Chords for Grateful Dead - Talkin' Spring '90: The Other One

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_ _ _ [G#m] _ _ [G#m] _ _ _
[C#m] _ [E] _ _ _ _ _ In the spring of 90 we were [B] hot.
Everybody was on fire.
_ Well there's an old saying,
[E] practice makes perfect.
We'd been at it for quite a while at this point and we were [C#m] starting
to get good at it.
[E] Yeah, this is some tight [G#m] stuff.
Tight playing [A#] in this.
[C#m] You know, we
were [E] getting more [G#m] mature as [A] musicians [E] and learning how to play off of [G#m] each other, which
you know, takes work, takes [E] practice. _ _
And also _ getting better with our individual instruments,
_ getting better as singers.
You [A] know, it was all just sort of [E] coming together _ [B] just _ fine.
[A] _ _ _ [B] _ _ [E] _ _ _
_ Jerry was
in particularly [Bm] good shape in that [A] era.
You know, he'd gone through his [E] coma and he was pretty
straight, straight as he _ [G] pretty much ever got.
And so he had a lot of [A] energy and so, you know,
we all fed off of [E] that. _
_ _ _ _ _ _ _ _
_ [Bm] _ _ _ _ _ [A] So my approach is _ [E] try to _ duplicate what is the live [Bm] show as you were to
go there.
[A] He had great seats.
_ Ideally get a [E] mix that kind of [C#m] represents what [E] it's like when you're
live.
So once you get [Bm] the vocals kind of set, then I go back [A] and tailor in the instruments a little
[E] bit.
Usually the last I do is Jerry.
He's the most fun, to be honest.
[D#m] It [Bm] really is the icing on the
cake.
You know, [A] Jerry is where he sits in the mix [B] [E] and sometimes he doesn't have to be very loud to
be _ strong.
[D] Especially with these shows, [A] it's great because just as a mixer, [E] it's a lot easier having
that _ strong instrument to be in the center.
_ [D] I would bet you don't remember if you do this announcement.
_ _ Well, okay, we got a special guest today.
_ [E] _ [C] _ _ _ _
[F#] That's nice.
_ [E] _ [D] You all want to welcome [C#]
[B] Branford Marsalis.
[E] _ _ [A] I didn't think that when I went to the National Acoustic Ensemble it would be packed and filled to the brim with people.
You know, some of them even younger than I was at the [F#] time.
You know, I just didn't, I didn't see that coming. _ _
[A] _ _ _ _ _ [F#m] _ _
We knew it was coming by early afternoon, so everybody was looking forward to that in a big way.
[D] _ And when he stepped on stage, [C] he just bit [A] right in.
He didn't, [C#m] you know, [F#m] I don't think we did a sound check.
I think he just showed up and we started playing.
_ It's like, are you kidding [E] me?
And they [A] didn't have a set list on the [F#m] ground?
And we was just like, okay, what do y'all want to play?
I'm like, yeah, man, [C#] I'm liking this shit.
This is [F#m] nice.
I mean, this is, it's just music.
[Bm] _ [F#m] _ _
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_ [C#m] _ [F#] _ [B] _ _ [F#] _ [A] _ [E] _
[F#] _ _ [E] He [F#m] just seems to know, well, he does.
He just knows exactly what to do with just listening to the [F#] instruments.
You know, he _ _ immediately makes sense of [B] stuff.
For instance, [G] you don't have to tell him what Kia's song is, you just [C] start playing it [G] and he's there.
_ [F] We didn't [C] have to tell him that [G] this song is in 7-4 [C] time, which is kind of unusual.
[G] _ _ [F] Oh yeah, [C] right there.
You [G] know, those aren't regular songs.
[C] It's not just 4-4 [G] with the regular [F] 1-4.
I mean, [E] _ it's just all in all, it's a great [C#m] musical [Am] experience [E] for me.
I come away from [Bm] it better than I was [F#] when I got [Am] there.
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And [D#] most of the [D] work [E] that we did happened [D#] on [E] stage, so we were _ learning to work _ [F#] each other [E] _ and how to blend and [A] how to work [Em] off of what each other was doing.
[Bm] This is us [E] live at our, you know, pretty much at our crackling best. _ _ _ _
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