Chords for Linda Ronstadt Profile from "Sisters in Country" | Short Clip
Tempo:
160.75 bpm
Chords used:
G
A
Db
E
Ab
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Am] Born in Arizona in 1946, the same year as Dolly Parton,
Linda Runstadt was [Em] a classic 60s kid who'd [D] grown up on 50s [Em] radio.
Across the border in Mexico were these [E] huge transmitters that could transmit stations that came from Tennessee,
or came from Chicago, came from New York.
[G] They would have been illegal if they'd been on this side of the line, but they were across in Mexico.
[A]
[D]
I listened to black gospel, white [A] gospel, country music, rock and roll,
and then of course tons of Mexican music because we were right there on the border and my family's Mexican.
[G] Everybody in my family [A] played and sang, [B] including my grandmother [D] and my great aunts.
They'd all play anything [B] from operatic arias to Mexican love songs.
[E] My sister would sing the latest Hank [B] Williams songs or the latest rock and roll songs.
It was really great.
[E] I liked that.
[B] Very eclectic.
[E] [B]
[E] Linda left Tucson in [B] 1964 after dropping out of college at 18 [Em] and went west like so many of her [G] generation.
[A] [G] [A] [G]
[A] [G] [A] [G]
[A] [G] [A] [Em]
60s kid Linda was drawn to Los Angeles and [A] the Troubadour,
which might as well have been a [Em] million miles away [G] from the grand old Opry.
[A] [G] [A] It was just the place to be seen and to [Am] play, and the main reason was they [G] had open mic night.
[A] So you heard him up [G] and listened.
You could go and sort of audition and sing at a, perform in an open mic night, you know,
and get a job there opening for some bigger [A] act.
[G] [Em] Everyone assumes when there's any kind of musical movement that the members of it all necessarily hang out together
and know each other and sing together and play together.
And often it's not really the [Gb] case.
But in L.A. [E] it was the case.
Everybody was there.
Joni Mitchell, [Dm] Neil Young, Carole King, James [A] Taylor, the Byrds.
[G] It was this huge hodgepodge of great writers and [Db] everybody that came into L.A. would drift through the Troubadour.
It was at the Troubadour that Linda's band, The Stone Ponies, [Ab] were signed [Db] after being spotted performing at a fete.
[Fm] [Ebm] [Gbm] [Ab]
[Db] [Fm] [Gb] It [Ab]
[Fm] [Gb]
[Ab] [Db]
[Ebm] was Linda that stood [Db] out.
[Eb] Somebody had told me that there was this amazing girl singer who was like,
had this voice of extraordinary power and beauty and also sang in bare feet and short shorts and was incredibly hot.
And it was all true.
That was the first [Ab] time I heard her sing and I was completely blown [Db] away.
[Bbm]
[Eb] The main things that stand out about Linda's [Dbm] voice, and I think it's [Ebm] one of the iconic voices in [Ab] American music of our time,
is the power.
[Db] [Fm] [Db] [Gb]
[Fm] [Ab] [Db] [Ab] I mean, [Gb] this is not [Ebm] a [Bbm] very large girl.
She's a small girl and yet her [Ebm] voice is beyond powerful.
[E] That's what struck me about hearing her voice for the first time.
I was just drawn to it.
[B] [N]
In 1968, Linda left The Stone [E] Ponies and set about finding her niche.
The record company, Capitol, was a little confused about should she go pure country [G] or should she do rock?
So combining those [F] two things helped Linda, I think, fuse the elements of country and rock into her style
and I think led to most of what she did later.
This is a song I learned [G] from Patsy Cline [C] and it's called I Fall to Pieces.
Linda embraced country and she [F] gave it a new kind of hipness, [G] which saw it reaching out to the West Coast kids.
[C] [F]
[G]
I [D]
[F] [G]
[C]
[Am] always turn back to what was in the [G] living room in my childhood home before I was age 10.
If I didn't hear it by the time I was 10, [Em]
Linda Runstadt was [Em] a classic 60s kid who'd [D] grown up on 50s [Em] radio.
Across the border in Mexico were these [E] huge transmitters that could transmit stations that came from Tennessee,
or came from Chicago, came from New York.
[G] They would have been illegal if they'd been on this side of the line, but they were across in Mexico.
