Chords for Marty Stuart - Ghost Train - The Studio B Sessions
Tempo:
125.4 bpm
Chords used:
G
D
E
C
B
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Well I'm branded [C]
wherever [G] I go.
[F#m] I knew when [D#] it was time to make a record I wanted a [G] real studio.
[C] [G] Come back to the scene of the crime.
[D] [A#] [G]
The first session I ever worked in my life was in this room with Lester Flatt when I [E] was 13 years old.
I'll show you something [C#] that looks [Em] really important [C] to me.
[Am] And Lester [G] walked over to me and said,
[Dm] Why don't you handle [D#] the kickoff on this [F#] one?
I went, How do I handle a kickoff?
There [G] was an engineer by the name of Al [C] Paciucchi.
I went and said, Excuse me, could you tell me, [F#] do I count it off?
He said, Just [F] get out there [E] and do it.
I grew [F] up being a fan of [D] bands.
Buck Owens and the Buckaroos.
Johnny Cash and the Tennessee Three.
[E] Merle Haggard and the [D] Strangers.
But there were no [E] country bands being invented [C] anymore.
And the [G] superlatives seemed to fit [E] that.
We named ourselves after an ad [B] at a local florist here in town.
[D] Emma's the superlative florist.
We were named after a flower shop.
The [E] fabulous superlatives sounded more famous.
The goal was to bring the [D] bandstand to the recording studio [G] every time we've done it.
Ralph [E] Mooney is my all-time [A] favorite human being.
[G] I hear Ralph Mooney in my head.
[D] I wanted to create a [A] horse race of steel guitar [G] players.
Because [A] they're [D] one [E] culture that helped define and make this town great [A] sonically.
[B] It's about what bubbles up out of the heart.
It was once said to me [D] that unless it comes overflowing from the heart,
it's [A] really not worth doing anymore.
[C#m] The first song of [E] this record was A Hangman.
It was written four [B] days before Johnny Cash passed away.
I composed it with him.
I didn't have [D] the heart to sing that song for a long time.
And if you look at a song like that, Hard Workin' Man was a song
that I really didn't know [E] still existed, about feelings that existed inside [Bm] me
about my dad [B] getting fired after 21 and a half years at a factory.
[D] [B] Porter Wagner's Grave [C#] came on the [B] heels of, you know, losing Porter.
I Run to You is [G] the subtotal of, you know, 15 [F#] years with Connie Smith.
And so every one of these [F] songs came by way of a [B] heartfelt [G] incident.
The whole record, I thought, I'm going [E] to throw away the rule book
and go [G] back to the original template of country [D#] music.
The [G] original blueprint concerning subject matter.
And Branded is just one of those kind of, you know, fugitive kind of [D] songs.
[E] But I started writing it one afternoon on the way to the [Gm] Grand Ole Opry.
[G] And I got out of the shower [D] three times and [G] kept writing lines down.
And when I walked in the dressing room, Kenny was the first person I saw.
I said, come here.
[D] The way we work together is like a tapestry.
I know what he's going to play.
[Em] He knows what I'm going to play.
And we stay out of each [G] other's way.
It's a dance with [Fm] Kenny.
And Kenny and I [D] had fun.
And Mooney's Drone.
Wow, wow, [G] wow, wow.
It's like one of those old [D] film noir things, you know.
It's [G] hypnotic.
[F#]
Connie and I were [D] coming down.
We were on I-65 one day.
I said, [G] you got any paper and [C] pencil?
We were in her [G] car and I was driving.
I turned to Al Frady.
I said, write [C] this down.
[D] Our home is like a prison, [G] but we're both serving time.
I'm a stranger in [D] your world now.
[E] And it's driving me out of my mind.
And he was just coming.
I said, drifting apart, [G] drifting apart.
Darling, we're drifting apart.
Out of reach, out of heart.
We're [D] slowly drifting apart.
[C] I looked over and she was going, I said, it's not about you.
It's not about us.
[G] We're slowly [D] drifting
[C] apart.
[Am]
[G]
[C] [G] [D] My main electric guitar [E] belonged to Clarence White,
[G] the great guitarist from the Byrds who lost his life in 73.
[Em] I've played it on a lot of [G] hits, a lot of records.
