Chords for Jim Morrison in "Prime Mover", Photo Exhibit by JIM COKE
Tempo:
137.5 bpm
Chords used:
A
Em
G
B
Bb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[C]
[A] Hi, we're here with Jim Koch and his [Em] photo exhibit [A] called Prime Mover of photos of Jim
Morrison in 1967.
Right?
Tell me the [G] story.
It feels great to see the pictures up [A] again and they were in the garage lost for [Em] 25 years
and I never saw them until after the Doors movie came out.
I didn't realize they even existed.
I [A] shot them when I was 20 years [D] old and somebody asked me, hey, you shoot pictures, do you
have any [G] from back [A] then?
And [G] [A]
I found [Em] them.
Why is Jim larger than life or at least life size?
Yeah, he's about life size because I wanted to do a mural of Jim Morrison.
[A] And these are all the pictures of him that show him [G] performing, going from a silence
to [A] a scream.
So this is called the scream sequence.
And [G] so the mural wouldn't have him life [A] size, the whole screen sequence as a life size.
Yes, that's right.
And when I looked at all the pictures, I found that I had just so many that showed him from
head to toe.
[Em]
[A] And I put them together [D] in a [A] sequence [Bm] that showed some sort of rhythm.
Like [Em] that's what this is.
In fact, the stills, these are the [Am] stills on the opposite wall.
They're all the original black and white [Em] pictures.
[C]
This [G] is the first picture you [Am] took on that day?
It's the first one in the sequence.
So it shows him in silence.
And he [Em] didn't say a word to the [Am] audience that day.
He was very controlled, very much into the music, [Dm] not [Bm] playing around with the [D] audience at all.
And as you see, the audience is sitting on the stage.
People were having a good [A] time, [Bm] being up close.
[Em] People trusted each other.
And [A] here you have the drummer, obviously, John [Bb] Densmore, Ray [A] Manzarek, Morrison, and Robbie Krieger.
That's a great photo.
You've got them all in there.
It's [Am] great.
And you're just right on the side of the stage.
[Eb] There's no guard holding you back or about to [A] hit you on the head.
As [Bb] you see, the shadows are straight [D] down.
So the [A] sun was high noon.
And it's unusual that the overcast coastal light of California was filtering the light.
So it ended up being very well lit, indirect lighting almost.
And this is the second shot where he looks right at me.
[N] He's looking right at the camera.
And so is this [Gb] girl here.
[Bb] Yeah.
[B] You know, people started watching me.
[Bb] And I'm kind of [N] twisting it.
You can see where I'm not just shooting straight.
I'm trying to get a different angle.
And then same [B] here, [Gb] [B] same [Bbm] angle.
[Bm] And just [Bb] right [G] across through here, [Bb] this is the ninth one.
That's the most [F] dynamic one.
That's the one that's [A] on the poster and on the T [Bbm]-shirt.
[N] Yeah, that's great.
Why did you pick that one as the most dynamic?
It shows the most motion [B] and most emotion.
[N] And then this is the scream.
This is what I call the scream sequence.
Because [B] he's actually yelling.
You know, he's so into it, his heels are off the [Db] ground.
I mean, if you turn this [B] one sideways, he actually looks like he's flying.
Oh, [Gb] okay.
[Db] Ah.
[F] But Densmore is really, I mean, I like [B] seeing the blur of the sticks.
I like [C] always getting the [Em] hands of the musicians if I can.
And showing how musicians play.
And then this is sort of the come [B] down.
You know, after he's exhausted himself, [Bm] he's sort of really gasping [Bb] for air.
[A] You know, this [F] is the one, the closest shot I have of [A] him.
And I'm [G] sure I changed lenses too.
I probably used a [D] 135.
I didn't get [Em] up in his face.
I had a telephoto lens.
[D]
And as [Em] we go across.
That's a [A] great shot.
What's going on with the [Dm] horn?
I don't know.
Nobody's been [G] able to explain it.
When I showed Ray Manzarek that, he didn't remember what it was about either.
[E] [A] But [G]
he was [B] getting some effect.
[E] Is that a flower?
Yeah, [A] they're flowers.
