Chords for Kris Kristofferson and the fight for freedom
Tempo:
72.95 bpm
Chords used:
D
F
A
G
B
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[D] [Abm] The reason [F] that the music didn't have an effect on the war in Iraq was not that we stopped
making the music, it was that they stopped playing it.
[E] I think the people [B] behind the censorship, [A] [Bb] ultimately it may be people in the government,
but [F] I think directly it's [Bb] people who are affected economically by it, [G] who feel that their product won't [B] sell.
I know that was the first excuse that was given [Am] to me.
[F] They said I had become unmarketable because I was writing songs like They Killed Him,
which was about Mahatma Gandhi and Martin Luther King.
And they said that I simply was unmarketable in what they perceived as my market, which
was a very conservative [D] country market.
Louis is a child soldier, had a machete in his hand by the age of [A] thirteen.
They brainwashed his sister, now death is his mission.
He feels no emotion [D] as his work begins.
Sweet, sweet Amelda, her innocence was stolen on a cold [A] September night.
Now she's a girl with a baby to raise and for them to survive, [D] she knows that she must fly.
And in Argentina, straight to the circle on Sundays, down through the canyons [A] they come.
There are names of their mothers and daughters, names of their fathers [D] and sons.
Stolen away with no warning, never to ever [G] return.
El [D] rio del muerto,
[A] all the bridges [D] are burned.
[D] [Em] The censorship that I've experienced started [Db] probably in the [N] early 80s when I was talking
about what was happening in El Salvador and in Nicaragua.
And continued when I went to Russia.
[B] When I, [F] I think probably the last time, well I had, [E] while I was performing in my concerts
throughout the states, there was, there was [B] [F] in the early 80s quite vocal opposition to
my point of view.
[E] I remember Larry King on CNN had me on the, on the program once when I came back from
Nicaragua when I was talking [F] to him about the Sandinistas' commitment to free health,
free education, land reform.
And it was the land reform which [B] put us in the crosshairs of the American foreign policy.
And [Dm] as it did in Cuba, the same, the same thing.
And there were, [G] I don't know if they were organized [Am]
or who they were organized by, but
there were picklers around my shows.
I know when I did benefits for Leonard Pelletier or Mumia Abu-Jamal that I got the same thing.
Not, not just from citizens, but from the police, from, in the case of Leonard Pelletier,
it was FBI.
[F] And I felt it was my duty to keep expressing myself and to keep communicating the knowledge
that I had.
The, I had the opportunity to see firsthand because not everybody can go to Nicaragua
themselves and see the damage that's done.
Not everybody could go to Moscow, you know.
[G] But being fortunate enough to get around the world, I felt it was my duty to convey what I knew.
[D]
[A]
[D] And [G] the circle of sadness grows with each [D] passing day, [A] that we look aside and defend
our own lives, shutting the voice of reason deep [D] inside.
[G] And the circle of sadness grows with each [D] passing day, [A] that we look aside and defend
our own lives, shutting the voice of [D] reason deep inside.
If you move [F] the heart, I think the head will follow, you know.
And I think that's, that's why it's been so good.
I know the first time I was in Moscow, the government had, we had been brought in to
do concerts and, and the first concert that I was going to do was, was canceled for some
technical excuse that they had, that we hadn't filled out some paper or some, something.
And, and, and while we were in the bar, drowning our disappointment, some people told us about
Arbat Street, who, which is where they, they have street singers.
And we decided we'd go down there and said, hell, we'll do our show there.
And the people reacted so, it was so heartwarming to me to see, to see, they, they were just
pushing us up against this little stairway into a building and we were playing these
songs and then the police came and just went through them like a tank with [Am] clubs and everything
and arrested the guy that took us there.
We never saw him again.
And I've, I've found that, I
[F] think, I think music is probably the, the quickest way to
move in the emotions that I know of as an art form.
And, and it puts a responsibility on the people who are doing that to communicate [Dm] the truth
they know as they see it.