[A]
[D]
I listened to black gospel, white [A] gospel, country music, rock and roll,
and then of course tons of Mexican music because we were right there on the border and my family's Mexican.
[G] Everybody in my family [A] played and sang, [B] including my grandmother [D] and my great aunts.
They'd all play anything [B] from operatic arias to Mexican love songs.
[E] My sister would sing the latest Hank [B] Williams songs or the latest rock and roll songs.
It was really great.
[E] I liked that.
[B] Very eclectic.
[E] [B]
[E] Linda left Tucson in [B] 1964 after dropping out of college at 18 [Em] and went west like so many of her [G] generation.
[A] [G] [A] [G]
[A] [G] [A] [G]
[A] [G] [A] [Em]
60s kid Linda was drawn to Los Angeles and [A] the Troubadour,
which might as well have been a [Em] million miles away [G] from the grand old Opry.
[A] [G] [A] It was just the place to be seen and to [Am] play, and the main reason was they [G] had open mic night.
[A] So you heard him up [G] and listened.
You could go and sort of audition and sing at a, perform in an open mic night, you know,
and get a job there opening for some bigger [A] act.
[G] [Em] Everyone assumes when there's any kind of musical movement that the members of it all necessarily hang out together
and know each other and sing together and play together.
And often it's not really the [Gb] case.
But in L.A. [E] it was the case.
Everybody was there.
Joni Mitchell, [Dm] Neil Young, Carole King, James [A] Taylor, the Byrds.
[G] It was this huge hodgepodge of great writers and [Db] everybody that came into L.A. would drift through the Troubadour.
It was at the Troubadour that Linda's band, The Stone Ponies, [Ab] were signed [Db] after being spotted performing at a fete.
[Fm] [Ebm] [Gbm] [Ab]
[Db] [Fm] [Gb] It [Ab]
[Fm] [Gb]
[Ab] [Db]
[Ebm] was Linda that stood [Db] out.
[Eb] Somebody had told me that there was this amazing girl singer who was like,
had this voice of extraordinary power and beauty and also sang in bare feet and short shorts and was incredibly hot.
And it was all true.
That was the first [Ab] time I heard her sing and I was completely blown [Db] away.
[Bbm]
[Eb] The main things that stand out about Linda's [Dbm] voice, and I think it's [Ebm] one of the iconic voices in [Ab] American music of our time,
is the power.
[Db] [Fm] [Db] [Gb]
[Fm] [Ab] [Db] [Ab] I mean, [Gb] this is not [Ebm] a [Bbm] very large girl.
She's a small girl and yet her [Ebm] voice is beyond powerful.
[E] That's what struck me about hearing her voice for the first time.
I was just drawn to it.
[B] [N]
In 1968, Linda left The Stone [E] Ponies and set about finding her niche.
The record company, Capitol, was a little confused about should she go pure country [G] or should she do rock?
So combining those [F] two things helped Linda, I think, fuse the elements of country and rock into her style
and I think led to most of what she did later.
This is a song I learned [G] from Patsy Cline [C] and it's called I Fall to Pieces.
Linda embraced country and she [F] gave it a new kind of hipness, [G] which saw it reaching out to the West Coast kids.
[C] [F]
[G]
I [D]
[F] [G]
[C]
[Am] always turn back to what was in the [G] living room in my childhood home before I was age 10.
If I didn't hear it by the time I was 10, [Em]
Key:
G
A
Db
E
Ab
G
A
Db
[Am] Born in Arizona in 1946, the same year as Dolly Parton,
_ Linda Runstadt was [Em] a classic 60s kid who'd [D] grown up on 50s [Em] radio. _
_ _ _ Across the border in Mexico were these [E] huge transmitters that could transmit stations that came from Tennessee,
or came from Chicago, came from New York.
[G] They would have been illegal if they'd been on this side of the line, but they were across in Mexico.
_ _ _ _ [A] _ _
[D] _ _ _ _ _ _ _ _
I listened to black gospel, white [A] gospel, country music, rock and roll,
and then of course tons of Mexican music because we were right there on the border and my family's Mexican. _
[G] Everybody in my family [A] played and sang, [B] including my grandmother [D] and my great aunts.
They'd all play anything [B] from operatic arias to Mexican love songs.
_ [E] My sister would sing the latest Hank [B] Williams songs or the latest rock and roll songs.
It was really great.
[E] I liked that.
[B] Very eclectic. _ _ _
[E] _ _ _ _ _ _ [B] _ _
_ _ _ [E] Linda left Tucson in [B] 1964 after dropping out of college at 18 [Em] and went west like so many of her [G] generation. _ _
[A] _ _ [G] _ _ [A] _ _ [G] _ _
[A] _ _ _ [G] _ [A] _ _ _ [G] _
[A] _ _ _ [G] _ _ [A] _ _ [Em]
60s kid Linda was drawn to Los Angeles and [A] the Troubadour,
which might as well have been a [Em] million miles away [G] from the grand old Opry.
[A] _ _ _ [G] _ [A] _ It was just the place to be seen and to [Am] play, and the main reason was they [G] had open mic night.
[A] So you heard him _ _ up [G] and listened.
You could go and sort of audition and sing at a, perform in an open mic night, you know,
and get a job there opening for some bigger [A] act.
_ _ [G] _ [Em] _ _ Everyone assumes when there's any kind of musical movement that the members of it all necessarily hang out together
and know each other and sing together and play together.
And often it's not really the [Gb] case.
But in L.A. [E] it was the case. _ _
Everybody was there.
Joni Mitchell, [Dm] Neil Young, Carole King, James [A] Taylor, _ the Byrds.
[G] It was this huge _ hodgepodge of great writers and [Db] _ everybody that came into L.A. would drift through the Troubadour.
It was at the Troubadour that Linda's band, The Stone Ponies, [Ab] were signed [Db] after being spotted performing at a fete. _ _ _
[Fm] _ _ [Ebm] _ _ _ [Gbm] _ [Ab] _ _
[Db] _ _ _ [Fm] _ [Gb] It _ [Ab] _
_ [Fm] _ _ _ _ _ _ [Gb] _
_ [Ab] _ _ _ [Db] _ _ _ _
_ _ [Ebm] _ _ was Linda that stood [Db] out.
_ [Eb] Somebody had told me that there was this amazing girl singer who was like,
had this voice of extraordinary power and beauty and also sang in bare feet and short shorts and was incredibly hot.
And it was all true.
That was the first [Ab] time I heard her sing and I was _ completely blown [Db] away.
_ _ [Bbm] _ _
_ _ [Eb] _ _ _ The main things that stand out about Linda's [Dbm] voice, and I think it's [Ebm] one of the iconic _ voices in [Ab] American music of our time,
is the power. _ _ _
_ _ [Db] _ _ [Fm] _ _ [Db] _ [Gb] _
[Fm] _ _ [Ab] _ _ [Db] _ _ [Ab] I mean, [Gb] this is not [Ebm] a [Bbm] very large girl.
She's a small girl and yet her [Ebm] voice is beyond powerful.
[E] That's what struck me about hearing her voice for the first time.
I was just drawn to it.
_ [B] _ _ _ [N] _ _ _
_ _ _ _ In _ _ _ _ _ _ _ _ 1968, Linda left The Stone [E] Ponies and set about finding her niche.
_ The record company, Capitol, was a little confused about should she go pure country [G] or should she do rock? _ _ _
So combining those [F] two things _ helped Linda, I think, _ fuse the elements of country and rock into her style
and I think led to most of what she did later. _
_ _ This is a song I learned [G] from Patsy Cline _ [C] and it's called I Fall to Pieces. _ _
_ _ Linda embraced country and she [F] gave it a new kind of hipness, [G] which saw it reaching out to the West Coast kids.
[C] _ _ _ _ _ [F] _
_ _ _ _ _ [G] _ _ _
_ _ _ _ _ I [D] _
[F] _ _ _ _ _ _ [G] _ _
_ _ _ _ [C] _ _ _ _
_ [Am] always _ turn back to what was in the [G] living room in my childhood home before I was age 10.
If I didn't hear it by the time I was 10, [Em]
_ Linda Runstadt was [Em] a classic 60s kid who'd [D] grown up on 50s [Em] radio. _
_ _ _ Across the border in Mexico were these [E] huge transmitters that could transmit stations that came from Tennessee,
or came from Chicago, came from New York.
[G] They would have been illegal if they'd been on this side of the line, but they were across in Mexico.
