Chords for I Know A Ghost (Album Story)
Tempo:
85.975 bpm
Chords used:
Em
E
Ab
A
Abm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Eb] [Abm] And so this [N] little, you know, East Texas dude comes to the big city and I had, I was wanting to explore some [Ab] of the more organic aspects of the music that I was making previously with the other band.
Banjos and fiddles, I knew that was necessary.
I wanted to make some pork music.
When you get in the big city, you can't get away from that 808 kick [Gb] drum.
There's like an energy and a [Ab] hum to the city and this place is [G] as diverse as [Ab] any [Eb] city in the world.
[Abm] So five years in, I got that ATL down in me.
[Fm] Drake, how [Bb] do you put out, [Abm] you know, three mixtapes in a month?
How do you put 80 songs out into the public sphere and you don't look like you're going to try?
[N] I got to, you know, looking and hanging around folks that [Ab] make music that way.
Here's what you do to make a record like I Know Where It Goes.
You holler at some people who make tracks and you're like, send [Ebm] me some tracks.
And all of a sudden, [Ab] my mind blew apart.
That's how you make music.
You get some tracks and you start writing some tracks.
[Ebm] And all you do is walk into the room, start [Ab] hitting play on some things and suddenly you're going to feel your insides start [F] connecting quickly.
I'm still writing.
I can't stop writing because those [Abm] tracks are hard, man.
We went hard on this.
And yet, we still got that East Texas tall pine tree country boy in there.
And how it works is just don't see the lines, you know.
It's just bringing us together instead of dividing us.
So we start [N] getting the music side of things put together and the songs are coming together.
They're starting to have some cohesiveness about the [Em] whole that you can start seeing that, okay, this might work.
Then I start thinking, [A] who do we need to [Em] pull this off?
[E] We need those features.
You got to have those feats.
And we just got through making America Proudicle.
Well, so Sun comes home.
They throw the party.
I want it to feel like we're at the after party.
And then the party shuts down.
And then what?
Man, of course, you get the misfits.
You get the social club misfits.
And then when you just sing a song like, you know, All My Hope and you've got some of that gospel creeping in, well, you got to get legend.
You [G] got to go get a legend.
I had to call up Miss [A] Mandisa, sure enough.
[Em] Oh my goodness.
It might be the only time I've ever seen this happen, but I'm in the car with my wife and [G] we're listening.
[A] I look over.
We're about to the [Em] bridge.
And I'm like, oh, what's wrong?
And she's got she's all teared up.
It's just beautiful.
I'm like, oh, we've done something.
We've done something now.
When you're talking to church music, goodness gracious, [E] Taya, who's with Hillsong United.
[Em] And I'm telling you, every time Taya opens her mouth, I'm like, I don't know.
I think that's what angels sound like, all of them at the same time.
To see all these people coming together, all these worlds that look like, like what are the misfits doing with Hillsong United on a church music album?
Well, it's because it makes perfect sense.
That's why.
[Bm] [A] So we were like [E] right on the other side of the city facing this way, you know, talking, looking at the train tracks and the train tracks run right along where that's the cotton mill.
When I first got up, I came to Atlanta.
There it is right there in that corner of that building.
One of them look at the train tracks, one of them look right here at the Oakland Cemetery.
It's crazy that here we are standing like I came to Atlanta and here we're looking at where I was, where I'm headed to.
And it goes through a graveyard.
I'll tell you, I was a little nervous when I was like I knew that this is going to be the album type.
I was like this thing when we call the record, I know it goes.
Simple word, two words, Holy Spirit can feel very [A] different than Holy Ghost.
So I'll [E] be, you know, on a plane flight with somebody [Gb] who has no context for [D] church.
[A] And and he's like, what do you do?
I play church music.
Oh, what kind of what does that mean?
That can mean a lot of things.
I'm like, it's like Holy Ghost church music.
And suddenly the guy who [Em] has no context, [D] but there is an issue [Em] at all regarding those two words, the Holy Ghost.
He [Am] gets it.
He kind of has a picture in his head.
Oh, you're talking about some [E] singing, shouting music.
[Em] And and that seemed the closest I could get.
And [Bm] here's the deal.
[Em] Jesus is with his buds and he's like, [Am] man, I'm about to go away.
I'm about to about [Em] to go away.
I'm about to leave you.
But don't panic.
We'll leave my ghost.
He'll be here checking.
So I like already that's like a [Am] that's a story that someone sitting on [Em] a plane flight can resonate with.
But it has no context for discussion about that because we're not stuck in a circular thing.
We're we're from God and we're [B] going back to God.