But I never felt like, [E] to the Clarence White [G] fans who watch me [C] out there,
you [G] know, and that watch the guitar more than me,
that I'd ever laid [E] down a profound instrumental that says,
[G]
this is Clarence's.
The hummingbird is spelled H-U-M-M-I-N-G-B-Y-R-D.
Well, here it is, ladies and gentlemen, the Mississippi Railroad Blues.
[D]
At the end of the day, of all the things I do as a creative spirit,
I find myself with the [D#] mandolin, [E] usually by myself, just doodling.
And I guess that's home, the mandolin.
And truly home is Mississippi.
I don't [F#m] really want to pound the pavement [D] for my individualism,
for [A] being from Mississippi and [C] the heritage which I step out from.
[A] And so it's a [F#m] record about a train.
[F] [F#m] I'm a mandolin player from Mississippi,
and it just seemed like the final, [B] kind of the final brush [F#m] stroke
on a portrait of a music [F#] and a culture that I love.
It's kind of who I am for real, where I come from.
[E] It's a simple way to say thank you very much, friends and neighbors.
[F#m]
wherever [G] I go.
[F#m] I knew when [D#] it was time to make a record I wanted a [G] real studio.
[C] [G] Come back to the scene of the crime.
[D] [A#] [G]
The first session I ever worked in my life was in this room with Lester Flatt when I [E] was 13 years old.
I'll show you something [C#] that looks [Em] really important [C] to me.
[Am] And Lester [G] walked over to me and said,
[Dm] Why don't you handle [D#] the kickoff on this [F#] one?
I went, How do I handle a kickoff?
There [G] was an engineer by the name of Al [C] Paciucchi.
I went and said, Excuse me, could you tell me, [F#] do I count it off?
He said, Just [F] get out there [E] and do it.
I grew [F] up being a fan of [D] bands.
Buck Owens and the Buckaroos.
Johnny Cash and the Tennessee Three.
[E] Merle Haggard and the [D] Strangers.
But there were no [E] country bands being invented [C] anymore.
And the [G] superlatives seemed to fit [E] that.
We named ourselves after an ad [B] at a local florist here in town.
[D] Emma's the superlative florist.
We were named after a flower shop.
The [E] fabulous superlatives sounded more famous.
The goal was to bring the [D] bandstand to the recording studio [G] every time we've done it.
Ralph [E] Mooney is my all-time [A] favorite human being.
[G] I hear Ralph Mooney in my head.
[D] I wanted to create a [A] horse race of steel guitar [G] players.
Because [A] they're [D] one [E] culture that helped define and make this town great [A] sonically.
[B] It's about what bubbles up out of the heart.
It was once said to me [D] that unless it comes overflowing from the heart,
it's [A] really not worth doing anymore.
[C#m] The first song of [E] this record was A Hangman.
It was written four [B] days before Johnny Cash passed away.
I composed it with him.
I didn't have [D] the heart to sing that song for a long time.
And if you look at a song like that, Hard Workin' Man was a song
that I really didn't know [E] still existed, about feelings that existed inside [Bm] me
about my dad [B] getting fired after 21 and a half years at a factory.
[D] [B] Porter Wagner's Grave [C#] came on the [B] heels of, you know, losing Porter.
I Run to You is [G] the subtotal of, you know, 15 [F#] years with Connie Smith.
And so every one of these [F] songs came by way of a [B] heartfelt [G] incident.
The whole record, I thought, I'm going [E] to throw away the rule book
and go [G] back to the original template of country [D#] music.
The [G] original blueprint concerning subject matter.
And Branded is just one of those kind of, you know, fugitive kind of [D] songs.
[E] But I started writing it one afternoon on the way to the [Gm] Grand Ole Opry.
[G] And I got out of the shower [D] three times and [G] kept writing lines down.
And when I walked in the dressing room, Kenny was the first person I saw.
I said, come here.
[D] The way we work together is like a tapestry.
I know what he's going to play.
[Em] He knows what I'm going to play.
And we stay out of each [G] other's way.
It's a dance with [Fm] Kenny.
And Kenny and I [D] had fun.
And Mooney's Drone.
Wow, wow, [G] wow, wow.
