Chords for James Taylor - Outtakes (Carolina On My Mind - Fire And Rain) from the One Man Band Concerts
Tempo:
80.15 bpm
Chords used:
C
G
Fm
Bb
Gm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[D] In my mind, in my [Bb] mind, I'm going to [C]
Carolina.
[Bb] Can't you see the [C] sunshine?
[Gm] Can't you just feel the [C] moonshine?
Any [Em] day like a [G] friend of mine,
[Bb] Keep me from behind,
[C] When I'm going to Carolina, [G] in my [F] mind.
[Fm]
In my [Bbm] mind, I'm going to [C] Carolina.
[G] Can't you see [C] the sunshine?
[Gm] Can't you just [C] feel the moonshine?
[Fm] Any day just like a friend of mine,
[Bbm] Take me [C] from behind,
When [Fm] I'm going to [G] Carolina, [C] in my mind.
[F] [N] The Gypsy, the sad Gypsy version.
[Fm]
I wrote this song, Steamroller, actually in 1965,
in a club.
It took less time to write the song than it takes [N] to perform it.
And it, it, it, I wrote it in a club in New York on 3rd Street in McDougal
called the Night Owl Cafe.
And, [Ab] anyway, at that time, if you went up to Manny's Music on 48th Street
on a weekend, you'd see a bunch of kids like me, you know, in from the suburbs
with some of the folks' money and the family station wagon,
you know, buying big amplifiers and electric guitars and stuff.
And they were singing songs like, you know, little pimply snots we were, really.
You know, I'm a man, and I'm your hoochie-coochie man.
And, and, [C] and, Bo Diddley's a gunslinger, and, you know, Muddy Waters tunes, Howlin' Wolf tunes,
evil going on, you know.
It was so, it was really laughable, kind of pathetic.
So this song was meant to be a takeoff of those white kids in from the suburbs
trying to, trying to be bad, you know, blues tunes.
So this is, that's how Steamroller came to be.
[Cm] I've seen fire and I've [Am] seen rain.
[G] I always thought I'd see [Am] you again.
[A] [Gm]
You know, [N] I did a, I once did a, we did an orchestra, when we were first starting to do orchestra work,
we did, we worked with the Pittsburgh Symphony in their pops, their pops version,
and Marvin Hamlisch was, was the conductor, and he was great.
He had a huge amount of energy and did a great job.
But he thought it would be a good idea to do, he wrote something for Fire and Rain,
which was a music to take bows by, sort of.
It was the last song in the set, and we were supposed to come out and take bows.
And meanwhile, he had this sort of like, I don't know, some, some loop that the orchestra was playing of Fire and Rain.
It was just, it was really just amazingly Atlantic City sort of Vegas kind of treatment of the song,
really antithetical to it.
The only other thing that, that bore any resemblance to that or, or, or challenged it in terms of weird
was the first time I, I ever performed it on television was in, you know, like 1970 in, in England at a,
at a, a show called Top of the Pops, which ran forever and ever, terrible.
You know, but a fixture of English television, a BBC show.
And they had dancers that were basically on contract.
So they, dancers were going to come out and dance.
And the dancing behind Fire and Rain, just not to be believed, not to be,
but essentially go-go dancers with Fire and Rain, very, and, and sort of the, the, you know, fans with the,
with cheap special effect flames and, oh man, not to be believed.
Just right.
Sort of, you know, they, they, they were obviously having a sort of tiff anyway,
the two people in the, in the makeup room there for the Today Show at five o'clock in the morning.
What a god, ungodly hour it was.
[D]
Why can't they just paint hair on?
I don't understand.
[N]
[Abm]
Carolina.
[Bb] Can't you see the [C] sunshine?
[Gm] Can't you just feel the [C] moonshine?
Any [Em] day like a [G] friend of mine,
[Bb] Keep me from behind,
[C] When I'm going to Carolina, [G] in my [F] mind.
[Fm]
In my [Bbm] mind, I'm going to [C] Carolina.
[G] Can't you see [C] the sunshine?
[Gm] Can't you just [C] feel the moonshine?
[Fm] Any day just like a friend of mine,
[Bbm] Take me [C] from behind,
When [Fm] I'm going to [G] Carolina, [C] in my mind.
[F] [N] The Gypsy, the sad Gypsy version.
[Fm]
I wrote this song, Steamroller, actually in 1965,
in a club.
It took less time to write the song than it takes [N] to perform it.
And it, it, it, I wrote it in a club in New York on 3rd Street in McDougal
called the Night Owl Cafe.
And, [Ab] anyway, at that time, if you went up to Manny's Music on 48th Street
on a weekend, you'd see a bunch of kids like me, you know, in from the suburbs
with some of the folks' money and the family station wagon,
you know, buying big amplifiers and electric guitars and stuff.
