Chords for Marcus Mumford on The Coen Brothers' 'Inside Llewyn Davis'
Tempo:
91.075 bpm
Chords used:
A#
E
C#
F#
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Okay, ask me what the coolest thing about being in Mumford & Sons is.
Ask you?
Ask me.
Mary, what's the coolest thing about being in Mumford & Sons?
The fact that the Coen brothers are fans of yours.
[A#] [E]
It's like one of the coolest things ever.
And I know that you guys were huge fans of Oh Brother Where Art Thou?
And that now I was just reading just recently, what was it now that he's, [C#] the Coen brothers
are making their 10th movie, which is set in 1960s Greenwich Village and T Bone Burnett
is [F#] producing this and they came to you Marcus to serve as sort of a like an associate producer
for it or how did that work?
Not quite true.
I went to them on my knees and begged them for a job just making tea and stuff in the
studio [G] because we'd met T Bone and I basically asked whether I can just go and assist him
and just watch what happened really.
And we had a bit of time off and amazingly, yeah, through the process they sort of bumped
me up from T Bone to something else.
I'm not really sure what it was, but yeah, it was [N] amazing.
It was really fun.
And it's cool because his idea is not, even though it's set or influenced by the 1960s,
but they're using contemporary artists like Justin Timberlake, Patti Smith, Ava Brothers,
Conor Oberst and it's, I mean, again, the Coen brothers who are, you know, they're from
here, from Minneapolis.
And we're, you know, I just love the fact that they sort of have never really completely left Minneapolis.
They still shoot here a lot and they still sort of have this spirit of this Midwest kind of thing.
It's hard to describe.
But what was it about Oh Brother Where Art Thou that sort of spoke to you?
It was the music really.
I mean, when it came out, what year did it come out?
God, when was that?
2001.
2001.
I mean, we were all basically just kids, you know, we were teenagers and it came out and
then I caught onto it towards the end of high school.
So a few years after, like a couple years after it come out and I just learned to drive
and I was rolling around in my awesome Vauxhall Nova, which is an iconic car.
It was a B reg.
Yeah, yeah, yeah.
Good knowledge.
And, and blasting out this kind of weird, kooky banjo music in London when no one else really was.
The windows were all down.
And a drum kit in the back.
And yeah, it was like, it was such a funny time, like, because, you know, and then it
was about finding other people who were listening to that kind of music, which we which we did.
And it's funny, I think it was a bit of a like, fingers up to, you know, like our buddies
at school and the cool kids that we definitely weren't.
Because no one else, we didn't think anyone else was really listening to it.
And then of course, like, everyone's been listening to it forever.
And there was nothing, you know, new really about it.
In fact, that's exactly what was interesting about it.
It wasn't new, I guess.
And, and we sort of came together, you know, and Oh Brother, I was given a CD by one of
my brother's friends at university, when I was in high school with like, a bunch of the
songs off Oh Brother, and then like some Gillian Welch and Dave Rawlings and some
Occaro Madison show, and some Alison Krauss.
And then yeah, so that was like, and then I picked up a guitar and started trying to
write songs because of that stuff, really.
So it's really like, right in the fabric of right.
And I think we all felt like we're really attached to that kind of Oh Brother era, you know,
Did you explain that to Joel and Ethan when you met them?
Yeah, I did.
I tried to.
Yeah, I was trembling quite a lot.
So I can't really remember it very specifically.
I got really gooey eyed.
Yeah.
But yeah, yeah, I tried to.
It's astonishing.
Well, it's a perfect [A] fit.
Mumford & Sons live here in our studio on 89.3 The Current.
Ask you?
Ask me.
Mary, what's the coolest thing about being in Mumford & Sons?
The fact that the Coen brothers are fans of yours.
[A#] [E]
It's like one of the coolest things ever.
And I know that you guys were huge fans of Oh Brother Where Art Thou?
And that now I was just reading just recently, what was it now that he's, [C#] the Coen brothers
are making their 10th movie, which is set in 1960s Greenwich Village and T Bone Burnett
is [F#] producing this and they came to you Marcus to serve as sort of a like an associate producer
for it or how did that work?
Not quite true.
I went to them on my knees and begged them for a job just making tea and stuff in the
studio [G] because we'd met T Bone and I basically asked whether I can just go and assist him
and just watch what happened really.
And we had a bit of time off and amazingly, yeah, through the process they sort of bumped
me up from T Bone to something else.
I'm not really sure what it was, but yeah, it was [N] amazing.
It was really fun.
And it's cool because his idea is not, even though it's set or influenced by the 1960s,
but they're using contemporary artists like Justin Timberlake, Patti Smith, Ava Brothers,
Conor Oberst and it's, I mean, again, the Coen brothers who are, you know, they're from
here, from Minneapolis.
And we're, you know, I just love the fact that they sort of have never really completely left Minneapolis.
They still shoot here a lot and they still sort of have this spirit of this Midwest kind of thing.
It's hard to describe.
But what was it about Oh Brother Where Art Thou that sort of spoke to you?
It was the music really.
I mean, when it came out, what year did it come out?
God, when was that?
2001.
2001.
I mean, we were all basically just kids, you know, we were teenagers and it came out and
then I caught onto it towards the end of high school.
So a few years after, like a couple years after it come out and I just learned to drive
and I was rolling around in my awesome Vauxhall Nova, which is an iconic car.
It was a B reg.
Yeah, yeah, yeah.
Good knowledge.
And, and blasting out this kind of weird, kooky banjo music in London when no one else really was.
The windows were all down.
And a drum kit in the back.
And yeah, it was like, it was such a funny time, like, because, you know, and then it
was about finding other people who were listening to that kind of music, which we which we did.
And it's funny, I think it was a bit of a like, fingers up to, you know, like our buddies
at school and the cool kids that we definitely weren't.
Because no one else, we didn't think anyone else was really listening to it.
And then of course, like, everyone's been listening to it forever.
And there was nothing, you know, new really about it.
In fact, that's exactly what was interesting about it.
It wasn't new, I guess.
And, and we sort of came together, you know, and Oh Brother, I was given a CD by one of
my brother's friends at university, when I was in high school with like, a bunch of the
songs off Oh Brother, and then like some Gillian Welch and Dave Rawlings and some
Occaro Madison show, and some Alison Krauss.
And then yeah, so that was like, and then I picked up a guitar and started trying to
write songs because of that stuff, really.
So it's really like, right in the fabric of right.
And I think we all felt like we're really attached to that kind of Oh Brother era, you know,
Did you explain that to Joel and Ethan when you met them?
Yeah, I did.
I tried to.
Yeah, I was trembling quite a lot.
So I can't really remember it very specifically.
I got really gooey eyed.
Yeah.
But yeah, yeah, I tried to.
It's astonishing.
Well, it's a perfect [A] fit.
Mumford & Sons live here in our studio on 89.3 The Current.
Key:
A#
E
C#
F#
G
A#
E
C#
Okay, ask me what the coolest thing about being in Mumford & Sons is.
Ask you?
Ask me.
Mary, what's the coolest thing about being in Mumford & Sons?
The fact that the Coen brothers are fans of yours.
[A#] _ _ _ [E]
It's like one of the coolest things ever.
And I know that you guys were huge fans of Oh Brother Where Art Thou?
And that now I was just reading just recently, what was it now that he's, [C#] the Coen brothers
are making their 10th movie, which is set in 1960s Greenwich Village and T Bone Burnett
is [F#] producing this and they came to you Marcus to serve as sort of a like an associate producer
for it or how did that work?
Not quite true.
I went to them on my knees and begged them for a job just making tea and stuff in the
studio [G] because we'd met T Bone and I basically asked whether I can just go and assist him
and just watch what happened really.
And we had a bit of time off and amazingly, yeah, through the process they sort of bumped
me up from T Bone to something else.
I'm not really sure what it was, but yeah, it was [N] amazing.
It was really fun.
And it's cool because his idea is not, even though it's set or influenced by the 1960s,
but they're using contemporary artists like Justin Timberlake, Patti Smith, Ava Brothers,
Conor Oberst and it's, I mean, again, the Coen brothers who are, you know, they're from
here, from Minneapolis.
And we're, you know, I just love the fact that they sort of have never really completely left Minneapolis.
They still shoot here a lot and they still sort of have this spirit of this Midwest kind of thing.
It's hard to describe.
But what was it about Oh Brother Where Art Thou that sort of spoke to you?
It was the music really.
I mean, when it came out, what year did it come out?
God, when was that?
2001.
2001.
I mean, we were all basically just kids, you know, we were teenagers and it came out and
then I caught onto it towards the end of high school.
So a few years after, like a couple years after it come out and I just learned to drive
and I was rolling around in my awesome Vauxhall Nova, which is an iconic car. _
It was a B reg.
Yeah, yeah, yeah.
Good knowledge.
And, and blasting out this kind of weird, kooky banjo music in London when no one else really was.
The windows were all down.
_ And a drum kit in the back.
And yeah, it was like, it was such a funny time, like, because, you know, and then it
was about finding other people who were listening to that kind of music, which we which we did.
