m] Clarence B.
St.
Matthews' 1974.
We did 31 [C#] shows.
[Bm] Half of them were in [N] stadiums,
and the other half were in gigantic indoor basketball arenas.
The average audience was about [B] 70,000 people.
You try singing in winter, baby, 70,000 people.
No, we tried it without the million people.
Yeah, it didn't [F#] work then either. _ _
But it [N] _ was_
_ Neil was unbelievably friendly to me.
Not because he wants anything.
Because he is a friend.
_ We differ in terms of how we want to go about our [F#] lives,
but he's a dear friend, and I think Neil Young would be there for me
if ever I was in trouble.
There's no doubt in my mind that Neil Young would be there for me
if I needed him.
So, the lunch this week was incredible.
[A#] _ _
One of the things we talked about is that
in 1974, there [G#] was no video
[F#] aid [D#] when you go to a sports game.
Right now, in the centre, with those four screens and flashing lights,
there's video all over the place.
But [N] in 1974, nobody ever did that,
except one place at the Capital Centre in Maryland.
And they had just set up
video assistance for sports games.
So they filmed us for one night.
Oh_
Now then, it's the line cut,
so there's nothing we can do about it.
There's no different camera angles that we can cut to
if I'm picking my nose or whatever it is.
_ _ _ And Neil, when I first showed it to him
about a year ago, was not happy at all about it.
Because, _ in his mind,
I think he went back to the moment when we were all totally fucked up.
And it makes him uncomfortable.
So when he sees the video of that time,
that's what he feels like.
Me?
I don't care.
It's 40 years ago, right?
Let's get over it.
Historically, it's very important in a musical world.
This is not Beethoven, it's not Mozart,
it's rock and roll, right?
So, you know, depending on how you feel about how important rock and roll is,
which, you know, I actually think there is_ _ _
_ I wish I was going to be alive for another 100 years.
I'd like to know what people [F#] are going to think about the 60s in 100 [N] years time.
It'd be very, very interesting.
Anyway, my point is that
I doctored the videos, I cleaned them up,
I re-showed it to Neil, and now he loves it.
So, we're up and running.
And in my perfect world,
and I have no idea whether this is going to happen at all,
I would love CSNY to go out in 1970,
excuse me, in 2014,
40 years, and play some incredible old music
and some incredible brand new music.
I
_ And Neil Young is an unbelievable musician.
And I both respect him and dislike him for the same reason.
And it's this.
Neil Young is completely dedicated to his music.
_ To the point where, if he doesn't feel it, it's not going to happen.
Right?
So let's say you want to book a tour of Europe.
And you get your crew of 30 people.
They all rearrange their lives.
They all get ready to go.
And the week before, Neil says,
Nah, I'm not feeling it, man.
We're not going.
That's okay for Neil.
And God bless him for following his muse so strongly.
_ But, there are other people involved.
That's the part that pisses me off.
Is the fact that, you know, when you_
_ _ If you're going on tour and [F#] you're going to go, and you don't go,
it's hard to get a job because [C#] everybody else has been booked for the summer tour.
So all these 30 people [D#] have got no job.
[G] And they've got mouths to feed.
They've got people to take [F#] care of.
And so I was [N] explaining this to Neil.
And that's what he thought was a pile of shit. _ _
_ My lunch with Neil could not have gone better. _ _
Obviously, he hasn't read the book. _ _ _ _
_ _ _ _ _ _ _ _
But [F#] we talked about getting back together.
Now, we haven't performed together [D] since 2006,
when we did the Living With Water, you know, [G#] with Neil.
_ [N] But we're going to work within, I don't know, three or four weeks
The Bridge benefit in San Francisco.
Neil and Peggy have had for, I think, the last 27 years,
an [A] organization called The Bridge, which deals with children with special needs.
You know, [E] that can't move any part of their body.
But if they can move anything at all,
then they're [G#] developing technology to [N] help them, you know,
access a computer and keep their eye on a certain letter for so many seconds,
and that letter appears on the screen.
And we did the very first one.
We have done five or six since.
And we're going to do the one in October.
Now then, I know Neil.
_ _ This is not all that he has in mind. _
Because he realizes that the music_
Here's what's going on.
I'm 11 mixes from the [A#] end of a [E] 40-song, 3-CD,
possibly 4-CD [A] box set of [F#m] Clarence B.
St.
Matthews' 1974.
We did 31 [C#] shows.
[Bm] Half of them were in [N] stadiums,
and the other half were in gigantic indoor basketball arenas.
The average audience was about [B] 70,000 people.
You try singing in winter, baby, 70,000 people.
No, we tried it without the million people.
Yeah, it didn't [F#] work then either. _ _
But it [N] _ was_
_ Neil was unbelievably friendly to me.
Not because he wants anything.
Because he is a friend.
_ We differ in terms of how we want to go about our [F#] lives,
but he's a dear friend, and I think Neil Young would be there for me
if ever I was in trouble.
There's no doubt in my mind that Neil Young would be there for me
if I needed him.
So, the lunch this week was incredible.
[A#] _ _
One of the things we talked about is that
in 1974, there [G#] was no video
[F#] aid [D#] when you go to a sports game.
Right now, in the centre, with those four screens and flashing lights,
there's video all over the place.
But [N] in 1974, nobody ever did that,
except one place at the Capital Centre in Maryland.
And they had just set up
video assistance for sports games.
So they filmed us for one night.
Oh_
Now then, it's the line cut,
so there's nothing we can do about it.
There's no different camera angles that we can cut to
if I'm picking my nose or whatever it is.
_ _ _ And Neil, when I first showed it to him
about a year ago, was not happy at all about it.
Because, _ in his mind,
I think he went back to the moment when we were all totally fucked up.
And it makes him uncomfortable.
So when he sees the video of that time,
that's what he feels like.
Me?
I don't care.
It's 40 years ago, right?
Let's get over it.
Historically, it's very important in a musical world.
This is not Beethoven, it's not Mozart,
it's rock and roll, right?
So, you know, depending on how you feel about how important rock and roll is,
which, you know, I actually think there is_ _ _
_ I wish I was going to be alive for another 100 years.
I'd like to know what people [F#] are going to think about the 60s in 100 [N] years time.
It'd be very, very interesting.
Anyway, my point is that
I doctored the videos, I cleaned them up,
I re-showed it to Neil, and now he loves it.
So, we're up and running.
And in my perfect world,
and I have no idea whether this is going to happen at all,
I would love CSNY to go out in 1970,
excuse me, in 2014,
40 years, and play some incredible old music
and some incredible brand new music.
I