[Em] And then the gas mask on the mannequin is in the next [A] picture more clearly.
[G] And here he's kind of dreaming [Em] away.
And taking a [B] breath between screams, I guess.
There are two [G] different color slides.
And I just [Bb] took them out of their holders and put them back together.
[Dm] And put the scans [G] together.
[Bb] And then these are collaborations with a good friend of mine, [Em] Victor Rafael.
And he put the gold leaf [B] on these.
[G] So he made like an iconic image.
Almost like a religious icon.
[D]
[B] And he [E] put this metal and [Eb] gold leaf on that [Em] one.
And then that shot of the flag is the same [Bb] as the one we looked at earlier.
[Dm] But it's cropped.
And [Eb] there's gold leaf coming out of his head.
It looks like [B] there's.
You can see it actually, can't you?
[G] So if people want to see more of your [Eb] work or find [Em] you.
Is there a way they can contact you?
Yeah, they can go to my website.
Jimcoke.com.
Great.
C-O-K-E.
Dot com.
[N]
[A] Hi, we're here with Jim Koch and his [Em] photo exhibit [A] called Prime Mover of photos of Jim
Morrison in 1967.
Right?
Tell me the [G] story.
It feels great to see the pictures up [A] again and they were in the garage lost for [Em] 25 years
and I never saw them until after the Doors movie came out.
I didn't realize they even existed.
I [A] shot them when I was 20 years [D] old and somebody asked me, hey, you shoot pictures, do you
have any [G] from back [A] then?
And [G] [A]
I found [Em] them.
Why is Jim larger than life or at least life size?
Yeah, he's about life size because I wanted to do a mural of Jim Morrison.
[A] And these are all the pictures of him that show him [G] performing, going from a silence
to [A] a scream.
So this is called the scream sequence.
And [G] so the mural wouldn't have him life [A] size, the whole screen sequence as a life size.
Yes, that's right.
And when I looked at all the pictures, I found that I had just so many that showed him from
head to toe.
[Em]
[A] And I put them together [D] in a [A] sequence [Bm] that showed some sort of rhythm.
Like [Em] that's what this is.
In fact, the stills, these are the [Am] stills on the opposite wall.
They're all the original black and white [Em] pictures.
[C]
This [G] is the first picture you [Am] took on that day?
It's the first one in the sequence.
So it shows him in silence.
And he [Em] didn't say a word to the [Am] audience that day.
He was very controlled, very much into the music, [Dm] not [Bm] playing around with the [D] audience at all.
And as you see, the audience is sitting on the stage.
People were having a good [A] time, [Bm] being up close.
[Em] People trusted each other.
And [A] here you have the drummer, obviously, John [Bb] Densmore, Ray [A] Manzarek, Morrison, and Robbie Krieger.
That's a great photo.
You've got them all in there.
It's [Am] great.
And you're just right on the side of the stage.
[Eb] There's no guard holding you back or about to [A] hit you on the head.
As [Bb] you see, the shadows are straight [D] down.
So the [A] sun was high noon.
And it's unusual that the overcast coastal light of California was filtering the light.
So it ended up being very well lit, indirect lighting almost.
And this is the second shot where he looks right at me.
[N] He's looking right at the camera.
And so is this [Gb] girl here.
[Bb] Yeah.
[B] You know, people started watching me.
[Bb] And I'm kind of [N] twisting it.
You can see where I'm not just shooting straight.
I'm trying to get a different angle.
And then same [B] here, [Gb] [B] same [Bbm] angle.
[Bm] And just [Bb] right [G] across through here, [Bb] this is the ninth one.
That's the most [F] dynamic one.
That's the one that's [A] on the poster and on the T [Bbm]-shirt.
[N] Yeah, that's great.
Why did you pick that one as the most dynamic?
It shows the most motion [B] and most emotion.
[N] And then this is the scream.
This is what I call the scream sequence.
Because [B] he's actually yelling.
You know, he's so into it, his heels are off the [Db] ground.
I mean, if you turn this [B] one sideways, he actually looks like he's flying.
Oh, [Gb] okay.
[Db] Ah.
