Chords for Jesse Colin Young - Walking Off Johnny Carson (5 of 10)
Tempo:
119.8 bpm
Chords used:
F
C
E
Ab
Bb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[F]
[C]
[F] I don't think it was until a few years later on TV, then we walked off to Johnny Carson's
show, my mother almost had a conniption, she had a 12 [E] conniption.
She said, why would you do that?
And I said, Mom, they lied to us.
Oh, I didn't hear this story.
Yeah, they booked us on the show on Get Together with a hit, you see, but we had just released
Elephant Mountain, because Get Together was a national hit two years after it was released.
So we said, well, we'll come, but we have to sing one song, we wanted to sing Sunlight
off our new album, because Get Together's history for us is an album.
And the guy who sang the second part, he's not even in the band, so.
But of course, we'll sing it.
But we got in there and they ran over and just said, basically, play your hit and get
out of here, and quit complaining about the monitors and stuff like that.
So we were really at the, so we just, that was it. We walked.
We said, you know, we're businessmen, we had an agreement.
It was not in writing, it was a verbal agreement, and you've broken it, so we're not playing.
So my poor mom had to endure Johnny Carson saying, well, they'd only been in show business
for a couple of weeks, so we, and they didn't like our monitors, and they didn't like our
psychedelic set, so we wiped their nose and sent them home.
You know, and poor moms, you know.
You had to fight with the record company.
It was a huge fight to get our own producer, you know, to not let them take your publishing,
to not let every, all of these things were a fight for us.
No, it was the right thing.
They, I mean, we were used to come, we'd sign a contract, or we'd say we always came and
played, we never blew off gigs, or, you know, took dope and said, sorry we can't come tonight,
we're high.
You know, we were on it.
And you know, that's the way the world's supposed to work.
So, but we were right there at the front saying, no, who would say no to Johnny?
What are we, stupid?
And maybe, you know, in retrospect, no, it wasn't stupid, because at every point of the
music business we were facing that, hey, play your hit and get out of here.
You guys, you know.
Or, or, no you can't, you can have a cent and a half.
I think that was the royalty we signed with RCA for.
You know, it had come to, what's it, yeah, Mechanicals.
Cent and a half.
You read Blind Lemon Jefferson's story, and he gets a hooker and a, you know, and a bottle
of gin or whiskey for, you know, five hours of recording.
You know, you're saying, yeah, well, that's what it was, but it's not that anymore.
And here we are, young boys who've been to college, and we're not going for that.
You know.
Not anymore.
And we're going to, and there are other people who are making sure that all the artists were not going.
So it was kind of the beginning of, we're not going for it.
We're not riding in the back of the bus.
You know.
[Ab] You're not going to take this music from us, you know, and not give us anything.
We got children, we got wives, you know.
We have dignity, and we have intelligence, and you're not going to take it from us anymore.
So the beginning for me was starting my own publishing company.
Why should I?
Because the publishing that I had done through Darren, you know, they took half of it, but
they never got me another record.
They never got somebody else.
They never worked my songs.
So I said, what's the point of that?
And that was the smartest thing I ever did.
Get Together is not my song because I didn't write it, but Darkness, Darkness is mine.
And you know, two or three years ago when Robert Plant recorded it, or it's in Jack
the Bear, or whatever.
And Sunlight, which has [N] been used a lot in television.
They really, that really was a great idea.
Youngbloods and Led Zeppelin played one show together, and I remember my road manager,
Earthquake, came back from the show at the end after the pack up and he said, hey, Robert
Plant's a fan of yours.
He likes like Four in the Morning from, I said, Robert Plant knows Soul of a City Boy?
And I mean, it turned out that he's quite a folk fan.
You know, on that record he did a lot of, didn't he do, yes, of folk singers who have,
songs from folk singers who disappeared off the map.
I can't remember the name of one of them that he mentioned.
So he called me, I'm in Hawaii, he's in the back of a cab in London, and he's saying I
recorded Darkness, I'd love you to hear it.
So I said, wow, that's great.
And I thought it was, you know, and then I guess I called him back or I wrote him after.
He's just, you know, very respectful.
[F] And I loved it.
[Bb] [N]
[C]
[F] I don't think it was until a few years later on TV, then we walked off to Johnny Carson's
show, my mother almost had a conniption, she had a 12 [E] conniption.