It's like one of those old [D] film noir things, you know.
It's [G] hypnotic.
[F#]
Connie and I were [D] coming down.
We were on I-65 one day.
I said, [G] you got any paper and [C] pencil?
We were in her [G] car and I was driving.
I turned to Al Frady.
I said, write [C] this down.
[D] Our home is like a prison, [G] but we're both serving time.
I'm a stranger in [D] your world now.
[E] And it's driving me out of my mind.
And he was just coming.
I said, drifting apart, [G] drifting apart.
Darling, we're drifting apart.
Out of reach, out of heart.
We're [D] slowly drifting apart.
[C] I looked over and she was going, I said, it's not about you.
It's not about us.
[G] We're slowly [D] drifting
[C] apart.
[Am]
[G]
[C] [G] [D] My main electric guitar [E] belonged to Clarence White,
[G] the great guitarist from the Byrds who lost his life in 73.
[Em] I've played it on a lot of [G] hits, a lot of records.
But I never felt like, [E] to the Clarence White [G] fans who watch me [C] out there,
you [G] know, and that watch the guitar more than me,
that I'd ever laid [E] down a profound instrumental that says,
[G]
this is Clarence's.
The hummingbird is spelled H-U-M-M-I-N-G-B-Y-R-D.
Well, here it is, ladies and gentlemen, the Mississippi Railroad Blues.
[D]
At the end of the day, of all the things I do as a creative spirit,
I find myself with the [D#] mandolin, [E] usually by myself, just doodling.
And I guess that's home, the mandolin.
And truly home is Mississippi.
I don't [F#m] really want to pound the pavement [D] for my individualism,
for [A] being from Mississippi and [C] the heritage which I step out from.
[A] And so it's a [F#m] record about a train.
[F] [F#m] I'm a mandolin player from Mississippi,
and it just seemed like the final, [B] kind of the final brush [F#m] stroke
on a portrait of a music [F#] and a culture that I love.
It's kind of who I am for real, where I come from.
[E] It's a simple way to say thank you very much, friends and neighbors.
[F#m]
Key:
G
D
E
C
B
G
D
E
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ Well I'm branded _ [C] _
wherever [G] _ I go.
[F#m] I knew when [D#] it was time to make a record I wanted a [G] real studio. _ _
_ [C] _ _ _ [G] Come back to the scene of the crime.
_ _ _ _ _ _ _ _
_ [D] _ _ _ [A#] _ [G] _ _ _
_ _ _ _ _ _ _ _
_ The first session I ever worked in my life was in this room with Lester Flatt when I [E] was 13 years old.
I'll show you something [C#] that looks [Em] really important [C] to me. _
[Am] And Lester [G] walked over to me and said,
[Dm] Why don't you handle [D#] the kickoff on this [F#] one?
I went, How do I handle a kickoff?
There [G] was an engineer by the name of Al [C] Paciucchi.
I went and said, Excuse me, could you tell me, [F#] do I count it off?
He said, Just [F] get out there [E] and do it. _
I grew [F] up being a fan of [D] bands.
Buck Owens and the Buckaroos.
Johnny Cash and the Tennessee Three.
[E] _ _ Merle Haggard and the [D] Strangers.
But there were no [E] country bands being invented [C] anymore.
And the [G] superlatives seemed to fit [E] that.
We named ourselves after an ad [B] at a local florist here in town.
[D] Emma's the superlative florist.
_ We were named after a flower shop.
The [E] fabulous superlatives sounded more famous.
The goal was to bring the [D] bandstand to the recording studio [G] every time we've done it.
Ralph [E] Mooney is my all-time [A] favorite _ human being.
[G] I hear Ralph Mooney in my head.
[D] I wanted to create a [A] horse race of steel guitar [G] players.
Because [A] they're _ [D] one [E] culture that helped define and make this town great [A] sonically. _
_ [B] It's about what bubbles up out of the heart.
It was once said to me [D] that unless it comes _ overflowing from the heart,
it's [A] really not worth doing anymore.
_ [C#m] The first song of [E] this record was A Hangman.
_ It was written four [B] days before Johnny Cash passed away.
I composed it with him.
I didn't have [D] the heart to sing that song for a long time.