[F] But Densmore is really, I mean, I like [B] seeing the blur of the sticks.
I like [C] always getting the [Em] hands of the musicians if I can.
And showing how musicians play.
And then this is sort of the come [B] down.
You know, after he's exhausted himself, [Bm] he's sort of really gasping [Bb] for air.
[A] You know, this [F] is the one, the closest shot I have of [A] him.
And I'm [G] sure I changed lenses too.
I probably used a [D] 135.
I didn't get [Em] up in his face.
I had a telephoto lens.
[D]
And as [Em] we go across.
That's a [A] great shot.
What's going on with the [Dm] horn?
I don't know.
Nobody's been [G] able to explain it.
When I showed Ray Manzarek that, he didn't remember what it was about either.
[E] [A] But [G]
he was [B] getting some effect.
[E] Is that a flower?
Yeah, [A] they're flowers.
[Em] And then the gas mask on the mannequin is in the next [A] picture more clearly.
[G] And here he's kind of dreaming [Em] away.
And taking a [B] breath between screams, I guess.
There are two [G] different color slides.
And I just [Bb] took them out of their holders and put them back together.
[Dm] And put the scans [G] together.
[Bb] And then these are collaborations with a good friend of mine, [Em] Victor Rafael.
And he put the gold leaf [B] on these.
[G] So he made like an iconic image.
Almost like a religious icon.
[D]
[B] And he [E] put this metal and [Eb] gold leaf on that [Em] one.
And then that shot of the flag is the same [Bb] as the one we looked at earlier.
[Dm] But it's cropped.
And [Eb] there's gold leaf coming out of his head.
It looks like [B] there's.
You can see it actually, can't you?
[G] So if people want to see more of your [Eb] work or find [Em] you.
Is there a way they can contact you?
Yeah, they can go to my website.
Jimcoke.com.
Great.
C-O-K-E.
Dot com.
[N]
Key:
A
Em
G
B
Bb
A
Em
G
[C] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [A] Hi, we're here with Jim Koch and his [Em] photo exhibit [A] called Prime Mover of photos of Jim
Morrison in 1967.
Right?
Tell me the [G] story.
It feels great to see the pictures up [A] again and they were in the garage _ _ lost for [Em] 25 years
and I never saw them until after the Doors movie came out.
I didn't realize they even existed.
I [A] shot them when I was 20 years [D] old and _ somebody asked me, hey, you shoot pictures, do you
have any [G] from back [A] then?
And [G] _ [A]
I found [Em] them.
Why is Jim larger than life or at least life size?
Yeah, he's about life size because I wanted to do a mural of Jim Morrison. _
[A] And these are all the pictures of him that show him _ [G] performing, _ going from a silence
to [A] a scream.
So this is called the scream sequence.
And [G] so the mural wouldn't have him life [A] size, the whole screen sequence as a life size.
Yes, that's right.
And _ when I looked at all the pictures, I found that I had just so many that showed him from
head to toe.
[Em] _
[A] And I put them together [D] in a [A] sequence [Bm] that showed some sort of rhythm.
Like _ _ [Em] _ that's what this is.
In fact, the stills, these are the [Am] stills on the opposite wall.
They're all the original black and white [Em] pictures.
[C]
This [G] is the first picture you [Am] took on that day?
It's the first one in the sequence.
So it shows him in silence.
And he [Em] didn't say a word to the [Am] audience that day.
He was _ _ very controlled, very much into the music, _ [Dm] _ not [Bm] playing around with the [D] audience at all.
And as you see, the audience is sitting on the stage.
People were having a good [A] time, [Bm] being up close.
[Em] People trusted each other.
And [A] here you have _ the drummer, obviously, John [Bb] Densmore, Ray [A] Manzarek, Morrison, and Robbie Krieger.
That's a great photo.
You've got them all in there.
It's [Am] great.
And you're just right on the side of the stage.
[Eb] There's no guard holding you back or about to [A] hit you on the head.
As [Bb] you see, the shadows are straight [D] down.
So the [A] sun was high noon.
And it's unusual that the _ overcast coastal light of California was filtering the light.
So it ended up being very well lit, _ indirect lighting almost.