[D]
making the music, it was that they stopped playing it.
[E] I think the people [B] behind the censorship, [A] [Bb] ultimately it may be people in the government,
but [F] I think directly it's [Bb] people who are affected economically by it, [G] who feel that their product won't [B] sell.
I know that was the first excuse that was given [Am] to me.
[F] They said I had become unmarketable because I was writing songs like They Killed Him,
which was about Mahatma Gandhi and Martin Luther King.
And they said that I simply was unmarketable in what they perceived as my market, which
was a very conservative [D] country market.
Louis is a child soldier, had a machete in his hand by the age of [A] thirteen.
They brainwashed his sister, now death is his mission.
He feels no emotion [D] as his work begins.
Sweet, sweet Amelda, her innocence was stolen on a cold [A] September night.
Now she's a girl with a baby to raise and for them to survive, [D] she knows that she must fly.
And in Argentina, straight to the circle on Sundays, down through the canyons [A] they come.
There are names of their mothers and daughters, names of their fathers [D] and sons.
Stolen away with no warning, never to ever [G] return.
El [D] rio del muerto,
[A] all the bridges [D] are burned.
[D] [Em] The censorship that I've experienced started [Db] probably in the [N] early 80s when I was talking
about what was happening in El Salvador and in Nicaragua.
And continued when I went to Russia.
[B] When I, [F] I think probably the last time, well I had, [E] while I was performing in my concerts
throughout the states, there was, there was [B] [F] in the early 80s quite vocal opposition to
my point of view.
[E] I remember Larry King on CNN had me on the, on the program once when I came back from
Nicaragua when I was talking [F] to him about the Sandinistas' commitment to free health,
free education, land reform.
And it was the land reform which [B] put us in the crosshairs of the American foreign policy.
And [Dm] as it did in Cuba, the same, the same thing.
And there were, [G] I don't know if they were organized [Am]
or who they were organized by, but
there were picklers around my shows.
I know when I did benefits for Leonard Pelletier or Mumia Abu-Jamal that I got the same thing.
Not, not just from citizens, but from the police, from, in the case of Leonard Pelletier,
it was FBI.
[F] And I felt it was my duty to keep expressing myself and to keep communicating the knowledge
that I had.
The, I had the opportunity to see firsthand because not everybody can go to Nicaragua
themselves and see the damage that's done.
Not everybody could go to Moscow, you know.
[G] But being fortunate enough to get around the world, I felt it was my duty to convey what I knew.
[D]
[A]
[D] And [G] the circle of sadness grows with each [D] passing day, [A] that we look aside and defend
our own lives, shutting the voice of reason deep [D] inside.
[G] And the circle of sadness grows with each [D] passing day, [A] that we look aside and defend
our own lives, shutting the voice of [D] reason deep inside.
If you move [F] the heart, I think the head will follow, you know.
And I think that's, that's why it's been so good.
I know the first time I was in Moscow, the government had, we had been brought in to
do concerts and, and the first concert that I was going to do was, was canceled for some
technical excuse that they had, that we hadn't filled out some paper or some, something.
And, and, and while we were in the bar, drowning our disappointment, some people told us about
Arbat Street, who, which is where they, they have street singers.
And we decided we'd go down there and said, hell, we'll do our show there.
And the people reacted so, it was so heartwarming to me to see, to see, they, they were just
pushing us up against this little stairway into a building and we were playing these
songs and then the police came and just went through them like a tank with [Am] clubs and everything
and arrested the guy that took us there.
We never saw him again.
And I've, I've found that, I
[F] think, I think music is probably the, the quickest way to
move in the emotions that I know of as an art form.
And, and it puts a responsibility on the people who are doing that to communicate [Dm] the truth
they know as they see it.
[D]
Key:
D
F
A
G
B
D
F
A
[D] _ _ _ _ [Abm] The reason [F] that the music didn't have an effect on the war in Iraq was not that we stopped
making the music, it was that they stopped playing it.