She said, why would you do that?
And I said, Mom, they lied to us.
Oh, I didn't hear this story.
Yeah, they booked us on the show on Get Together with a hit, you see, but we had just released
Elephant Mountain, because Get Together was a national hit two years after it was released.
So we said, well, we'll come, but we have to sing one song, we wanted to sing Sunlight
off our new album, because Get Together's history for us is an album.
And the guy who sang the second part, he's not even in the band, so.
But of course, we'll sing it.
But we got in there and they ran over and just said, basically, play your hit and get
out of here, and quit complaining about the monitors and stuff like that.
So we were really at the, so we just, that was it. We walked.
We said, you know, we're businessmen, we had an agreement.
It was not in writing, it was a verbal agreement, and you've broken it, so we're not playing.
So my poor mom had to endure Johnny Carson saying, well, they'd only been in show business
for a couple of weeks, so we, and they didn't like our monitors, and they didn't like our
psychedelic set, so we wiped their nose and sent them home.
You know, and poor moms, you know.
You had to fight with the record company.
It was a huge fight to get our own producer, you know, to not let them take your publishing,
to not let every, all of these things were a fight for us.
No, it was the right thing.
They, I mean, we were used to come, we'd sign a contract, or we'd say we always came and
played, we never blew off gigs, or, you know, took dope and said, sorry we can't come tonight,
we're high.
You know, we were on it.
And you know, that's the way the world's supposed to work.
So, but we were right there at the front saying, no, who would say no to Johnny?
What are we, stupid?
And maybe, you know, in retrospect, no, it wasn't stupid, because at every point of the
music business we were facing that, hey, play your hit and get out of here.
You guys, you know.
Or, or, no you can't, you can have a cent and a half.
I think that was the royalty we signed with RCA for.
You know, it had come to, what's it, yeah, Mechanicals.
Cent and a half.
You read Blind Lemon Jefferson's story, and he gets a hooker and a, you know, and a bottle
of gin or whiskey for, you know, five hours of recording.
You know, you're saying, yeah, well, that's what it was, but it's not that anymore.
And here we are, young boys who've been to college, and we're not going for that.
You know.
Not anymore.
And we're going to, and there are other people who are making sure that all the artists were not going.
So it was kind of the beginning of, we're not going for it.
We're not riding in the back of the bus.
You know.
[Ab] You're not going to take this music from us, you know, and not give us anything.
We got children, we got wives, you know.
We have dignity, and we have intelligence, and you're not going to take it from us anymore.
So the beginning for me was starting my own publishing company.
Why should I?
Because the publishing that I had done through Darren, you know, they took half of it, but
they never got me another record.
They never got somebody else.
They never worked my songs.
So I said, what's the point of that?
And that was the smartest thing I ever did.
Get Together is not my song because I didn't write it, but Darkness, Darkness is mine.
And you know, two or three years ago when Robert Plant recorded it, or it's in Jack
the Bear, or whatever.
And Sunlight, which has [N] been used a lot in television.
They really, that really was a great idea.
Youngbloods and Led Zeppelin played one show together, and I remember my road manager,
Earthquake, came back from the show at the end after the pack up and he said, hey, Robert
Plant's a fan of yours.
He likes like Four in the Morning from, I said, Robert Plant knows Soul of a City Boy?
And I mean, it turned out that he's quite a folk fan.
You know, on that record he did a lot of, didn't he do, yes, of folk singers who have,
songs from folk singers who disappeared off the map.
I can't remember the name of one of them that he mentioned.
So he called me, I'm in Hawaii, he's in the back of a cab in London, and he's saying I
recorded Darkness, I'd love you to hear it.
So I said, wow, that's great.
And I thought it was, you know, and then I guess I called him back or I wrote him after.
He's just, you know, very respectful.
[F] And I loved it.
[Bb] [N]
Key:
F
C
E
Ab
Bb
F
C
E
[F] _ _ _ _ _ _ _ _
_ _ _ _ _ _ [C] _ _
[F] _ _ _ _ I don't think it was until a few years later on _ _ _ _ _ _ TV, _ _ then we walked off to Johnny Carson's
show, my mother almost had a conniption, she had a 12 [E] conniption.
She said, why would you do that?
And I said, Mom, they lied to us.
