Chords for Lou Reed about Velvet Underground and Andy Warhol
Tempo:
91.575 bpm
Chords used:
G
C
E
D
Abm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G] [Gbm] What does Willie Loman [C] say in Death of a Salesman?
He says, [F] ship looking for a safe harbor?
[Abm] Yeah, [Fm] we put a ship in the water.
It turned out to be a [E] turbo engine sub.
Just took a while for it to land wherever it [N] landed,
but our view of the quality of what we did,
I feel we're in an interesting situation
where we're all alive to see history validated somehow.
Not only us, but Andy's faith in us
and our faith in ourselves,
and the integrity that's gone into it
and all these years never to betray it.
We have time to point to as the real judge
of who or what did what first, best, and always.
The proof is in the work and the work [D] is on record.
[E] There's [Am] a huge amount of [Gm] compassion,
I think, involved in the [A] records.
[D] The compassion is real.
A lot of the feelings for outsiders,
people from outside the system.
What did that mean?
Presumably, he didn't have much musical input.
[N] Well, the advantage of having Andy Warhol as a producer
was that because he was Andy Warhol,
they left everything in its pure state,
and they would say, is that okay, Mr.
Warhol?
And he'd say, oh, yeah.
And so they didn't change anything.
And [Abm] so right at the very beginning,
we experienced what it was like to be in the studio
and record things our way
and have essentially total freedom.
The record company never listened to the records
in the first place,
so they came out exactly like they'd been made.
[Ab] And we got to experience that freedom,
but the only [Eb] real reason I think we [N] had that freedom
is because Andy, as the, quote, producer,
was saying, oh, that's great.
And they'd say, oh, should we do this and that too?
He'd say, oh, no, you should, it's really great.
So he was a catalyst.
He was a protector.
Is I'll Be Your Mirror a song about that whole business
of Warholism, if you like,
of reflecting back to people what they want to see?
It's, [Abm] well, it's about reflecting back
more than just what they want [E] to see.
It's sometimes reflecting back to them
what they should see and don't know.
[N] It takes a certain kind of arrogance to say that.
But the whole philosophy, for me, of the writing
is summed up in I'll Be Your Mirror.
And I still believe that.
Because it said, reflect what you are
in case you don't know.
But it's also very, I'll be the wind, the rain, the sunset.
It's very compassionate, very nice, very loving,
which is not something you usually associate with that.
But I do.
Was it the first song you wrote for Nico?
I don't know.
I wrote that for Nico on my own.
But Nico needed a song.
[E] And Femme Fatale was written, but that [G] was Andy's title.
[C] Said, oh, [G] oh, we [C] should have a Femme Fatale.
[A] That's what Nico [D] is about, Femme Fatale.
I [G] find it hard to [C] believe you don't know
the beauty [D] you are.
But [G] if you don't.
It's a volatile [N] brew.
So we make a certain kind of music, the four of us together.
And I think we all genuinely like one another
in what we do.
I think everybody's trying to get along.
And things that could have blown it apart and did.
I think everybody's being very careful
not to do that right now,
because we respect each other and the music
enough to try to contain lunacy.
Did you need the time apart?
We needed 25 years apart.
He says, [F] ship looking for a safe harbor?
[Abm] Yeah, [Fm] we put a ship in the water.
It turned out to be a [E] turbo engine sub.
Just took a while for it to land wherever it [N] landed,
but our view of the quality of what we did,
I feel we're in an interesting situation
where we're all alive to see history validated somehow.
Not only us, but Andy's faith in us
and our faith in ourselves,
and the integrity that's gone into it
and all these years never to betray it.
We have time to point to as the real judge
of who or what did what first, best, and always.
The proof is in the work and the work [D] is on record.
[E] There's [Am] a huge amount of [Gm] compassion,
I think, involved in the [A] records.
[D] The compassion is real.
A lot of the feelings for outsiders,
people from outside the system.
What did that mean?
Presumably, he didn't have much musical input.
[N] Well, the advantage of having Andy Warhol as a producer
was that because he was Andy Warhol,
they left everything in its pure state,
and they would say, is that okay, Mr.
Warhol?
And he'd say, oh, yeah.
And so they didn't change anything.
And [Abm] so right at the very beginning,
we experienced what it was like to be in the studio
and record things our way
and have essentially total freedom.
The record company never listened to the records
in the first place,
so they came out exactly like they'd been made.
[Ab] And we got to experience that freedom,
but the only [Eb] real reason I think we [N] had that freedom
is because Andy, as the, quote, producer,
was saying, oh, that's great.
And they'd say, oh, should we do this and that too?
He'd say, oh, no, you should, it's really great.
So he was a catalyst.
He was a protector.
Is I'll Be Your Mirror a song about that whole business
of Warholism, if you like,
of reflecting back to people what they want to see?
It's, [Abm] well, it's about reflecting back
more than just what they want [E] to see.
It's sometimes reflecting back to them
what they should see and don't know.
[N] It takes a certain kind of arrogance to say that.
But the whole philosophy, for me, of the writing
is summed up in I'll Be Your Mirror.
And I still believe that.
Because it said, reflect what you are
in case you don't know.
But it's also very, I'll be the wind, the rain, the sunset.
It's very compassionate, very nice, very loving,
which is not something you usually associate with that.
But I do.
Was it the first song you wrote for Nico?
I don't know.
I wrote that for Nico on my own.
But Nico needed a song.
[E] And Femme Fatale was written, but that [G] was Andy's title.
[C] Said, oh, [G] oh, we [C] should have a Femme Fatale.
[A] That's what Nico [D] is about, Femme Fatale.
I [G] find it hard to [C] believe you don't know
the beauty [D] you are.
But [G] if you don't.
It's a volatile [N] brew.
So we make a certain kind of music, the four of us together.
And I think we all genuinely like one another
in what we do.
I think everybody's trying to get along.
And things that could have blown it apart and did.
I think everybody's being very careful
not to do that right now,
because we respect each other and the music
enough to try to contain lunacy.
Did you need the time apart?
We needed 25 years apart.
Key:
G
C
E
D
Abm
G
C
E
[G] [Gbm] What does Willie Loman [C] say in Death of a Salesman?
He says, [F] ship looking for a safe harbor?
[Abm] Yeah, [Fm] we put a ship in the water.
It turned out to be a [E] turbo engine sub.
Just took a while for it to land wherever it [N] landed,
but our _ view of the quality of what we did,
I feel we're in an interesting situation
where we're all alive to see history _ validated somehow.
Not only us, but Andy's faith in us
and our faith in ourselves,
and the integrity that's gone into it
and all these years never to betray it.
We have time to point to as the _ real judge
of who or what did what first, best, and always.
The proof is in the work and the work [D] is on record. _ _
[E] _ There's [Am] a huge amount of [Gm] compassion,
I think, involved in the [A] records.
[D] The compassion is real.
_ _ A lot of the feelings for outsiders,
people from outside the system.
_ _ _ What did that mean?
Presumably, he didn't have much musical input.
[N] _ Well, the advantage of having Andy Warhol as a producer
was that because he was Andy Warhol,
they left everything in its pure state,
and they would say, is that okay, Mr.
Warhol?
And he'd say, oh, yeah.
_ And so they didn't change anything.
And [Abm] so right at the very beginning,
we experienced what it was like to be in the studio
and record things our way
and have essentially total freedom.
The record company never listened to the records
in the first place,
so they came out exactly like they'd been made.
[Ab] _ And we got to experience that freedom,
but the only [Eb] real reason I think we [N] had that freedom
is because Andy, as the, quote, producer,
_ was saying, oh, that's great.
_ And they'd say, oh, should we do this and that too?
He'd say, oh, no, you should, it's really great.
_ So he was a catalyst.
He was a protector.
Is I'll Be Your Mirror a song about that whole business
of Warholism, if you like,
of reflecting back to people what they want to see? _
It's, [Abm] well, it's about reflecting back
more than just what they want [E] to see.
It's sometimes reflecting back to them
what they should see and don't know.
[N] _ _ It takes a certain kind of arrogance to say that.
But the whole philosophy, for me, of the writing
is summed up in I'll Be Your Mirror.
_ And I still believe that.
Because it said, reflect what you are
in case you don't know.
But it's also very, I'll be the wind, the rain, the sunset.
It's very compassionate, very nice, very loving,
which is not something you usually associate with that.
But I do.
_ Was it the first song you wrote for Nico? _ _
_ I don't know.
I wrote that for Nico on my own.
But Nico needed a song.
[E] And Femme Fatale was written, but that [G] was Andy's title.
[C] Said, oh, [G] oh, we [C] should have a Femme Fatale.
[A] That's what Nico [D] is about, Femme Fatale.
I [G] find it hard to [C] believe you don't know
the beauty [D] you are.
But [G] if you don't.
It's a volatile [N] brew.
_ So _ we _ make a certain kind of music, the four of us together.
And I think we all genuinely like one another
in what we do.
I think everybody's trying to get along.
And things that could have blown it apart and did.
I think everybody's being very careful
not to do that right now,
because we respect each other and the music
enough to try to contain lunacy. _ _
Did you need the time apart?
_ We needed 25 years apart.
He says, [F] ship looking for a safe harbor?
[Abm] Yeah, [Fm] we put a ship in the water.
It turned out to be a [E] turbo engine sub.
Just took a while for it to land wherever it [N] landed,
but our _ view of the quality of what we did,
I feel we're in an interesting situation
where we're all alive to see history _ validated somehow.
Not only us, but Andy's faith in us
and our faith in ourselves,
and the integrity that's gone into it
and all these years never to betray it.
We have time to point to as the _ real judge
of who or what did what first, best, and always.
The proof is in the work and the work [D] is on record. _ _
[E] _ There's [Am] a huge amount of [Gm] compassion,
I think, involved in the [A] records.
[D] The compassion is real.
_ _ A lot of the feelings for outsiders,
people from outside the system.
_ _ _ What did that mean?
Presumably, he didn't have much musical input.
[N] _ Well, the advantage of having Andy Warhol as a producer
was that because he was Andy Warhol,
they left everything in its pure state,
and they would say, is that okay, Mr.
Warhol?
And he'd say, oh, yeah.
_ And so they didn't change anything.
And [Abm] so right at the very beginning,
we experienced what it was like to be in the studio
and record things our way
and have essentially total freedom.
The record company never listened to the records
in the first place,
so they came out exactly like they'd been made.
[Ab] _ And we got to experience that freedom,
but the only [Eb] real reason I think we [N] had that freedom
is because Andy, as the, quote, producer,
_ was saying, oh, that's great.
_ And they'd say, oh, should we do this and that too?
He'd say, oh, no, you should, it's really great.
_ So he was a catalyst.
He was a protector.
Is I'll Be Your Mirror a song about that whole business
of Warholism, if you like,
of reflecting back to people what they want to see? _
It's, [Abm] well, it's about reflecting back
more than just what they want [E] to see.
It's sometimes reflecting back to them
what they should see and don't know.
[N] _ _ It takes a certain kind of arrogance to say that.
But the whole philosophy, for me, of the writing
is summed up in I'll Be Your Mirror.
_ And I still believe that.
Because it said, reflect what you are
in case you don't know.
But it's also very, I'll be the wind, the rain, the sunset.
It's very compassionate, very nice, very loving,
which is not something you usually associate with that.
But I do.
_ Was it the first song you wrote for Nico? _ _
_ I don't know.
I wrote that for Nico on my own.
But Nico needed a song.
[E] And Femme Fatale was written, but that [G] was Andy's title.
[C] Said, oh, [G] oh, we [C] should have a Femme Fatale.
[A] That's what Nico [D] is about, Femme Fatale.
I [G] find it hard to [C] believe you don't know
the beauty [D] you are.
But [G] if you don't.
It's a volatile [N] brew.
_ So _ we _ make a certain kind of music, the four of us together.
And I think we all genuinely like one another
in what we do.
I think everybody's trying to get along.
And things that could have blown it apart and did.
I think everybody's being very careful
not to do that right now,
because we respect each other and the music
enough to try to contain lunacy. _ _
Did you need the time apart?
_ We needed 25 years apart.