[E] I think the people [B] behind the censorship, [A] _ _ [Bb] ultimately it may be people in the government,
but [F] I think directly it's [Bb] people who are affected economically by it, [G] who feel that their product won't [B] sell.
I know that was the _ _ first _ excuse that was given [Am] to me.
[F] They said I had become unmarketable because I was writing songs like They Killed Him,
which was about Mahatma Gandhi and Martin Luther King.
And they said that I simply was unmarketable in what they perceived as my market, which
was a very conservative [D] country market.
Louis is a child soldier, had a machete in his hand by the age of [A] thirteen.
They brainwashed his sister, now death is his mission.
He feels no emotion [D] as his work begins.
Sweet, sweet Amelda, her innocence was stolen on a cold [A] September night. _
Now she's a girl with a baby to raise and for them to survive, [D] she knows that she must fly.
_ _ And in Argentina, straight to the circle on Sundays, _ down through the canyons [A] they come.
There are names of their mothers and daughters, _ names of their fathers [D] and sons.
Stolen away with no warning, _ never to ever [G] return.
_ El [D] rio del muerto, _
[A] all the bridges [D] are burned.
_ [D] [Em] The censorship that I've experienced started [Db] probably in the [N] early 80s when I was talking
about what was happening in El Salvador and in Nicaragua.
_ _ _ And continued when I went to Russia.
_ [B] When I, [F] I think probably the last time, well I had, [E] _ while I was performing in my concerts
throughout the states, there was, there was _ [B] _ [F] in the early 80s quite vocal opposition to
my point of view.
[E] I remember Larry King on CNN had me on the, on the program once when I came back from
Nicaragua when I was talking [F] to him about the Sandinistas' commitment to free health,
free education, land reform.
And it was the land reform which [B] put us in the crosshairs of the American foreign policy.
And [Dm] as it did in Cuba, the same, the same thing.
And there were, [G] I don't know if they were organized [Am]
or who they were organized by, but
there were picklers around my shows.
I know when I did benefits for Leonard Pelletier or Mumia Abu-Jamal that I got the same thing.
Not, not just from citizens, but from the police, from, in the case of Leonard Pelletier,
it was FBI.
[F] And _ I _ felt it was my duty to keep expressing myself and to keep communicating the knowledge
that I had.
The, I had the opportunity to see firsthand because not everybody can go to Nicaragua
themselves and see the damage that's done.
Not everybody could go to Moscow, you know.
[G] But being fortunate enough to get around the world, I felt it was my duty to convey what I knew.
_ _ _ _ [D] _
_ _ [A] _ _ _ _ _ _
_ _ [D] _ And [G] the circle of sadness _ grows with each [D] passing day, [A] that we look aside and defend
our own lives, shutting the voice of reason deep [D] inside.
_ [G] _ And the circle of sadness _ grows with each [D] passing day, [A] that we look aside and defend
our own lives, shutting the voice of [D] reason deep inside.
If you move [F] the heart, I think the head will follow, you know.
And I think that's, that's why it's been so good.
I know the first time I was in Moscow, the government had, we had been brought in to
do concerts and, and the first concert that I was going to do was, was canceled for some
technical excuse that they had, that we hadn't filled out some paper or some, something.
And, and, and while we were in the bar, _ drowning our disappointment, some people told us about
Arbat Street, who, which is where they, they have street singers.
And we decided we'd go down there and said, hell, we'll do our show there.
And the people reacted so, it was so heartwarming to me to see, to see, they, they were just
pushing us up against this little stairway into a building and we were playing these
songs and then the police came and just went through them like a tank with [Am] clubs and everything
and arrested the guy that took us there.
We never saw him again.
_ And I've, I've found that, _ _ _ I _
[F] _ think, I think music is probably the, the quickest way to
move in the emotions that I know of as an art form.
And, and it puts a responsibility on the people who are doing that to communicate [Dm] the truth
they know as they see it.
_ [D] _ _ _
making the music, it was that they stopped playing it.