[E]
[Em] [Bm] Now I know [E] where he goes.
[Em] [C] Now I know where he goes.
Banjos and fiddles, I knew that was necessary.
I wanted to make some pork music.
When you get in the big city, you can't get away from that 808 kick [Gb] drum.
There's like an energy and a [Ab] hum to the city and this place is [G] as diverse as [Ab] any [Eb] city in the world.
[Abm] So five years in, I got that ATL down in me.
[Fm] Drake, how [Bb] do you put out, [Abm] you know, three mixtapes in a month?
How do you put 80 songs out into the public sphere and you don't look like you're going to try?
[N] I got to, you know, looking and hanging around folks that [Ab] make music that way.
Here's what you do to make a record like I Know Where It Goes.
You holler at some people who make tracks and you're like, send [Ebm] me some tracks.
And all of a sudden, [Ab] my mind blew apart.
That's how you make music.
You get some tracks and you start writing some tracks.
[Ebm] And all you do is walk into the room, start [Ab] hitting play on some things and suddenly you're going to feel your insides start [F] connecting quickly.
I'm still writing.
I can't stop writing because those [Abm] tracks are hard, man.
We went hard on this.
And yet, we still got that East Texas tall pine tree country boy in there.
And how it works is just don't see the lines, you know.
It's just bringing us together instead of dividing us.
So we start [N] getting the music side of things put together and the songs are coming together.
They're starting to have some cohesiveness about the [Em] whole that you can start seeing that, okay, this might work.
Then I start thinking, [A] who do we need to [Em] pull this off?
[E] We need those features.
You got to have those feats.
And we just got through making America Proudicle.
Well, so Sun comes home.
They throw the party.
I want it to feel like we're at the after party.
And then the party shuts down.
And then what?
Man, of course, you get the misfits.
You get the social club misfits.
And then when you just sing a song like, you know, All My Hope and you've got some of that gospel creeping in, well, you got to get legend.
You [G] got to go get a legend.
I had to call up Miss [A] Mandisa, sure enough.
[Em] Oh my goodness.
It might be the only time I've ever seen this happen, but I'm in the car with my wife and [G] we're listening.
[A] I look over.
We're about to the [Em] bridge.
And I'm like, oh, what's wrong?
And she's got she's all teared up.
It's just beautiful.
I'm like, oh, we've done something.
We've done something now.
When you're talking to church music, goodness gracious, [E] Taya, who's with Hillsong United.
[Em] And I'm telling you, every time Taya opens her mouth, I'm like, I don't know.
I think that's what angels sound like, all of them at the same time.
To see all these people coming together, all these worlds that look like, like what are the misfits doing with Hillsong United on a church music album?
Well, it's because it makes perfect sense.
That's why.
[Bm] [A] So we were like [E] right on the other side of the city facing this way, you know, talking, looking at the train tracks and the train tracks run right along where that's the cotton mill.
When I first got up, I came to Atlanta.
There it is right there in that corner of that building.
One of them look at the train tracks, one of them look right here at the Oakland Cemetery.
It's crazy that here we are standing like I came to Atlanta and here we're looking at where I was, where I'm headed to.
And it goes through a graveyard.
I'll tell you, I was a little nervous when I was like I knew that this is going to be the album type.
I was like this thing when we call the record, I know it goes.
Simple word, two words, Holy Spirit can feel very [A] different than Holy Ghost.
So I'll [E] be, you know, on a plane flight with somebody [Gb] who has no context for [D] church.
[A] And and he's like, what do you do?
I play church music.
Oh, what kind of what does that mean?
That can mean a lot of things.
I'm like, it's like Holy Ghost church music.
And suddenly the guy who [Em] has no context, [D] but there is an issue [Em] at all regarding those two words, the Holy Ghost.
He [Am] gets it.
He kind of has a picture in his head.
Oh, you're talking about some [E] singing, shouting music.
[Em] And and that seemed the closest I could get.
And [Bm] here's the deal.
[Em] Jesus is with his buds and he's like, [Am] man, I'm about to go away.
I'm about to about [Em] to go away.
I'm about to leave you.
But don't panic.
We'll leave my ghost.
He'll be here checking.
So I like already that's like a [Am] that's a story that someone sitting on [Em] a plane flight can resonate with.
But it has no context for discussion about that because we're not stuck in a circular thing.
We're we're from God and we're [B] going back to God.
[E]
[Em] [Bm] Now I know [E] where he goes.
[Em] [C] Now I know where he goes.
Key:
Em
E
Ab
A
Abm
Em
E
Ab
[Eb] _ [Abm] _ _ _ _ And so this [N] little, you know, East Texas dude comes to the big city and I had, I was wanting to explore some [Ab] of the more organic aspects of the music that I was making previously with the other band.