Oh, I didn't hear this story.
Yeah, they booked us on the show on Get Together with a hit, you see, but we had just released
Elephant Mountain, _ because Get Together was a national hit two years after it was released.
So we said, well, we'll come, but we have to sing one song, we wanted to sing Sunlight
off our new album, because Get Together's history for us is an album.
And the guy who sang the second part, he's not even in the band, so.
But of course, we'll sing it.
But we got in there and they ran over and just said, _ basically, _ _ _ play your hit and get
out of here, and quit _ complaining about the monitors and stuff like that.
So we were really at the, so we just, _ that was it. We walked.
We said, you know, we're businessmen, we had an agreement.
It was not in writing, it was a verbal agreement, and _ you've broken it, so we're not playing. _ _ _
So my poor mom had to endure Johnny Carson saying, _ well, they'd only been in show business
for a couple of weeks, so we, and they didn't like our monitors, and they didn't like our
psychedelic set, so we wiped their nose and sent them home.
You know, and poor moms, you know.
You had to fight with the record company.
It was a huge fight to get our own producer, _ you know, _ to not let them take your publishing,
to not let every, all of these things were a fight for us.
No, it was the right thing.
They, I mean, we were used to come, we'd sign a contract, or we'd say we always came and
played, we never blew off gigs, or, you know, took dope and said, sorry we can't come tonight,
we're high.
You know, we were on it.
And _ you know, that's the way the world's supposed to work.
So, but we were right there at the front saying, no, who would say no to Johnny?
What are we, stupid?
And maybe, you know, in retrospect, no, it wasn't stupid, because at every point of the
music business we were facing that, hey, play your hit and get out of here.
You guys, you know.
Or, or, no you can't, you can have a cent and a half.
I think that was the royalty we signed with RCA for.
You know, it had come to, what's it, yeah, _ _ Mechanicals.
Cent and a half.
You read Blind Lemon Jefferson's story, and he gets a hooker and a, you know, and a bottle
of gin or whiskey for, you know, five hours of recording.
_ You know, you're saying, yeah, well, that's what it was, but it's not that anymore.
And here we are, young boys who've been to college, and we're not going for that.
You know.
_ _ Not anymore.
And we're going to, and there are other people who are making sure that all the artists were not going.
So it was kind of the beginning of, we're not going for it.
We're not riding in the back of the bus.
You know.
[Ab] You're not going to take this music from us, _ you know, and not give us anything.
We got children, we got wives, you know.
_ We have dignity, and we have intelligence, and you're not going to take it from us anymore.
So the beginning for me was starting my own publishing company.
_ Why should I?
Because the publishing that I had done through Darren, _ you know, they took half of it, but
they never got me another record.
They never got somebody else.
They never worked my songs.
So I said, what's the point of that?
And that was the smartest thing I ever did.
_ _ Get Together is not my song because I didn't write it, but _ _ Darkness, Darkness is mine.
_ _ And you know, two or three years ago when Robert Plant recorded it, or it's in Jack
the Bear, or whatever.
_ _ And Sunlight, which has [N] been used a lot in television.
_ _ _ _ They really, that really was a _ _ great idea.
Youngbloods and Led Zeppelin played one show together, and I remember my _ _ _ _ _ _ road manager,
Earthquake, came back from the show at the end after the pack up and he said, hey, Robert
Plant's a fan of yours.
He likes like Four in the Morning from, _ I said, Robert Plant knows Soul of a City Boy?
And I mean, it turned out that he's quite a folk fan.
You know, on that record he did a lot of, didn't he do, _ yes, of folk singers who have,
songs from folk singers who disappeared off the map.
_ I can't remember the name of one of them that he mentioned.
_ _ _ So _ he called me, I'm in Hawaii, he's in the back of a cab in London, and he's saying I
recorded Darkness, I'd love you to hear it.
_ So I said, wow, that's great. _
And I thought it was, you know, and then I guess I called him back or I wrote him after.
_ _ He's just, you know, very respectful. _ _ _
[F] And I loved it. _ _ _ _
_ _ _ _ _ _ _ _
_ _ [Bb] _ _ _ _ [N] _ _
_ _ _ _ _ _ [C] _ _
[F] _ _ _ _ I don't think it was until a few years later on _ _ _ _ _ _ TV, _ _ then we walked off to Johnny Carson's
show, my mother almost had a conniption, she had a 12 [E] conniption.
