Chords for KENNY ROGERS-LIONEL RICHIE/LADY/COUNTRY CONCERT MGM GRAND HOTEL
Tempo:
68 bpm
Chords used:
C#m
B
A
F#m
C#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Jam Along & Learn...
Ladies and gentlemen, Mr.
To say I'm excited about being a part of this is an understatement, to say the least.
You know, you deserve what you're getting here.
Vegas.
Now, for those of you who are young, aspiring songwriters, who want to learn how to pitch a song, Lionel is your guy.
come over and write a song for me.
well, it's going to be a part of our greatest hits album.
[N] says, it's 7 o'clock tomorrow night, okay.
To say I'm excited about being a part of this is an understatement, to say the least.
You know, you deserve what you're getting here.
Vegas.
Now, for those of you who are young, aspiring songwriters, who want to learn how to pitch a song, Lionel is your guy.
come over and write a song for me.
well, it's going to be a part of our greatest hits album.
[N] says, it's 7 o'clock tomorrow night, okay.
100% ➙ 68BPM
C#m
B
A
F#m
C#
C#m
B
A
Ladies and gentlemen, Mr.
Kenny Rogers. _ _ _ _
_ To say I'm excited about being a part of this is an understatement, to say the least.
But you know, Lionel, first of all, I'm so proud of you.
And I'm so happy for you.
You know, you deserve what you're getting here.
Lionel and I met 32 years ago, right here in Las Vegas.
But _ _ you know, I'm so excited about this because_
Now, for those of you who are young, aspiring songwriters, who want to learn how to pitch a song, Lionel is your guy.
I called him from the Riviera here, and I said, Lionel, I'd love for you to come over and write a song for me.
And he said, I don't think I have time.
I said, well, it's going to be a part of our greatest hits album.
[G] It'll sell, I think, a minimum of four [F#] or five million records.
He [N] says, it's 7 o'clock tomorrow night, okay.
_ So he came in at 7 o'clock, and we had this little upright, rinky-dink piano in the dressing room.
And he starts to play, and then he says, before I do this, I have to tell you, I pitched this to the Commodores, and they turned it down.
Which I thought was an interesting approach to selling a song.
So he sits down, and he starts playing, and he goes, lady_
Wait. _ _ _
_ And the rest of it, la-da-da-da-da-da-da-da-da-da.
All he had was the one word.
I said, how could they have turned that word down, I asked him.
So we go in the studio, six months later, we're recording.
I finish the first verse of the song, and I'm sitting looking at the lyric sheets, and there's not a second verse.
And I said, wait a minute, where's Lionel?
I swear to God, he's in the toilet writing the second verse.
_ _ _ _ _ _ _
They said, he's at his best under pressure.
_ _ So I am so excited about being here, you know.
And you're not just a friend of mine, but the song you wrote was truly a changing point in my career.
It's one of the most identifiable songs I've ever done.
I'd love to have you come up and sing it with me, if you will.
Good afternoon.
_ _ _ _ _ _ _ _
[C#m] _ _ _ _ _ _ _
Late, _ _ [A] you're neither too [B] shiny, and [C#] I love you.
[C#m] You [A] have made me [B] what I [C#m] am.
_ [C#] I am yours, [C#m] _ _ _
_ my love.
There's [A] so many ways [C#m] I want to [B] say [C#m] I love you.
You [A] have [F#m] come into my [B] life and [C#] made me [C#m] whole. _ _
_ _ You [F#m] have gone _ [G#m] and made me such a [B] fool.
[C#m] And I [G#m] am so much [F#] in your love.
[C#] _ _ [F#m] We _ _
[G#m] belong together.
_ [C#m] Won't you [B] believe in [F#m] my song?
_ _ [C#] _ Hit it, Kenny.
Late, [C#m] for [A] so many years, [B] I thought I'd never [C#m] find you.
You [F#m] have come into [B] my life and _ [C#m] made me whole. _ _ _
_ Forever.
Forever.
Let [A] me wait to [B] see you each and [C#m] every morning.
Let [A] me hear you whisper [B] softly _ _ [C#m] in my ear. _
_ _ _ _ [F#m] _ _ I [G#m] say, oh, why not speak?
[C#m] _ [A] _ [G#m] There's no other [F#] love like ours.
[C#] _ [F#m] Oh.
_ We [B] belong together.
[G#m] _ _ [C#m] I've waited [B] for you for [F#] so _ _ [C#] long.
Oh.
[A]
Late, _ _ [E] [B] you're _ _ [D#]
[E] the only [B] love [C#m] I need.