And they were singing songs like, you know, little pimply snots we were, really.
You know, I'm a man, and I'm your hoochie-coochie man.
And, and, [C] and, Bo Diddley's a gunslinger, and, you know, Muddy Waters tunes, Howlin' Wolf tunes,
evil going on, you know.
It was so, it was really laughable, kind of pathetic.
So this song was meant to be a takeoff of those white kids in from the suburbs
trying to, trying to be bad, you know, blues tunes.
So this is, that's how Steamroller came to be.
[Cm] I've seen fire and I've [Am] seen rain.
[G] I always thought I'd see [Am] you again.
[A] [Gm]
You know, [N] I did a, I once did a, we did an orchestra, when we were first starting to do orchestra work,
we did, we worked with the Pittsburgh Symphony in their pops, their pops version,
and Marvin Hamlisch was, was the conductor, and he was great.
He had a huge amount of energy and did a great job.
But he thought it would be a good idea to do, he wrote something for Fire and Rain,
which was a music to take bows by, sort of.
It was the last song in the set, and we were supposed to come out and take bows.
And meanwhile, he had this sort of like, I don't know, some, some loop that the orchestra was playing of Fire and Rain.
It was just, it was really just amazingly Atlantic City sort of Vegas kind of treatment of the song,
really antithetical to it.
The only other thing that, that bore any resemblance to that or, or, or challenged it in terms of weird
was the first time I, I ever performed it on television was in, you know, like 1970 in, in England at a,
at a, a show called Top of the Pops, which ran forever and ever, terrible.
You know, but a fixture of English television, a BBC show.
And they had dancers that were basically on contract.
So they, dancers were going to come out and dance.
And the dancing behind Fire and Rain, just not to be believed, not to be,
but essentially go-go dancers with Fire and Rain, very, and, and sort of the, the, you know, fans with the,
with cheap special effect flames and, oh man, not to be believed.
Just right.
Sort of, you know, they, they, they were obviously having a sort of tiff anyway,
the two people in the, in the makeup room there for the Today Show at five o'clock in the morning.
What a god, ungodly hour it was.
[D]
Why can't they just paint hair on?
I don't understand.
[N]
[Abm]
Key:
C
G
Fm
Bb
Gm
C
G
Fm
_ [D] In my mind, in my [Bb] mind, I'm going to [C]
Carolina.
_ _ _ [Bb] Can't you see the [C] sunshine?
[Gm] Can't you just feel the [C] moonshine?
Any [Em] day like a [G] friend of mine,
[Bb] Keep me from behind,
[C] When I'm going to Carolina, [G] in my [F] mind.
_ _ [Fm] _ _
In my [Bbm] mind, I'm going to [C] Carolina. _ _
[G] Can't you see [C] the sunshine?
[Gm] Can't you just [C] feel the moonshine?
[Fm] Any day just like a friend of mine,
[Bbm] Take me [C] from behind,
When [Fm] I'm going to [G] Carolina, [C] in my mind.
_ [F] _ _ _ [N] _ The Gypsy, the sad Gypsy version.
[Fm] _ _ _ _ _
_ I wrote this song, Steamroller, actually in 1965,
in a club.
It took less time to write the song than it takes [N] to perform it. _ _
And it, it, it, I wrote it in a club in New York on 3rd Street in McDougal
called the Night Owl Cafe.
And, _ _ [Ab] anyway, at that time, if you went up to Manny's Music on 48th Street
on a weekend, you'd see a bunch of kids like me, you know, in from the suburbs
with some of the folks' money and the family station wagon,
you know, buying big amplifiers and electric guitars and stuff.
And they were singing songs like, you know, little pimply snots we were, really.
You know, I'm a man, and I'm your hoochie-coochie man.
And, and, [C] and, Bo Diddley's a gunslinger, and, you know, Muddy Waters tunes, Howlin' Wolf tunes,
evil going on, you know.
It was so, it was really laughable, kind of pathetic.
So this song was meant to be a takeoff of those white kids in from the suburbs
trying to, trying to be bad, you know, blues tunes.
So this is, that's how Steamroller came to be. _ _ _ _ _
_ _ _ _ _ _ _ _
[Cm] I've seen fire and I've [Am] seen rain.
[G] I always thought I'd see [Am] you again.
_ _ [A] _ _ [Gm] _
_ _ You know, [N] I did a, I once did a, we did an orchestra, when we were first starting to do orchestra work,
we did, we worked with the Pittsburgh Symphony in their pops, their pops version,
and Marvin Hamlisch was, was the conductor, and he was great.
He had a huge amount of energy and did a great job.
But he thought it would be a good idea to do, he wrote something for Fire and Rain,
which was a music to take bows by, sort of.
It was the last song in the set, and we were supposed to come out and take bows.
