Chords for Jack Lee "Hanging on the Telephone"
Tempo:
145.95 bpm
Chords used:
G
Gm
Eb
A
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[F] I go walk past the bookstore and I look and in the thing was [Gm] the display for Bob Dylan's [F] book and I walked in there and I sat down on my haunches and I read it, half of it, [Eb] right there on the spot.
And [G] it just all came to [Gm] me that, that, [G] that there was, that the only thing that really [Eb] meant anything to anything was if you wrote your [Gm] own song.
Right.
[G] So that was a major, major revelation [Eb] for me.
The [G] Illustrated Beatles, I'm probably [Bb] getting a title on, [G] but I'm leaping through there [F] and I'm, I'm having no idea how to, [C] what a song is, because all [Gm] I did, I was always [Cm] a player, I was always, [C] this, that.
[Gm] And I go through there [Cm] and I'm, I'm [Eb] noticing the patterns [F] of how the songs were put [Gm] together.
I'm sort of seeing it for the, [A] I'm seeing, looking at [Eb] the lyrics, because I never looked at [Bbm] lyrics, I didn't care.
[G] Right.
It was something that guy, the lead singer did.
[G] Right.
So [C] I [Eb] started flipping through [G] this book and it had little [F] pictures for each [G] song and [Eb] I get, and I'm looking and I'm starting to notice in [C] a new way, [G] wow, [Gm] there's pattern to it.
Right.
[F] They repeat things [Bb] at a certain [Eb] time, I'm [G] starting to see shapes, because I see [Bb] things in shapes.
Right.
[Gm] And I come to this song called All I've Gotta [Eb] Do, one of my favorite, because I've always loved the Beatles.
[Gm] And I saw that and it was a, it was a, it was a cartoon, it was a [C] drawing of a [Cm] girl with a phone wrapped around her neck.
[Eb]
There was a [C] little cartoon [Gm] above the lyrics and
[Fm] [Gm] I don't know why, I don't know what happened, but I picked up my guitar
[Eb] and I started repeating the [Bb] phrase hanging on the telephone.
[C] The next day, [G]
[A] it was just like a lightning bolt, man.
I hit a G chord, a chord that I'd used all my life and I hit it, ring, and just out I shouted, I'm in the phone booth, it's the one across the hall.
It just came, came to me.
And because I was paying so much attention [Am] back to the, Like a Rolling Stone, I started realizing about the concept of narrative and story.
That I, you know, Johnny B.
[Dm] Goode, Like a Rolling Stone, whatever, [Gb] and then I knew, oh, I've got to tell a story here.
I have to tell it like I would a story.
And I started spitting out these words.
I just played [A] G and [E] E flat, which is a real unusual combination for [G] me.
And [A] I had that melody, I'm in the phone booth, this is the one.
[B] And then I started, I wanted to, I wanted to see how many times I could, how [Am] effectively I could rhyme.
[A] And then once I [Am] got past the thrill of rhyming something, I started [G] noticing the power [D] of when you rhyme, [Am] but you also have the perfect word.
That [A]
implies a phrase or [D] implies a thought.
And then it [E] started coming to me.
[Gb] Then I don't know, [A] God, thank you.
It just [E] all flowed [Gbm] into me.
It was [A] like, I'm in the phone booth, if you don't answer, [E] I'll just, and I, stories started developing, which [D] was I had issues with this [A] woman's mother that I was living with.
And I started directing my story at that.
It wasn't calculated.
It was [G] more me catching [Am] up with the flow of the inspiration that was [G] coming to me.
[D] And me [Am]
having read the Bob Dylan [A] biography book and having sort of [D] unconsciously studying the structure of the Beatles songs.
[E] Because she also [D] had the blue album and the red album, which up to that time was the [E] definitive [Gbm] collection of the Beatles.
And on the [A] back were the [D] lyrics.
[E] And again, I looked at those two and I, [G] and that's how [D] I figured [A] out how to put it together.
[C] But I must say [Cm] that the quality of hanging on the telephone [Ebm] is a lot was [F] sacrificed in time [Gm] and in attention into that song.
[Eb] And I think it really [F] defined, gave me such [Gm] confidence and such confidence in my [G] skill.
And because before [C] anybody gave me any validation on [Gm] the song, I knew I [Bb] was on to something.
[G] And also the reaction I was [Eb] getting from people that had other agendas other than to give me a compliment.
[G] Couldn't help but [Gm] say it.