Banjos and fiddles, I knew that was necessary.
I wanted to make some pork music.
When you get in the big city, you can't get away from that 808 kick [Gb] drum.
_ There's like an energy and a [Ab] hum to the city and this place is [G] as diverse as [Ab] any [Eb] city in the world.
[Abm] So five years in, I got that ATL down in me. _ _
_ [Fm] _ _ Drake, how [Bb] do you put out, [Abm] you know, three mixtapes in a month?
How do you put 80 songs out into the public sphere and you don't look like you're going to try?
_ [N] I got to, you know, looking and hanging around folks that [Ab] make music that way.
Here's what you do to make a record like I Know Where It Goes.
You holler at some people who make tracks and you're like, send [Ebm] me some tracks.
And all of a sudden, [Ab] my mind blew apart.
_ That's how you make music.
You get some tracks and you start writing some tracks.
[Ebm] And all you do is walk into the room, start [Ab] hitting play on some things and suddenly you're going to feel your insides start [F] connecting quickly.
I'm still writing.
I can't stop writing because those [Abm] tracks are hard, man.
We went hard on this.
And yet, we still got that East Texas tall pine tree country boy in there.
And how it works is just don't see the lines, you know.
It's just bringing us together instead of dividing us. _ _ _
So we start [N] getting the music side of things put together and the songs are coming together.
They're starting to have some cohesiveness about the [Em] whole that you can start seeing that, okay, this might work.
Then I start thinking, [A] who do we need to [Em] pull this off? _
[E] We need those features.
You got to have those feats.
And we just got through making America Proudicle.
Well, so Sun comes home.
They throw the party.
I want it to feel like we're at the after party.
And then the party shuts down.
And then what? _
Man, of course, you get the misfits.
You get the social club misfits.
And then when you just sing a song like, you know, All My Hope and you've got some of that gospel creeping in, well, you got to get legend.
You [G] got to go get a legend.
I had to call up Miss [A] Mandisa, sure enough.
[Em] Oh my goodness.
It might be the only time I've ever seen this happen, but I'm in the car with my wife and [G] we're listening.
[A] I look over.
We're about to the [Em] bridge.
And I'm like, oh, what's wrong?
And she's got she's all teared up.
It's just beautiful.
I'm like, oh, we've done something.
We've done something now.
_ _ When you're talking to church music, goodness gracious, [E] Taya, who's with Hillsong United.
[Em] And I'm telling you, every time Taya opens her mouth, I'm like, I don't know.
I think that's what angels sound like, all of them at the same time.
To see all these people coming together, all these worlds that look like, like what are the misfits doing with Hillsong United on a church music album?
Well, it's because it makes perfect sense.
That's why. _ _ _ _
_ _ [Bm] [A] So we were like [E] right on the other side of the city facing this way, you know, talking, looking at the train tracks and the train tracks run right along where that's the cotton mill.
When I first got up, I came to Atlanta.
There it is right there in that corner of that building.
One of them look at the train tracks, one of them look right here at the Oakland Cemetery.
It's crazy that here we are standing like I came to Atlanta and here we're looking at where I was, where I'm headed to.
And it goes through a graveyard.
I'll tell you, I was a little nervous when I was like I knew that this is going to be the album type.
I was like this thing when we call the record, I know it goes.
Simple word, two words, Holy Spirit can feel very [A] different than Holy Ghost.
So I'll [E] be, you know, on a plane flight with somebody [Gb] who has no context for [D] church.
[A] And and he's like, what do you do?
I play church music.
Oh, what kind of what does that mean?
That can mean a lot of things.
I'm like, it's like Holy Ghost church music.
And suddenly the guy who [Em] has no context, [D] but there is an issue [Em] at all regarding those two words, the Holy Ghost.
He [Am] gets it.
He kind of has a picture in his head.
Oh, you're talking about some [E] singing, shouting music.
[Em] And and that seemed the closest I could get.
And [Bm] here's the deal.
[Em] Jesus is with his buds and he's like, [Am] man, I'm about to go away.
I'm about to about [Em] to go away.
I'm about to leave you.
But don't panic.
We'll leave my ghost.
He'll be here checking.
So I like already that's like a [Am] that's a story that someone sitting on [Em] a plane flight can resonate with.
But it has no context for discussion about that because we're not stuck in a circular thing.
We're we're from God and we're [B] going back to God.
[E] _
_ _ [Em] _ _ _ _ [Bm] Now I know [E] where he goes.