And meanwhile, he had this sort of like, I don't know, some, some loop that the orchestra was playing of Fire and Rain.
It was just, it was really just amazingly Atlantic City sort of Vegas kind of treatment of the song,
really antithetical to it.
The only other thing that, that bore any resemblance to that or, or, or challenged it in terms of weird
was the first time I, I ever performed it on television was in, you know, like 1970 in, in England at a,
at a, a show called Top of the Pops, which ran forever and ever, terrible.
You know, but a fixture of English television, a BBC show.
And they had dancers that were basically on contract.
So they, dancers were going to come out and dance.
And the dancing behind Fire and Rain, just not to be believed, not to be,
but essentially go-go dancers with Fire and Rain, very, and, and sort of the, the, you know, fans with the,
with cheap special effect flames and, oh man, not to be believed.
Just right.
_ _ _ Sort of, you know, they, they, they were obviously having a sort of tiff anyway,
the two people in the, in the makeup room there for the Today Show at five o'clock in the morning.
What a god, ungodly hour it was.
_ [D] _ _ _ _
Why can't they just paint hair on?
I don't understand.
[N] _ _ _
_ _ _ _ _ [Abm] _ _
Carolina.
_ _ _ [Bb] Can't you see the [C] sunshine?
[Gm] Can't you just feel the [C] moonshine?
Any [Em] day like a [G] friend of mine,
[Bb] Keep me from behind,
[C] When I'm going to Carolina, [G] in my [F] mind.
_ _ [Fm] _ _
In my [Bbm] mind, I'm going to [C] Carolina. _ _
[G] Can't you see [C] the sunshine?
[Gm] Can't you just [C] feel the moonshine?
[Fm] Any day just like a friend of mine,
[Bbm] Take me [C] from behind,
When [Fm] I'm going to [G] Carolina, [C] in my mind.
_ [F] _ _ _ [N] _ The Gypsy, the sad Gypsy version.
[Fm] _ _ _ _ _
_ I wrote this song, Steamroller, actually in 1965,
in a club.
It took less time to write the song than it takes [N] to perform it. _ _
And it, it, it, I wrote it in a club in New York on 3rd Street in McDougal
called the Night Owl Cafe.
And, _ _ [Ab] anyway, at that time, if you went up to Manny's Music on 48th Street
on a weekend, you'd see a bunch of kids like me, you know, in from the suburbs
with some of the folks' money and the family station wagon,
you know, buying big amplifiers and electric guitars and stuff.
And they were singing songs like, you know, little pimply snots we were, really.
You know, I'm a man, and I'm your hoochie-coochie man.
And, and, [C] and, Bo Diddley's a gunslinger, and, you know, Muddy Waters tunes, Howlin' Wolf tunes,
evil going on, you know.
It was so, it was really laughable, kind of pathetic.
So this song was meant to be a takeoff of those white kids in from the suburbs
trying to, trying to be bad, you know, blues tunes.
So this is, that's how Steamroller came to be. _ _ _ _ _
_ _ _ _ _ _ _ _
[Cm] I've seen fire and I've [Am] seen rain.
[G] I always thought I'd see [Am] you again.
_ _ [A] _ _ [Gm] _
_ _ You know, [N] I did a, I once did a, we did an orchestra, when we were first starting to do orchestra work,
we did, we worked with the Pittsburgh Symphony in their pops, their pops version,
and Marvin Hamlisch was, was the conductor, and he was great.
He had a huge amount of energy and did a great job.
But he thought it would be a good idea to do, he wrote something for Fire and Rain,
which was a music to take bows by, sort of.
It was the last song in the set, and we were supposed to come out and take bows.
And meanwhile, he had this sort of like, I don't know, some, some loop that the orchestra was playing of Fire and Rain.
It was just, it was really just amazingly Atlantic City sort of Vegas kind of treatment of the song,
really antithetical to it.
The only other thing that, that bore any resemblance to that or, or, or challenged it in terms of weird
was the first time I, I ever performed it on television was in, you know, like 1970 in, in England at a,
at a, a show called Top of the Pops, which ran forever and ever, terrible.
You know, but a fixture of English television, a BBC show.
And they had dancers that were basically on contract.
So they, dancers were going to come out and dance.
And the dancing behind Fire and Rain, just not to be believed, not to be,
but essentially go-go dancers with Fire and Rain, very, and, and sort of the, the, you know, fans with the,
with cheap special effect flames and, oh man, not to be believed.
Just right.
_ _ _ Sort of, you know, they, they, they were obviously having a sort of tiff anyway,
the two people in the, in the makeup room there for the Today Show at five o'clock in the morning.
What a god, ungodly hour it was.
_ [D] _ _ _ _
Why can't they just paint hair on?
I don't understand.
[N] _ _ _
_ _ _ _ _ [Abm] _ _