And this is the second shot where he looks right at me.
[N] He's looking right at the camera. _ _ _ _
And so is this [Gb] girl here.
_ [Bb] Yeah. _
_ _ [B] You know, people started watching me.
[Bb] And I'm kind of [N] twisting it.
You can see where I'm not just shooting straight.
I'm trying to get a different angle.
And then same [B] here, _ _ [Gb] _ [B] same [Bbm] angle. _ _
[Bm] And just [Bb] right [G] across through here, [Bb] this is the ninth one.
That's the most [F] dynamic one.
That's the one that's [A] on the poster and on the T [Bbm]-shirt.
_ _ _ [N] Yeah, that's great.
Why did you pick that one as the most dynamic?
It shows the most motion [B] and most emotion.
[N] And then this is the scream.
This is what I call the scream sequence.
Because [B] he's actually yelling.
You know, he's so into it, his heels are off the [Db] ground.
I mean, if you turn this [B] one sideways, he actually looks like he's flying.
Oh, [Gb] okay.
[Db] Ah.
_ _ [F] But Densmore is really, I mean, I like [B] seeing the blur of the sticks.
I like [C] always getting the [Em] hands of the musicians if I can.
And showing how musicians play.
And then this is sort of the come [B] down.
You know, after he's exhausted himself, [Bm] he's sort of really gasping [Bb] _ _ _ for air.
_ _ _ [A] You know, this [F] is the one, the closest shot I have of [A] him.
And I'm [G] sure I changed lenses too.
I probably used a [D] 135.
_ I didn't get [Em] up in his face.
I had a telephoto lens.
[D] _ _
And as [Em] we go across.
That's a [A] great shot.
What's going on with the [Dm] horn?
I don't know.
Nobody's been [G] able to explain it.
When I showed Ray Manzarek that, he didn't remember what it was about either.
[E] _ [A] But _ [G]
he was [B] getting some effect.
[E] Is that a flower?
Yeah, [A] they're flowers.
[Em] And then the gas mask on the mannequin is in the next [A] picture more clearly. _
_ [G] And here he's kind of dreaming [Em] away.
And taking a [B] breath between screams, I guess. _
There are two [G] different color slides.
And I just [Bb] took them out of their holders and put them back together.
[Dm] And put the scans [G] together.
_ [Bb] And then these are collaborations with a good friend of mine, [Em] Victor Rafael.
And he put the gold leaf [B] on these.
_ [G] So he made like an iconic image.
Almost like a religious icon.
_ [D] _
_ _ [B] _ _ And he [E] put this metal and [Eb] gold leaf on that [Em] one.
And then _ that shot of the flag is the same [Bb] as the one we looked at earlier.
[Dm] But it's cropped.
And [Eb] there's gold leaf coming out of his head.
It looks like [B] there's.
You can see it actually, can't you?
[G] So if people want to see more of your [Eb] work or find [Em] you.
Is there a way they can contact you?
Yeah, they can go to my website.
Jimcoke.com.
Great.
C-O-K-E.
Dot com. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [A] Hi, we're here with Jim Koch and his [Em] photo exhibit [A] called Prime Mover of photos of Jim
Morrison in 1967.
Right?
Tell me the [G] story.
It feels great to see the pictures up [A] again and they were in the garage _ _ lost for [Em] 25 years
and I never saw them until after the Doors movie came out.
I didn't realize they even existed.
I [A] shot them when I was 20 years [D] old and _ somebody asked me, hey, you shoot pictures, do you
have any [G] from back [A] then?
And [G] _ [A]
I found [Em] them.
Why is Jim larger than life or at least life size?
Yeah, he's about life size because I wanted to do a mural of Jim Morrison. _
[A] And these are all the pictures of him that show him _ [G] performing, _ going from a silence
to [A] a scream.
So this is called the scream sequence.
And [G] so the mural wouldn't have him life [A] size, the whole screen sequence as a life size.
Yes, that's right.
And _ when I looked at all the pictures, I found that I had just so many that showed him from
head to toe.
[Em] _
[A] And I put them together [D] in a [A] sequence [Bm] that showed some sort of rhythm.