[E] _ _
[C#m] Beside me, [B] _ this way. _
[E] _ [B] I want you [C#m] to be here.
[E] Oh, [C#m] my love.
[A] _ _ [B] _ There's something [E] I [B] want you [C#m] to know.
_ [B] _
[E] You're the [B] love of my [F#m] life.
_ [B] Hit it, Kenny.
[Em] You're my angel.
[C#m] _ _ _ _ [F#m] _ _ [B] _ _ _ _ [C#] _ [C#m] _
_ _ _ _ _ _ _ _
_ [C#] _ _ [N] _ [G] _ _ _ [F#m] _
Kenny Rogers. _ _ _ _
_ To say I'm excited about being a part of this is an understatement, to say the least.
But you know, Lionel, first of all, I'm so proud of you.
And I'm so happy for you.
You know, you deserve what you're getting here.
Lionel and I met 32 years ago, right here in Las Vegas.
But _ _ you know, I'm so excited about this because_
Now, for those of you who are young, aspiring songwriters, who want to learn how to pitch a song, Lionel is your guy.
I called him from the Riviera here, and I said, Lionel, I'd love for you to come over and write a song for me.
And he said, I don't think I have time.
I said, well, it's going to be a part of our greatest hits album.
[G] It'll sell, I think, a minimum of four [F#] or five million records.
He [N] says, it's 7 o'clock tomorrow night, okay.
_ So he came in at 7 o'clock, and we had this little upright, rinky-dink piano in the dressing room.
And he starts to play, and then he says, before I do this, I have to tell you, I pitched this to the Commodores, and they turned it down.
Which I thought was an interesting approach to selling a song.
So he sits down, and he starts playing, and he goes, lady_
Wait. _ _ _
_ And the rest of it, la-da-da-da-da-da-da-da-da-da.
All he had was the one word.
I said, how could they have turned that word down, I asked him.
So we go in the studio, six months later, we're recording.
I finish the first verse of the song, and I'm sitting looking at the lyric sheets, and there's not a second verse.
And I said, wait a minute, where's Lionel?
I swear to God, he's in the toilet writing the second verse.
_ _ _ _ _ _ _
They said, he's at his best under pressure.
_ _ So I am so excited about being here, you know.
And you're not just a friend of mine, but the song you wrote was truly a changing point in my career.
It's one of the most identifiable songs I've ever done.
I'd love to have you come up and sing it with me, if you will.
Good afternoon.
_ _ _ _ _ _ _ _
[C#m] _ _ _ _ _ _ _
Late, _ _ [A] you're neither too [B] shiny, and [C#] I love you.
[C#m] You [A] have made me [B] what I [C#m] am.
_ [C#] I am yours, [C#m] _ _ _
_ my love.
There's [A] so many ways [C#m] I want to [B] say [C#m] I love you.
You [A] have [F#m] come into my [B] life and [C#] made me [C#m] whole. _ _
_ _ You [F#m] have gone _ [G#m] and made me such a [B] fool.
[C#m] And I [G#m] am so much [F#] in your love.
[C#] _ _ [F#m] We _ _
[G#m] belong together.
_ [C#m] Won't you [B] believe in [F#m] my song?
_ _ [C#] _ Hit it, Kenny.
Late, [C#m] for [A] so many years, [B] I thought I'd never [C#m] find you.
You [F#m] have come into [B] my life and _ [C#m] made me whole. _ _ _
_ Forever.
Forever.
Let [A] me wait to [B] see you each and [C#m] every morning.
Let [A] me hear you whisper [B] softly _ _ [C#m] in my ear. _
_ _ _ _ [F#m] _ _ I [G#m] say, oh, why not speak?
[C#m] _ [A] _ [G#m] There's no other [F#] love like ours.
[C#] _ [F#m] Oh.
_ We [B] belong together.
[G#m] _ _ [C#m] I've waited [B] for you for [F#] so _ _ [C#] long.
Oh.
[A]
Late, _ _ [E] [B] you're _ _ [D#]
[E] the only [B] love [C#m] I need.
[E] _ _
[C#m] Beside me, [B] _ this way. _
[E] _ [B] I want you [C#m] to be here.
[E] Oh, [C#m] my love.
[A] _ _ [B] _ There's something [E] I [B] want you [C#m] to know.
_ [B] _
[E] You're the [B] love of my [F#m] life.
_ [B] Hit it, Kenny.
[Em] You're my angel.
[C#m] _ _ _ _ [F#m] _ _ [B] _ _ _ _ [C#] _ [C#m] _
_ _ _ _ _ _ _ _
_ [C#] _ _ [N] _ [G] _ _ _ [F#m] _