And
[F] unsolicited compliments
And [G] it just all came to [Gm] me that, that, [G] that there was, that the only thing that really [Eb] meant anything to anything was if you wrote your [Gm] own song.
Right.
[G] So that was a major, major revelation [Eb] for me.
The [G] Illustrated Beatles, I'm probably [Bb] getting a title on, [G] but I'm leaping through there [F] and I'm, I'm having no idea how to, [C] what a song is, because all [Gm] I did, I was always [Cm] a player, I was always, [C] this, that.
[Gm] And I go through there [Cm] and I'm, I'm [Eb] noticing the patterns [F] of how the songs were put [Gm] together.
I'm sort of seeing it for the, [A] I'm seeing, looking at [Eb] the lyrics, because I never looked at [Bbm] lyrics, I didn't care.
[G] Right.
It was something that guy, the lead singer did.
[G] Right.
So [C] I [Eb] started flipping through [G] this book and it had little [F] pictures for each [G] song and [Eb] I get, and I'm looking and I'm starting to notice in [C] a new way, [G] wow, [Gm] there's pattern to it.
Right.
[F] They repeat things [Bb] at a certain [Eb] time, I'm [G] starting to see shapes, because I see [Bb] things in shapes.
Right.
[Gm] And I come to this song called All I've Gotta [Eb] Do, one of my favorite, because I've always loved the Beatles.
[Gm] And I saw that and it was a, it was a, it was a cartoon, it was a [C] drawing of a [Cm] girl with a phone wrapped around her neck.
[Eb]
There was a [C] little cartoon [Gm] above the lyrics and
[Fm] [Gm] I don't know why, I don't know what happened, but I picked up my guitar
[Eb] and I started repeating the [Bb] phrase hanging on the telephone.
[C] The next day, [G]
[A] it was just like a lightning bolt, man.
I hit a G chord, a chord that I'd used all my life and I hit it, ring, and just out I shouted, I'm in the phone booth, it's the one across the hall.
It just came, came to me.
And because I was paying so much attention [Am] back to the, Like a Rolling Stone, I started realizing about the concept of narrative and story.
That I, you know, Johnny B.
[Dm] Goode, Like a Rolling Stone, whatever, [Gb] and then I knew, oh, I've got to tell a story here.
I have to tell it like I would a story.
And I started spitting out these words.
I just played [A] G and [E] E flat, which is a real unusual combination for [G] me.
And [A] I had that melody, I'm in the phone booth, this is the one.
[B] And then I started, I wanted to, I wanted to see how many times I could, how [Am] effectively I could rhyme.
[A] And then once I [Am] got past the thrill of rhyming something, I started [G] noticing the power [D] of when you rhyme, [Am] but you also have the perfect word.
That [A]
implies a phrase or [D] implies a thought.
And then it [E] started coming to me.
[Gb] Then I don't know, [A] God, thank you.
It just [E] all flowed [Gbm] into me.
It was [A] like, I'm in the phone booth, if you don't answer, [E] I'll just, and I, stories started developing, which [D] was I had issues with this [A] woman's mother that I was living with.
And I started directing my story at that.
It wasn't calculated.
It was [G] more me catching [Am] up with the flow of the inspiration that was [G] coming to me.
[D] And me [Am]
having read the Bob Dylan [A] biography book and having sort of [D] unconsciously studying the structure of the Beatles songs.
[E] Because she also [D] had the blue album and the red album, which up to that time was the [E] definitive [Gbm] collection of the Beatles.
And on the [A] back were the [D] lyrics.
[E] And again, I looked at those two and I, [G] and that's how [D] I figured [A] out how to put it together.
[C] But I must say [Cm] that the quality of hanging on the telephone [Ebm] is a lot was [F] sacrificed in time [Gm] and in attention into that song.
[Eb] And I think it really [F] defined, gave me such [Gm] confidence and such confidence in my [G] skill.
And because before [C] anybody gave me any validation on [Gm] the song, I knew I [Bb] was on to something.
[G] And also the reaction I was [Eb] getting from people that had other agendas other than to give me a compliment.
[G] Couldn't help but [Gm] say it.
And
[F] unsolicited compliments
Key:
G
Gm
Eb
A
F
G
Gm
Eb
_ _ _ _ _ _ [F] I go walk past the bookstore and I look and in the thing was [Gm] the display for Bob Dylan's [F] book and I walked in there and I sat down on my haunches and I read it, half of it, _ [Eb] right there on the spot.