[E] I think the people [B] behind the censorship, [A] _ _ [Bb] ultimately it may be people in the government,
but [F] I think directly it's [Bb] people who are affected economically by it, [G] who feel that their product won't [B] sell.
I know that was the _ _ first _ excuse that was given [Am] to me.
[F] They said I had become unmarketable because I was writing songs like They Killed Him,
which was about Mahatma Gandhi and Martin Luther King.
And they said that I simply was unmarketable in what they perceived as my market, which
was a very conservative [D] country market.
Louis is a child soldier, had a machete in his hand by the age of [A] thirteen.
They brainwashed his sister, now death is his mission.
He feels no emotion [D] as his work begins.
Sweet, sweet Amelda, her innocence was stolen on a cold [A] September night. _
Now she's a girl with a baby to raise and for them to survive, [D] she knows that she must fly.
_ _ And in Argentina, straight to the circle on Sundays, _ down through the canyons [A] they come.
There are names of their mothers and daughters, _ names of their fathers [D] and sons.
Stolen away with no warning, _ never to ever [G] return.
_ El [D] rio del muerto, _
[A] all the bridges [D] are burned.
_ [D] [Em] The censorship that I've experienced started [Db] probably in the [N] early 80s when I was talking
about what was happening in El Salvador and in Nicaragua.
_ _ _ And continued when I went to Russia.
_ [B] When I, [F] I think probably the last time, well I had, [E] _ while I was performing in my concerts
throughout the states, there was, there was _ [B] _ [F] in the early 80s quite vocal opposition to
my point of view.
[E] I remember Larry King on CNN had me on the, on the program once when I came back from
Nicaragua when I was talking [F] to him about the Sandinistas' commitment to free health,
free education, land reform.
And it was the land reform which [B] put us in the crosshairs of the American foreign policy.
And [Dm] as it did in Cuba, the same, the same thing.
And there were, [G] I don't know if they were organized [Am]
or who they were organized by, but
there were picklers around my shows.
I know when I did benefits for Leonard Pelletier or Mumia Abu-Jamal that I got the same thing.
Not, not just from citizens, but from the police, from, in the case of Leonard Pelletier,
it was FBI.
[F] And _ I _ felt it was my duty to keep expressing myself and to keep communicating the knowledge
that I had.
The, I had the opportunity to see firsthand because not everybody can go to Nicaragua
themselves and see the damage that's done.
Not everybody could go to Moscow, you know.
[G] But being fortunate enough to get around the world, I felt it was my duty to convey what I knew.
_ _ _ _ [D] _
_ _ [A] _ _ _ _ _ _
_ _ [D] _ And [G] the circle of sadness _ grows with each [D] passing day, [A] that we look aside and defend
our own lives, shutting the voice of reason deep [D] inside.
_ [G] _ And the circle of sadness _ grows with each [D] passing day, [A] that we look aside and defend
our own lives, shutting the voice of [D] reason deep inside.
If you move [F] the heart, I think the head will follow, you know.
And I think that's, that's why it's been so good.
I know the first time I was in Moscow, the government had, we had been brought in to
do concerts and, and the first concert that I was going to do was, was canceled for some
technical excuse that they had, that we hadn't filled out some paper or some, something.
And, and, and while we were in the bar, _ drowning our disappointment, some people told us about
Arbat Street, who, which is where they, they have street singers.
And we decided we'd go down there and said, hell, we'll do our show there.
And the people reacted so, it was so heartwarming to me to see, to see, they, they were just
pushing us up against this little stairway into a building and we were playing these
songs and then the police came and just went through them like a tank with [Am] clubs and everything
and arrested the guy that took us there.
We never saw him again.
_ And I've, I've found that, _ _ _ I _
[F] _ think, I think music is probably the, the quickest way to
move in the emotions that I know of as an art form.
And, and it puts a responsibility on the people who are doing that to communicate [Dm] the truth
they know as they see it.
_ [D] _ _ _