[Em] _ _ [C] _ _ Now I know where he goes. _ _ _ _ _ _
Banjos and fiddles, I knew that was necessary.
I wanted to make some pork music.
When you get in the big city, you can't get away from that 808 kick [Gb] drum.
_ There's like an energy and a [Ab] hum to the city and this place is [G] as diverse as [Ab] any [Eb] city in the world.
[Abm] So five years in, I got that ATL down in me. _ _
_ [Fm] _ _ Drake, how [Bb] do you put out, [Abm] you know, three mixtapes in a month?
How do you put 80 songs out into the public sphere and you don't look like you're going to try?
_ [N] I got to, you know, looking and hanging around folks that [Ab] make music that way.
Here's what you do to make a record like I Know Where It Goes.
You holler at some people who make tracks and you're like, send [Ebm] me some tracks.
And all of a sudden, [Ab] my mind blew apart.
_ That's how you make music.
You get some tracks and you start writing some tracks.
[Ebm] And all you do is walk into the room, start [Ab] hitting play on some things and suddenly you're going to feel your insides start [F] connecting quickly.
I'm still writing.
I can't stop writing because those [Abm] tracks are hard, man.
We went hard on this.
And yet, we still got that East Texas tall pine tree country boy in there.
And how it works is just don't see the lines, you know.
It's just bringing us together instead of dividing us. _ _ _
So we start [N] getting the music side of things put together and the songs are coming together.
They're starting to have some cohesiveness about the [Em] whole that you can start seeing that, okay, this might work.
Then I start thinking, [A] who do we need to [Em] pull this off? _
[E] We need those features.
You got to have those feats.
And we just got through making America Proudicle.
Well, so Sun comes home.
They throw the party.
I want it to feel like we're at the after party.
And then the party shuts down.
And then what? _
Man, of course, you get the misfits.
You get the social club misfits.
And then when you just sing a song like, you know, All My Hope and you've got some of that gospel creeping in, well, you got to get legend.
You [G] got to go get a legend.
I had to call up Miss [A] Mandisa, sure enough.
[Em] Oh my goodness.
It might be the only time I've ever seen this happen, but I'm in the car with my wife and [G] we're listening.
[A] I look over.
We're about to the [Em] bridge.
And I'm like, oh, what's wrong?
And she's got she's all teared up.
It's just beautiful.
I'm like, oh, we've done something.
We've done something now.
_ _ When you're talking to church music, goodness gracious, [E] Taya, who's with Hillsong United.
[Em] And I'm telling you, every time Taya opens her mouth, I'm like, I don't know.
I think that's what angels sound like, all of them at the same time.
To see all these people coming together, all these worlds that look like, like what are the misfits doing with Hillsong United on a church music album?
Well, it's because it makes perfect sense.
That's why. _ _ _ _
_ _ [Bm] [A] So we were like [E] right on the other side of the city facing this way, you know, talking, looking at the train tracks and the train tracks run right along where that's the cotton mill.
When I first got up, I came to Atlanta.
There it is right there in that corner of that building.
One of them look at the train tracks, one of them look right here at the Oakland Cemetery.
It's crazy that here we are standing like I came to Atlanta and here we're looking at where I was, where I'm headed to.
And it goes through a graveyard.
I'll tell you, I was a little nervous when I was like I knew that this is going to be the album type.
I was like this thing when we call the record, I know it goes.
Simple word, two words, Holy Spirit can feel very [A] different than Holy Ghost.
So I'll [E] be, you know, on a plane flight with somebody [Gb] who has no context for [D] church.
[A] And and he's like, what do you do?
I play church music.
Oh, what kind of what does that mean?
That can mean a lot of things.
I'm like, it's like Holy Ghost church music.
And suddenly the guy who [Em] has no context, [D] but there is an issue [Em] at all regarding those two words, the Holy Ghost.
He [Am] gets it.
He kind of has a picture in his head.
Oh, you're talking about some [E] singing, shouting music.
[Em] And and that seemed the closest I could get.
And [Bm] here's the deal.
[Em] Jesus is with his buds and he's like, [Am] man, I'm about to go away.
I'm about to about [Em] to go away.
I'm about to leave you.
But don't panic.
We'll leave my ghost.
He'll be here checking.
So I like already that's like a [Am] that's a story that someone sitting on [Em] a plane flight can resonate with.
But it has no context for discussion about that because we're not stuck in a circular thing.
We're we're from God and we're [B] going back to God.
[E] _
_ _ [Em] _ _ _ _ [Bm] Now I know [E] where he goes.
[Em] _ _ [C] _ _ Now I know where he goes. _ _ _ _ _ _