_ And if you look at a song like that, Hard Workin' Man was a song
that I really didn't know [E] still existed, about feelings that existed inside [Bm] me
about my dad [B] getting fired after 21 and a half years at a factory.
[D] _ [B] Porter Wagner's Grave _ [C#] came on the [B] heels of, you know, losing Porter.
I Run to You is [G] the subtotal of, you know, 15 [F#] years with Connie Smith.
And so every one of these [F] songs came by way of a [B] heartfelt [G] incident.
The whole record, I thought, I'm going [E] to throw away the rule book
and go [G] back to the original template of country [D#] music.
The [G] original blueprint concerning subject matter.
And Branded is just one of those kind of, you know, fugitive kind of [D] songs.
[E] But I started writing it one afternoon on the way to the [Gm] Grand Ole Opry.
[G] And I got out of the shower [D] three times and [G] kept writing lines down.
And when I walked in the dressing room, Kenny was the first person I saw.
I said, come here.
[D] The way we work together is like a tapestry.
I know what he's going to play.
[Em] He knows what I'm going to play.
And we stay out of each [G] other's way. _
It's a dance with [Fm] Kenny.
And Kenny and I [D] had fun.
And Mooney's Drone.
Wow, wow, [G] wow, wow.
It's like one of those old [D] film noir things, you know.
It's [G] hypnotic.
[F#] _
Connie and I were [D] coming down.
We were on _ I-65 one day.
I said, [G] you got any paper and [C] pencil?
We were in her [G] car and I was driving.
I turned to Al Frady.
I said, write [C] this down.
[D] Our home is like a prison, [G] but we're both serving time.
I'm a stranger in [D] your world now.
[E] And it's driving me out of my mind.
And he was just coming.
I said, drifting apart, [G] drifting apart.
Darling, we're drifting apart.
Out of reach, out of heart.
We're [D] slowly drifting apart.
[C] I looked over and she was going, I said, it's not about you.
It's not about us.
_ [G] _ We're slowly [D] drifting _
[C] _ apart.
_ _ _ _ [Am] _
_ [G] _ _ _ _ _ _ _
_ [C] _ _ [G] _ _ [D] My main electric guitar [E] belonged to Clarence White,
[G] the great guitarist from the Byrds who lost his life in 73.
[Em] I've played it on a lot of [G] hits, a lot of records.
But I never felt like, [E] to the Clarence White [G] fans who watch me [C] out there,
you [G] know, and that watch the guitar more than me,
_ that I'd ever laid [E] down a profound instrumental that says,
[G] _ _
this is Clarence's.
The hummingbird is spelled H-U-M-M-I-N-G-B-Y-R-D.
Well, here it is, ladies and gentlemen, the Mississippi Railroad Blues.
[D] _
At the end of the day, _ _ of all the things I do _ _ as a creative spirit,
I find myself with the [D#] mandolin, [E] usually by myself, just doodling.
_ _ _ And I guess that's home, the mandolin.
_ _ And truly home is Mississippi.
_ I don't [F#m] really want to pound the pavement [D] for my individualism,
for [A] being from Mississippi and [C] the heritage which I step out from.
[A] _ And so it's a [F#m] record about a train.
_ [F] _ [F#m] I'm a mandolin player from Mississippi,
and it just seemed like the final, _ [B] kind of the final brush [F#m] stroke
on a portrait _ of a music [F#] and a culture that I love.
It's kind of who I am for real, where I come from.
[E] It's a simple way to say thank you very much, friends and neighbors.
[F#m] _ _ _
_ _ _ _ _ _ _ _
_ Well I'm branded _ [C] _
wherever [G] _ I go.
[F#m] I knew when [D#] it was time to make a record I wanted a [G] real studio. _ _
_ [C] _ _ _ [G] Come back to the scene of the crime.
_ _ _ _ _ _ _ _
_ [D] _ _ _ [A#] _ [G] _ _ _
_ _ _ _ _ _ _ _
_ The first session I ever worked in my life was in this room with Lester Flatt when I [E] was 13 years old.
I'll show you something [C#] that looks [Em] really important [C] to me. _
[Am] And Lester [G] walked over to me and said,
[Dm] Why don't you handle [D#] the kickoff on this [F#] one?