She said, why would you do that?
And I said, Mom, they lied to us.
Oh, I didn't hear this story.
Yeah, they booked us on the show on Get Together with a hit, you see, but we had just released
Elephant Mountain, _ because Get Together was a national hit two years after it was released.
So we said, well, we'll come, but we have to sing one song, we wanted to sing Sunlight
off our new album, because Get Together's history for us is an album.
And the guy who sang the second part, he's not even in the band, so.
But of course, we'll sing it.
But we got in there and they ran over and just said, _ basically, _ _ _ play your hit and get
out of here, and quit _ complaining about the monitors and stuff like that.
So we were really at the, so we just, _ that was it. We walked.
We said, you know, we're businessmen, we had an agreement.
It was not in writing, it was a verbal agreement, and _ you've broken it, so we're not playing. _ _ _
So my poor mom had to endure Johnny Carson saying, _ well, they'd only been in show business
for a couple of weeks, so we, and they didn't like our monitors, and they didn't like our
psychedelic set, so we wiped their nose and sent them home.
You know, and poor moms, you know.
You had to fight with the record company.
It was a huge fight to get our own producer, _ you know, _ to not let them take your publishing,
to not let every, all of these things were a fight for us.
No, it was the right thing.
They, I mean, we were used to come, we'd sign a contract, or we'd say we always came and
played, we never blew off gigs, or, you know, took dope and said, sorry we can't come tonight,
we're high.
You know, we were on it.
And _ you know, that's the way the world's supposed to work.
So, but we were right there at the front saying, no, who would say no to Johnny?
What are we, stupid?
And maybe, you know, in retrospect, no, it wasn't stupid, because at every point of the
music business we were facing that, hey, play your hit and get out of here.
You guys, you know.
Or, or, no you can't, you can have a cent and a half.
I think that was the royalty we signed with RCA for.
You know, it had come to, what's it, yeah, _ _ Mechanicals.
Cent and a half.
You read Blind Lemon Jefferson's story, and he gets a hooker and a, you know, and a bottle
of gin or whiskey for, you know, five hours of recording.
_ You know, you're saying, yeah, well, that's what it was, but it's not that anymore.
And here we are, young boys who've been to college, and we're not going for that.
You know.
_ _ Not anymore.
And we're going to, and there are other people who are making sure that all the artists were not going.
So it was kind of the beginning of, we're not going for it.
We're not riding in the back of the bus.
You know.
[Ab] You're not going to take this music from us, _ you know, and not give us anything.
We got children, we got wives, you know.
_ We have dignity, and we have intelligence, and you're not going to take it from us anymore.
So the beginning for me was starting my own publishing company.
_ Why should I?
Because the publishing that I had done through Darren, _ you know, they took half of it, but
they never got me another record.
They never got somebody else.
They never worked my songs.
So I said, what's the point of that?
And that was the smartest thing I ever did.
_ _ Get Together is not my song because I didn't write it, but _ _ Darkness, Darkness is mine.
_ _ And you know, two or three years ago when Robert Plant recorded it, or it's in Jack
the Bear, or whatever.
_ _ And Sunlight, which has [N] been used a lot in television.
_ _ _ _ They really, that really was a _ _ great idea.
Youngbloods and Led Zeppelin played one show together, and I remember my _ _ _ _ _ _ road manager,
Earthquake, came back from the show at the end after the pack up and he said, hey, Robert
Plant's a fan of yours.
He likes like Four in the Morning from, _ I said, Robert Plant knows Soul of a City Boy?
And I mean, it turned out that he's quite a folk fan.
You know, on that record he did a lot of, didn't he do, _ yes, of folk singers who have,
songs from folk singers who disappeared off the map.
_ I can't remember the name of one of them that he mentioned.
_ _ _ So _ he called me, I'm in Hawaii, he's in the back of a cab in London, and he's saying I
recorded Darkness, I'd love you to hear it.
_ So I said, wow, that's great. _
And I thought it was, you know, and then I guess I called him back or I wrote him after.
_ _ He's just, you know, very respectful. _ _ _
[F] And I loved it. _ _ _ _
_ _ _ _ _ _ _ _
_ _ [Bb] _ _ _ _ [N] _ _