Like _ _ [Em] _ that's what this is.
In fact, the stills, these are the [Am] stills on the opposite wall.
They're all the original black and white [Em] pictures.
[C]
This [G] is the first picture you [Am] took on that day?
It's the first one in the sequence.
So it shows him in silence.
And he [Em] didn't say a word to the [Am] audience that day.
He was _ _ very controlled, very much into the music, _ [Dm] _ not [Bm] playing around with the [D] audience at all.
And as you see, the audience is sitting on the stage.
People were having a good [A] time, [Bm] being up close.
[Em] People trusted each other.
And [A] here you have _ the drummer, obviously, John [Bb] Densmore, Ray [A] Manzarek, Morrison, and Robbie Krieger.
That's a great photo.
You've got them all in there.
It's [Am] great.
And you're just right on the side of the stage.
[Eb] There's no guard holding you back or about to [A] hit you on the head.
As [Bb] you see, the shadows are straight [D] down.
So the [A] sun was high noon.
And it's unusual that the _ overcast coastal light of California was filtering the light.
So it ended up being very well lit, _ indirect lighting almost.
And this is the second shot where he looks right at me.
[N] He's looking right at the camera. _ _ _ _
And so is this [Gb] girl here.
_ [Bb] Yeah. _
_ _ [B] You know, people started watching me.
[Bb] And I'm kind of [N] twisting it.
You can see where I'm not just shooting straight.
I'm trying to get a different angle.
And then same [B] here, _ _ [Gb] _ [B] same [Bbm] angle. _ _
[Bm] And just [Bb] right [G] across through here, [Bb] this is the ninth one.
That's the most [F] dynamic one.
That's the one that's [A] on the poster and on the T [Bbm]-shirt.
_ _ _ [N] Yeah, that's great.
Why did you pick that one as the most dynamic?
It shows the most motion [B] and most emotion.
[N] And then this is the scream.
This is what I call the scream sequence.
Because [B] he's actually yelling.
You know, he's so into it, his heels are off the [Db] ground.
I mean, if you turn this [B] one sideways, he actually looks like he's flying.
Oh, [Gb] okay.
[Db] Ah.
_ _ [F] But Densmore is really, I mean, I like [B] seeing the blur of the sticks.
I like [C] always getting the [Em] hands of the musicians if I can.
And showing how musicians play.
And then this is sort of the come [B] down.
You know, after he's exhausted himself, [Bm] he's sort of really gasping [Bb] _ _ _ for air.
_ _ _ [A] You know, this [F] is the one, the closest shot I have of [A] him.
And I'm [G] sure I changed lenses too.
I probably used a [D] 135.
_ I didn't get [Em] up in his face.
I had a telephoto lens.
[D] _ _
And as [Em] we go across.
That's a [A] great shot.
What's going on with the [Dm] horn?
I don't know.
Nobody's been [G] able to explain it.
When I showed Ray Manzarek that, he didn't remember what it was about either.
[E] _ [A] But _ [G]
he was [B] getting some effect.
[E] Is that a flower?
Yeah, [A] they're flowers.
[Em] And then the gas mask on the mannequin is in the next [A] picture more clearly. _
_ [G] And here he's kind of dreaming [Em] away.
And taking a [B] breath between screams, I guess. _
There are two [G] different color slides.
And I just [Bb] took them out of their holders and put them back together.
[Dm] And put the scans [G] together.
_ [Bb] And then these are collaborations with a good friend of mine, [Em] Victor Rafael.
And he put the gold leaf [B] on these.
_ [G] So he made like an iconic image.
Almost like a religious icon.
_ [D] _
_ _ [B] _ _ And he [E] put this metal and [Eb] gold leaf on that [Em] one.
And then _ that shot of the flag is the same [Bb] as the one we looked at earlier.
[Dm] But it's cropped.
And [Eb] there's gold leaf coming out of his head.
It looks like [B] there's.
You can see it actually, can't you?
[G] So if people want to see more of your [Eb] work or find [Em] you.
Is there a way they can contact you?
Yeah, they can go to my website.
Jimcoke.com.
Great.
C-O-K-E.
Dot com. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _