Chords for Livingston Taylor - Liv Sings...On Songwriting (9 of 10)
Tempo:
86.1 bpm
Chords used:
D
G
E
G#
Em
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G#] Well, again, this happens to me not only when I give it to great players, but when I create
it in the first place.
You know, if I'm there and I pick up the guitar [D] and I was writing this song and it kept drifting
towards the Civil War and I didn't want it to do that and I said, no, I don't want you
to go there.
And eventually the song is, well, excuse me, Just this side of Richmond, [E] that's where we
[D] draw the line.
That's where we find the courage to take it one more time.
We had dreams of glory, now those dreams are gone.
And I'm listening for your whisper [Em] in the dark or the dawn for you to call me Caroline
Oh, rock me with that melody, find me where I roam and kiss me, Carolina.
Rustling of the trees, jasmine in the breeze, tell [D] me please I'm not alone, Carolina, call me home.
But it goes on like that.
I'll sing the last verse.
There was a freckle-headed kid and we wound up eye to eye and his rifle would not fire,
[E] so he set himself to die.
And I saw the slightest tear, what my steel would bring, but I would not be that merchant.
But I was listening for you to call me Caroline.
Rock me with that melody, find me where I roam and kiss me, Carolina.
Water through my hands, fog across the sand, can I stand this heart?
I, oh, [G] Carolina, [D] call me, Carolina, call me home.
[F#] Sweet.
Unbelievable to me that all of a sudden this shows up.
You know, I'm writing and there was this freckle-headed kid and we wound up eye to eye and his rifle
would not fire, so he set himself to die.
And I saw the slightest tear, what my steel would [G] bring, but I would not be that merchant.
I was [N] listening for you to call me.
I just, when I wrote it, I just, oh, man.
You know, where does this come from?
This is so much fun.
This is more fun than anything.
It's more fun than anything, anywhere, ever.
To have that sense, all of a sudden it just sort of rises out of you.
There are some songs that I listen to, for instance, there's an Eric Carman song,
Never gonna fall in love again.
I don't wanna start with someone new, cause I couldn't bear.
It's an absolutely spectacular pop song.
And when you listen to it, and when I hear songs like that, I like to go and get the music
and get the lyrics and the music so I can study it and study what he did.
And you could see that in that song, that he rushed the process.
Reason why it isn't a widely covered song, cause it's great enough to be,
but it doesn't have a good bridge.
And he rushed the process, didn't get a good bridge.
And as a result, what could have been a really classic song now falls off
because there wasn't the forces around to force him to say,
listen, this is good, you need a bridge.
I wanna record it now.
No, you're not gonna record it now, it needs a bridge.
When he gets a bridge, then I'll pull out my checkbook and we'll record it.
Remember, I have you under contract.
I say how, and I say when, and I don't say now.
So, write a bridge, and we'll get back to it.
Those forces were the great things, certainly in show tunes, in Broadway writers.
I was listening to an interview with
Frederick Lowe and Alan J.
Lerner, writing My Fair Lady,
speaking about how they were writing for Rex Harrison,
who couldn't sing, and how they would adjust their melodies.
When you hear a song that Rex Harrison sings,
like, I've grown accustomed to her face.
Ba da ba da ba da ba da ba da ba da ba da ba da ba da ba da ba da ba da ba da ba da.
Hello, anybody can sing that.
And then, Freddie, for instance,
I have often walked down this street before,
but the sidewalk always stayed beneath my feet before.
All at once, I buy several stories,
I hear on the street where you live.
The idea that you can, [G] and I do this all the time when I'm writing my own songs,
I shape my melodies.
What do I want to sing?
Do I have an A sound or an E sound?
But only by investigating other people's writing
do you get the sense of your own writing.
And I deeply miss those infrastructures
that forced talented people to be disciplined
to a level where the talent really gets completed.
And that comes from an infrastructure
that simply doesn't exist when you can record in your bathroom
and put it on an internet where it's available.
What it means is that unfinished material is getting out there
and it is mediocre.
it in the first place.
You know, if I'm there and I pick up the guitar [D] and I was writing this song and it kept drifting
towards the Civil War and I didn't want it to do that and I said, no, I don't want you
to go there.
And eventually the song is, well, excuse me, Just this side of Richmond, [E] that's where we
[D] draw the line.
That's where we find the courage to take it one more time.
We had dreams of glory, now those dreams are gone.
And I'm listening for your whisper [Em] in the dark or the dawn for you to call me Caroline
Oh, rock me with that melody, find me where I roam and kiss me, Carolina.
Rustling of the trees, jasmine in the breeze, tell [D] me please I'm not alone, Carolina, call me home.
But it goes on like that.
I'll sing the last verse.
There was a freckle-headed kid and we wound up eye to eye and his rifle would not fire,
[E] so he set himself to die.
And I saw the slightest tear, what my steel would bring, but I would not be that merchant.
But I was listening for you to call me Caroline.
Rock me with that melody, find me where I roam and kiss me, Carolina.
Water through my hands, fog across the sand, can I stand this heart?
I, oh, [G] Carolina, [D] call me, Carolina, call me home.
[F#] Sweet.
Unbelievable to me that all of a sudden this shows up.
You know, I'm writing and there was this freckle-headed kid and we wound up eye to eye and his rifle
would not fire, so he set himself to die.
And I saw the slightest tear, what my steel would [G] bring, but I would not be that merchant.
I was [N] listening for you to call me.
I just, when I wrote it, I just, oh, man.
You know, where does this come from?
This is so much fun.
This is more fun than anything.
It's more fun than anything, anywhere, ever.
To have that sense, all of a sudden it just sort of rises out of you.
There are some songs that I listen to, for instance, there's an Eric Carman song,
Never gonna fall in love again.
I don't wanna start with someone new, cause I couldn't bear.
It's an absolutely spectacular pop song.
And when you listen to it, and when I hear songs like that, I like to go and get the music
and get the lyrics and the music so I can study it and study what he did.
And you could see that in that song, that he rushed the process.
Reason why it isn't a widely covered song, cause it's great enough to be,
but it doesn't have a good bridge.
And he rushed the process, didn't get a good bridge.
And as a result, what could have been a really classic song now falls off
because there wasn't the forces around to force him to say,
listen, this is good, you need a bridge.
I wanna record it now.
No, you're not gonna record it now, it needs a bridge.
When he gets a bridge, then I'll pull out my checkbook and we'll record it.
Remember, I have you under contract.
I say how, and I say when, and I don't say now.
So, write a bridge, and we'll get back to it.
Those forces were the great things, certainly in show tunes, in Broadway writers.
I was listening to an interview with
Frederick Lowe and Alan J.
Lerner, writing My Fair Lady,
speaking about how they were writing for Rex Harrison,
who couldn't sing, and how they would adjust their melodies.
When you hear a song that Rex Harrison sings,
like, I've grown accustomed to her face.
Ba da ba da ba da ba da ba da ba da ba da ba da ba da ba da ba da ba da ba da ba da.
Hello, anybody can sing that.
And then, Freddie, for instance,
I have often walked down this street before,
but the sidewalk always stayed beneath my feet before.
All at once, I buy several stories,
I hear on the street where you live.
The idea that you can, [G] and I do this all the time when I'm writing my own songs,
I shape my melodies.
What do I want to sing?
Do I have an A sound or an E sound?
But only by investigating other people's writing
do you get the sense of your own writing.
And I deeply miss those infrastructures
that forced talented people to be disciplined
to a level where the talent really gets completed.
And that comes from an infrastructure
that simply doesn't exist when you can record in your bathroom
and put it on an internet where it's available.
What it means is that unfinished material is getting out there
and it is mediocre.
Key:
D
G
E
G#
Em
D
G
E
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[G#] Well, again, this happens to me not only when I give it to great players, but when I create
it in the first place.
You know, if I'm there and I pick up the guitar [D] and I _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ was writing this song and it kept drifting
towards the Civil War and I didn't want it to do that and I said, no, I don't want you
to go there.
_ And eventually the song is, well, excuse me, _ _ _ _ _ _ _ _ _ Just this side of Richmond, _ _ [E] _ _ that's where we
[D] draw the line.
_ _ _ That's where we find the courage to _ _ _ _ _ take it one more time.
_ We had dreams of glory, now those dreams are gone.
And I'm listening for your whisper [Em] in the dark or the dawn for you to call me Caroline _ _
Oh, rock me with that melody, find me where I roam and kiss me, Carolina. _
_ _ Rustling of the trees, jasmine in the breeze, tell [D] me please I'm not alone, _ _ _ Carolina, call me home. _ _ _ _ _ _
_ _ But it goes on like that.
I'll sing the last verse. _
_ _ _ _ There was a freckle-headed kid and _ _ we wound up eye to eye and his rifle would not fire, _
_ _ [E] _ _ _ so he set himself to die.
And I saw the slightest tear, what my steel would bring, but I would not be that merchant.
But I was listening for you to call me Caroline. _ _ _
Rock me with that melody, find me where I roam and kiss me, Carolina. _ _
_ Water through my hands, fog across the sand, can I stand this heart?
I, oh, _ _ _ [G] Carolina, [D] call me, _ _ _ _ _ _ Carolina, call me home. _ _ _ _
_ _ _ _ _ _ _ _
_ [F#] Sweet.
_ Unbelievable to me that all of a sudden this shows up.
You know, I'm writing and _ there was this freckle-headed kid and we wound up eye to eye and his rifle
would not fire, so he set himself to die.
And I saw the slightest tear, what my steel would [G] bring, but I would not be that merchant.
I was [N] listening for you to call me.
I just, when I wrote it, I just, oh, man.
You know, where does this come from?
This is so much fun.
This is more fun than anything.
It's more fun than anything, anywhere, ever.
To have that sense, all of a sudden it just sort of rises out of you.
There are some songs that I listen to, for instance, there's an Eric Carman song,
Never gonna fall in love again.
I don't wanna start with someone new, cause I couldn't bear.
It's an absolutely spectacular pop song.
And when you listen to it, and when I hear songs like that, I like to go and get the music
and get the lyrics and the music so I can study it and study what he did.
And you could see that in that song, that he rushed the process.
Reason why it isn't a widely covered song, cause it's great enough to be,
but it doesn't have a good bridge.
And he rushed the process, didn't get a good bridge.
And as a result, what could have been a really classic song now falls off
because there wasn't the forces around to force him to say,
listen, this is good, you need a bridge.
I wanna record it now.
No, you're not gonna record it now, it needs a bridge.
When he gets a bridge, then I'll pull out my checkbook and we'll record it.
Remember, I have you under contract.
I say how, and I say when, and I don't say now.
So, write a bridge, and we'll get back to it.
Those forces were the great things, certainly in show tunes, in Broadway writers.
_ _ _ I was listening to an interview with
_ _ _ _ Frederick Lowe and Alan J.
Lerner, writing My Fair Lady,
speaking about how they were writing for Rex Harrison,
who couldn't sing, and how they would adjust their melodies. _ _ _ _
When you hear a song that _ Rex Harrison sings,
like, I've grown accustomed to her face.
Ba da ba da ba da ba da ba da ba da ba da ba da ba da ba da ba da ba da ba da ba da.
Hello, anybody can sing that.
And then, Freddie, for instance,
I have often walked down this street before,
but the sidewalk always stayed beneath my feet before.
All at once, I buy several stories,
I hear on the street where you live.
The idea that you can, [G] and I do this all the time when I'm writing my own songs,
I shape my melodies.
What do I want to sing?
Do I have an A sound or an E sound?
But only by investigating other people's writing
do you get the sense of your own writing.
And I deeply miss those infrastructures
that forced talented people to be disciplined
to a level where the talent really gets completed.
And that comes from an infrastructure
that simply doesn't exist when you can record in your bathroom _ _ _
and put it on an internet where it's available.
What it means is that unfinished material is getting out there
and it is mediocre. _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[G#] Well, again, this happens to me not only when I give it to great players, but when I create
it in the first place.
You know, if I'm there and I pick up the guitar [D] and I _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ was writing this song and it kept drifting
towards the Civil War and I didn't want it to do that and I said, no, I don't want you
to go there.
_ And eventually the song is, well, excuse me, _ _ _ _ _ _ _ _ _ Just this side of Richmond, _ _ [E] _ _ that's where we
[D] draw the line.
_ _ _ That's where we find the courage to _ _ _ _ _ take it one more time.
_ We had dreams of glory, now those dreams are gone.
And I'm listening for your whisper [Em] in the dark or the dawn for you to call me Caroline _ _
Oh, rock me with that melody, find me where I roam and kiss me, Carolina. _
_ _ Rustling of the trees, jasmine in the breeze, tell [D] me please I'm not alone, _ _ _ Carolina, call me home. _ _ _ _ _ _
_ _ But it goes on like that.
I'll sing the last verse. _
_ _ _ _ There was a freckle-headed kid and _ _ we wound up eye to eye and his rifle would not fire, _
_ _ [E] _ _ _ so he set himself to die.
And I saw the slightest tear, what my steel would bring, but I would not be that merchant.
But I was listening for you to call me Caroline. _ _ _
Rock me with that melody, find me where I roam and kiss me, Carolina. _ _
_ Water through my hands, fog across the sand, can I stand this heart?
I, oh, _ _ _ [G] Carolina, [D] call me, _ _ _ _ _ _ Carolina, call me home. _ _ _ _
_ _ _ _ _ _ _ _
_ [F#] Sweet.
_ Unbelievable to me that all of a sudden this shows up.
You know, I'm writing and _ there was this freckle-headed kid and we wound up eye to eye and his rifle
would not fire, so he set himself to die.
And I saw the slightest tear, what my steel would [G] bring, but I would not be that merchant.
I was [N] listening for you to call me.
I just, when I wrote it, I just, oh, man.
You know, where does this come from?
This is so much fun.
This is more fun than anything.
It's more fun than anything, anywhere, ever.
To have that sense, all of a sudden it just sort of rises out of you.
There are some songs that I listen to, for instance, there's an Eric Carman song,
Never gonna fall in love again.
I don't wanna start with someone new, cause I couldn't bear.
It's an absolutely spectacular pop song.
And when you listen to it, and when I hear songs like that, I like to go and get the music
and get the lyrics and the music so I can study it and study what he did.
And you could see that in that song, that he rushed the process.
Reason why it isn't a widely covered song, cause it's great enough to be,
but it doesn't have a good bridge.
And he rushed the process, didn't get a good bridge.
And as a result, what could have been a really classic song now falls off
because there wasn't the forces around to force him to say,
listen, this is good, you need a bridge.
I wanna record it now.
No, you're not gonna record it now, it needs a bridge.
When he gets a bridge, then I'll pull out my checkbook and we'll record it.
Remember, I have you under contract.
I say how, and I say when, and I don't say now.
So, write a bridge, and we'll get back to it.
Those forces were the great things, certainly in show tunes, in Broadway writers.
_ _ _ I was listening to an interview with
_ _ _ _ Frederick Lowe and Alan J.
Lerner, writing My Fair Lady,
speaking about how they were writing for Rex Harrison,
who couldn't sing, and how they would adjust their melodies. _ _ _ _
When you hear a song that _ Rex Harrison sings,
like, I've grown accustomed to her face.
Ba da ba da ba da ba da ba da ba da ba da ba da ba da ba da ba da ba da ba da ba da.
Hello, anybody can sing that.
And then, Freddie, for instance,
I have often walked down this street before,
but the sidewalk always stayed beneath my feet before.
All at once, I buy several stories,
I hear on the street where you live.
The idea that you can, [G] and I do this all the time when I'm writing my own songs,
I shape my melodies.
What do I want to sing?
Do I have an A sound or an E sound?
But only by investigating other people's writing
do you get the sense of your own writing.
And I deeply miss those infrastructures
that forced talented people to be disciplined
to a level where the talent really gets completed.
And that comes from an infrastructure
that simply doesn't exist when you can record in your bathroom _ _ _
and put it on an internet where it's available.
What it means is that unfinished material is getting out there
and it is mediocre. _
_ _ _ _ _ _ _ _