And [G] it just all came to [Gm] me that, that, [G] that there was, that the only thing that really [Eb] meant anything to anything was if you wrote your [Gm] own song.
Right.
[G] So that was a major, major _ revelation [Eb] for me.
The [G] Illustrated Beatles, _ I'm probably [Bb] getting a title on, _ [G] but I'm leaping through there [F] and I'm, I'm having no idea how to, [C] what a song is, because all [Gm] I did, I was always [Cm] a player, I was always, [C] this, that.
[Gm] And I go through there [Cm] and I'm, _ _ I'm [Eb] noticing _ the patterns _ [F] of how the songs were put [Gm] together.
I'm sort of seeing it for the, [A] I'm seeing, looking at [Eb] the lyrics, because I never looked at [Bbm] lyrics, I didn't care.
[G] Right.
It was something that guy, the lead singer did.
[G] Right.
So [C] I _ [Eb] started flipping through [G] this book and it had little [F] pictures for each [G] song _ and [Eb] _ I get, and I'm looking and I'm starting to notice in [C] a new way, [G] _ wow, [Gm] there's pattern to it.
Right.
[F] They repeat things [Bb] at a certain [Eb] time, I'm [G] starting to see shapes, because I see [Bb] things in shapes.
Right.
[Gm] And I come to this song called All I've Gotta [Eb] Do, one of my favorite, because I've always loved the Beatles. _
[Gm] And I saw that and it was a, it was a, it was a cartoon, it was a [C] drawing of a [Cm] girl with a phone wrapped around her neck.
_ _ [Eb] _ _ _
There was a [C] little cartoon [Gm] above the lyrics and _
[Fm] _ _ _ [Gm] _ I don't know why, I don't know what happened, but I picked up my guitar _
_ [Eb] and I started repeating the [Bb] phrase hanging on the telephone.
[C] The next day, [G] _ _ _ _
_ [A] it was just like a lightning bolt, man. _
I _ hit a G chord, a chord that I'd used all my life and I hit it, ring, _ and just out I shouted, I'm in the phone booth, it's the one across the hall.
It just came, came to me.
And because I was paying so much attention [Am] back to the, Like a Rolling Stone, I started realizing about the concept of narrative and story.
That I, you know, Johnny B.
[Dm] Goode, Like a Rolling Stone, whatever, [Gb] and then I knew, oh, I've got to tell a story here.
I have to tell it like I would a story.
And I started spitting out these words.
I just played [A] G and [E] E flat, which is a real unusual combination for [G] me.
And [A] I had that melody, I'm in the phone booth, this is the one.
[B] And then I started, I wanted to, I wanted to see how many times I could, how [Am] effectively I could rhyme.
[A] _ And then once I [Am] got past the thrill of rhyming something, I started [G] noticing the power [D] of when you rhyme, [Am] but you also have the perfect word.
That [A] _ _
implies _ a phrase or [D] implies a thought.
And then it [E] started coming to me.
[Gb] Then I don't know, [A] _ God, thank you.
It just [E] all flowed [Gbm] into me.
It was [A] like, I'm in the phone booth, if you don't answer, [E] I'll just, and I, stories started developing, which [D] was I had issues with this [A] woman's mother that I was living with.
And I started _ _ _ _ directing my story at that.
_ It wasn't calculated.
It was [G] more me catching [Am] up with the flow of the inspiration that was [G] coming to me. _ _
[D] And me _ _ _ [Am] _ _
having read the Bob Dylan [A] biography book and having sort of [D] unconsciously studying the structure of the Beatles songs.
[E] Because she also [D] had the blue album and the red album, which up to that time was the [E] _ definitive [Gbm] collection of the Beatles.
And on the [A] back were the [D] lyrics.
_ [E] And again, I looked at those two and I, [G] and that's how [D] I figured [A] out how to put it together.
[C] But I must say [Cm] that the quality of hanging on the telephone [Ebm] is a lot was [F] sacrificed in time [Gm] _ and in attention into that song.
[Eb] And I think it really [F] defined, gave me such [Gm] confidence and such confidence in my [G] skill.
And because before [C] anybody gave me any validation on [Gm] the song, I knew I [Bb] was on to something. _
[G] And also the reaction I was [Eb] getting from people that had other agendas other than to give me a compliment.
[G] _ Couldn't help but [Gm] say it.