And it's funny, I think it was a bit of a like, fingers up to, you know, like our buddies
at school and the cool kids that we definitely weren't.
Because no one else, we didn't think anyone else was really listening to it.
And then of course, like, everyone's been listening to it forever.
And there was nothing, you know, new really about it.
In fact, that's exactly what was interesting about it.
It wasn't new, I guess.
And, and we sort of came together, you know, and Oh Brother, I was given a CD by one of
my brother's friends at university, when I was in high school with like, _ a bunch of the
songs off Oh Brother, and then like some Gillian Welch and Dave Rawlings and some
Occaro Madison show, and some Alison Krauss.
And then yeah, so that was like, and then I picked up a guitar and started trying to
write songs because of that stuff, really.
So it's really like, right in the fabric of right.
And I think we all felt like we're really attached to that kind of Oh Brother era, you know,
Did you explain that to Joel and Ethan when you met them?
Yeah, I did.
I tried to.
Yeah, I was trembling quite a lot.
So I can't really remember it very specifically.
I got really gooey eyed.
Yeah.
But yeah, yeah, I tried to.
It's astonishing.
Well, it's a perfect [A] fit.
Mumford & Sons live here in our studio on 89.3 The Current. _
Ask you?
Ask me.
Mary, what's the coolest thing about being in Mumford & Sons?
The fact that the Coen brothers are fans of yours.
[A#] _ _ _ [E]
It's like one of the coolest things ever.
And I know that you guys were huge fans of Oh Brother Where Art Thou?
And that now I was just reading just recently, what was it now that he's, [C#] the Coen brothers
are making their 10th movie, which is set in 1960s Greenwich Village and T Bone Burnett
is [F#] producing this and they came to you Marcus to serve as sort of a like an associate producer
for it or how did that work?
Not quite true.
I went to them on my knees and begged them for a job just making tea and stuff in the
studio [G] because we'd met T Bone and I basically asked whether I can just go and assist him
and just watch what happened really.
And we had a bit of time off and amazingly, yeah, through the process they sort of bumped
me up from T Bone to something else.
I'm not really sure what it was, but yeah, it was [N] amazing.
It was really fun.
And it's cool because his idea is not, even though it's set or influenced by the 1960s,
but they're using contemporary artists like Justin Timberlake, Patti Smith, Ava Brothers,
Conor Oberst and it's, I mean, again, the Coen brothers who are, you know, they're from
here, from Minneapolis.
And we're, you know, I just love the fact that they sort of have never really completely left Minneapolis.
They still shoot here a lot and they still sort of have this spirit of this Midwest kind of thing.
It's hard to describe.
But what was it about Oh Brother Where Art Thou that sort of spoke to you?
It was the music really.
I mean, when it came out, what year did it come out?
God, when was that?
2001.
2001.
I mean, we were all basically just kids, you know, we were teenagers and it came out and
then I caught onto it towards the end of high school.
So a few years after, like a couple years after it come out and I just learned to drive
and I was rolling around in my awesome Vauxhall Nova, which is an iconic car. _
It was a B reg.
Yeah, yeah, yeah.
Good knowledge.
And, and blasting out this kind of weird, kooky banjo music in London when no one else really was.
The windows were all down.
_ And a drum kit in the back.
And yeah, it was like, it was such a funny time, like, because, you know, and then it
was about finding other people who were listening to that kind of music, which we which we did.
And it's funny, I think it was a bit of a like, fingers up to, you know, like our buddies
at school and the cool kids that we definitely weren't.
Because no one else, we didn't think anyone else was really listening to it.
And then of course, like, everyone's been listening to it forever.
And there was nothing, you know, new really about it.
In fact, that's exactly what was interesting about it.
It wasn't new, I guess.
And, and we sort of came together, you know, and Oh Brother, I was given a CD by one of
my brother's friends at university, when I was in high school with like, _ a bunch of the
songs off Oh Brother, and then like some Gillian Welch and Dave Rawlings and some
Occaro Madison show, and some Alison Krauss.
And then yeah, so that was like, and then I picked up a guitar and started trying to
write songs because of that stuff, really.
So it's really like, right in the fabric of right.
And I think we all felt like we're really attached to that kind of Oh Brother era, you know,
Did you explain that to Joel and Ethan when you met them?
Yeah, I did.
I tried to.
Yeah, I was trembling quite a lot.
So I can't really remember it very specifically.
I got really gooey eyed.
Yeah.
But yeah, yeah, I tried to.
It's astonishing.
Well, it's a perfect [A] fit.
Mumford & Sons live here in our studio on 89.3 The Current. _