_ _ _ _ [A] _ _
[D] _ _ _ _ _ _ _ _
I listened to black gospel, white [A] gospel, country music, rock and roll,
and then of course tons of Mexican music because we were right there on the border and my family's Mexican. _
[G] Everybody in my family [A] played and sang, [B] including my grandmother [D] and my great aunts.
They'd all play anything [B] from operatic arias to Mexican love songs.
_ [E] My sister would sing the latest Hank [B] Williams songs or the latest rock and roll songs.
It was really great.
[E] I liked that.
[B] Very eclectic. _ _ _
[E] _ _ _ _ _ _ [B] _ _
_ _ _ [E] Linda left Tucson in [B] 1964 after dropping out of college at 18 [Em] and went west like so many of her [G] generation. _ _
[A] _ _ [G] _ _ [A] _ _ [G] _ _
[A] _ _ _ [G] _ [A] _ _ _ [G] _
[A] _ _ _ [G] _ _ [A] _ _ [Em]
60s kid Linda was drawn to Los Angeles and [A] the Troubadour,
which might as well have been a [Em] million miles away [G] from the grand old Opry.
[A] _ _ _ [G] _ [A] _ It was just the place to be seen and to [Am] play, and the main reason was they [G] had open mic night.
[A] So you heard him _ _ up [G] and listened.
You could go and sort of audition and sing at a, perform in an open mic night, you know,
and get a job there opening for some bigger [A] act.
_ _ [G] _ [Em] _ _ Everyone assumes when there's any kind of musical movement that the members of it all necessarily hang out together
and know each other and sing together and play together.
And often it's not really the [Gb] case.
But in L.A. [E] it was the case. _ _
Everybody was there.
Joni Mitchell, [Dm] Neil Young, Carole King, James [A] Taylor, _ the Byrds.
[G] It was this huge _ hodgepodge of great writers and [Db] _ everybody that came into L.A. would drift through the Troubadour.
It was at the Troubadour that Linda's band, The Stone Ponies, [Ab] were signed [Db] after being spotted performing at a fete. _ _ _
[Fm] _ _ [Ebm] _ _ _ [Gbm] _ [Ab] _ _
[Db] _ _ _ [Fm] _ [Gb] It _ [Ab] _
_ [Fm] _ _ _ _ _ _ [Gb] _
_ [Ab] _ _ _ [Db] _ _ _ _
_ _ [Ebm] _ _ was Linda that stood [Db] out.
_ [Eb] Somebody had told me that there was this amazing girl singer who was like,
had this voice of extraordinary power and beauty and also sang in bare feet and short shorts and was incredibly hot.
And it was all true.
That was the first [Ab] time I heard her sing and I was _ completely blown [Db] away.
_ _ [Bbm] _ _
_ _ [Eb] _ _ _ The main things that stand out about Linda's [Dbm] voice, and I think it's [Ebm] one of the iconic _ voices in [Ab] American music of our time,
is the power. _ _ _
_ _ [Db] _ _ [Fm] _ _ [Db] _ [Gb] _
[Fm] _ _ [Ab] _ _ [Db] _ _ [Ab] I mean, [Gb] this is not [Ebm] a [Bbm] very large girl.
She's a small girl and yet her [Ebm] voice is beyond powerful.
[E] That's what struck me about hearing her voice for the first time.
I was just drawn to it.
_ [B] _ _ _ [N] _ _ _
_ _ _ _ In _ _ _ _ _ _ _ _ 1968, Linda left The Stone [E] Ponies and set about finding her niche.
_ The record company, Capitol, was a little confused about should she go pure country [G] or should she do rock? _ _ _
So combining those [F] two things _ helped Linda, I think, _ fuse the elements of country and rock into her style
and I think led to most of what she did later. _
_ _ This is a song I learned [G] from Patsy Cline _ [C] and it's called I Fall to Pieces. _ _
_ _ Linda embraced country and she [F] gave it a new kind of hipness, [G] which saw it reaching out to the West Coast kids.
[C] _ _ _ _ _ [F] _
_ _ _ _ _ [G] _ _ _
_ _ _ _ _ I [D] _
[F] _ _ _ _ _ _ [G] _ _
_ _ _ _ [C] _ _ _ _
_ [Am] always _ turn back to what was in the [G] living room in my childhood home before I was age 10.
If I didn't hear it by the time I was 10, [Em]