And _ _
_ [F] _ _ unsolicited _ compliments
And [G] it just all came to [Gm] me that, that, [G] that there was, that the only thing that really [Eb] meant anything to anything was if you wrote your [Gm] own song.
Right.
[G] So that was a major, major _ revelation [Eb] for me.
The [G] Illustrated Beatles, _ I'm probably [Bb] getting a title on, _ [G] but I'm leaping through there [F] and I'm, I'm having no idea how to, [C] what a song is, because all [Gm] I did, I was always [Cm] a player, I was always, [C] this, that.
[Gm] And I go through there [Cm] and I'm, _ _ I'm [Eb] noticing _ the patterns _ [F] of how the songs were put [Gm] together.
I'm sort of seeing it for the, [A] I'm seeing, looking at [Eb] the lyrics, because I never looked at [Bbm] lyrics, I didn't care.
[G] Right.
It was something that guy, the lead singer did.
[G] Right.
So [C] I _ [Eb] started flipping through [G] this book and it had little [F] pictures for each [G] song _ and [Eb] _ I get, and I'm looking and I'm starting to notice in [C] a new way, [G] _ wow, [Gm] there's pattern to it.
Right.
[F] They repeat things [Bb] at a certain [Eb] time, I'm [G] starting to see shapes, because I see [Bb] things in shapes.
Right.
[Gm] And I come to this song called All I've Gotta [Eb] Do, one of my favorite, because I've always loved the Beatles. _
[Gm] And I saw that and it was a, it was a, it was a cartoon, it was a [C] drawing of a [Cm] girl with a phone wrapped around her neck.
_ _ [Eb] _ _ _
There was a [C] little cartoon [Gm] above the lyrics and _
[Fm] _ _ _ [Gm] _ I don't know why, I don't know what happened, but I picked up my guitar _
_ [Eb] and I started repeating the [Bb] phrase hanging on the telephone.
[C] The next day, [G] _ _ _ _
_ [A] it was just like a lightning bolt, man. _
I _ hit a G chord, a chord that I'd used all my life and I hit it, ring, _ and just out I shouted, I'm in the phone booth, it's the one across the hall.
It just came, came to me.
And because I was paying so much attention [Am] back to the, Like a Rolling Stone, I started realizing about the concept of narrative and story.
That I, you know, Johnny B.
[Dm] Goode, Like a Rolling Stone, whatever, [Gb] and then I knew, oh, I've got to tell a story here.
I have to tell it like I would a story.
And I started spitting out these words.
I just played [A] G and [E] E flat, which is a real unusual combination for [G] me.
And [A] I had that melody, I'm in the phone booth, this is the one.
[B] And then I started, I wanted to, I wanted to see how many times I could, how [Am] effectively I could rhyme.
[A] _ And then once I [Am] got past the thrill of rhyming something, I started [G] noticing the power [D] of when you rhyme, [Am] but you also have the perfect word.
That [A] _ _
implies _ a phrase or [D] implies a thought.
And then it [E] started coming to me.
[Gb] Then I don't know, [A] _ God, thank you.
It just [E] all flowed [Gbm] into me.
It was [A] like, I'm in the phone booth, if you don't answer, [E] I'll just, and I, stories started developing, which [D] was I had issues with this [A] woman's mother that I was living with.
And I started _ _ _ _ directing my story at that.
_ It wasn't calculated.
It was [G] more me catching [Am] up with the flow of the inspiration that was [G] coming to me. _ _
[D] And me _ _ _ [Am] _ _
having read the Bob Dylan [A] biography book and having sort of [D] unconsciously studying the structure of the Beatles songs.
[E] Because she also [D] had the blue album and the red album, which up to that time was the [E] _ definitive [Gbm] collection of the Beatles.
And on the [A] back were the [D] lyrics.
_ [E] And again, I looked at those two and I, [G] and that's how [D] I figured [A] out how to put it together.
[C] But I must say [Cm] that the quality of hanging on the telephone [Ebm] is a lot was [F] sacrificed in time [Gm] _ and in attention into that song.
[Eb] And I think it really [F] defined, gave me such [Gm] confidence and such confidence in my [G] skill.
And because before [C] anybody gave me any validation on [Gm] the song, I knew I [Bb] was on to something. _
[G] And also the reaction I was [Eb] getting from people that had other agendas other than to give me a compliment.
[G] _ Couldn't help but [Gm] say it.
And _ _
_ [F] _ _ unsolicited _ compliments