I went, How do I handle a kickoff?
There [G] was an engineer by the name of Al [C] Paciucchi.
I went and said, Excuse me, could you tell me, [F#] do I count it off?
He said, Just [F] get out there [E] and do it. _
I grew [F] up being a fan of [D] bands.
Buck Owens and the Buckaroos.
Johnny Cash and the Tennessee Three.
[E] _ _ Merle Haggard and the [D] Strangers.
But there were no [E] country bands being invented [C] anymore.
And the [G] superlatives seemed to fit [E] that.
We named ourselves after an ad [B] at a local florist here in town.
[D] Emma's the superlative florist.
_ We were named after a flower shop.
The [E] fabulous superlatives sounded more famous.
The goal was to bring the [D] bandstand to the recording studio [G] every time we've done it.
Ralph [E] Mooney is my all-time [A] favorite _ human being.
[G] I hear Ralph Mooney in my head.
[D] I wanted to create a [A] horse race of steel guitar [G] players.
Because [A] they're _ [D] one [E] culture that helped define and make this town great [A] sonically. _
_ [B] It's about what bubbles up out of the heart.
It was once said to me [D] that unless it comes _ overflowing from the heart,
it's [A] really not worth doing anymore.
_ [C#m] The first song of [E] this record was A Hangman.
_ It was written four [B] days before Johnny Cash passed away.
I composed it with him.
I didn't have [D] the heart to sing that song for a long time.
_ And if you look at a song like that, Hard Workin' Man was a song
that I really didn't know [E] still existed, about feelings that existed inside [Bm] me
about my dad [B] getting fired after 21 and a half years at a factory.
[D] _ [B] Porter Wagner's Grave _ [C#] came on the [B] heels of, you know, losing Porter.
I Run to You is [G] the subtotal of, you know, 15 [F#] years with Connie Smith.
And so every one of these [F] songs came by way of a [B] heartfelt [G] incident.
The whole record, I thought, I'm going [E] to throw away the rule book
and go [G] back to the original template of country [D#] music.
The [G] original blueprint concerning subject matter.
And Branded is just one of those kind of, you know, fugitive kind of [D] songs.
[E] But I started writing it one afternoon on the way to the [Gm] Grand Ole Opry.
[G] And I got out of the shower [D] three times and [G] kept writing lines down.
And when I walked in the dressing room, Kenny was the first person I saw.
I said, come here.
[D] The way we work together is like a tapestry.
I know what he's going to play.
[Em] He knows what I'm going to play.
And we stay out of each [G] other's way. _
It's a dance with [Fm] Kenny.
And Kenny and I [D] had fun.
And Mooney's Drone.
Wow, wow, [G] wow, wow.
It's like one of those old [D] film noir things, you know.
It's [G] hypnotic.
[F#] _
Connie and I were [D] coming down.
We were on _ I-65 one day.
I said, [G] you got any paper and [C] pencil?
We were in her [G] car and I was driving.
I turned to Al Frady.
I said, write [C] this down.
[D] Our home is like a prison, [G] but we're both serving time.
I'm a stranger in [D] your world now.
[E] And it's driving me out of my mind.
And he was just coming.
I said, drifting apart, [G] drifting apart.
Darling, we're drifting apart.
Out of reach, out of heart.
We're [D] slowly drifting apart.
[C] I looked over and she was going, I said, it's not about you.
It's not about us.
_ [G] _ We're slowly [D] drifting _
[C] _ apart.
_ _ _ _ [Am] _
_ [G] _ _ _ _ _ _ _
_ [C] _ _ [G] _ _ [D] My main electric guitar [E] belonged to Clarence White,
[G] the great guitarist from the Byrds who lost his life in 73.
[Em] I've played it on a lot of [G] hits, a lot of records.
But I never felt like, [E] to the Clarence White [G] fans who watch me [C] out there,
you [G] know, and that watch the guitar more than me,
_ that I'd ever laid [E] down a profound instrumental that says,
[G] _ _
this is Clarence's.
The hummingbird is spelled H-U-M-M-I-N-G-B-Y-R-D.
Well, here it is, ladies and gentlemen, the Mississippi Railroad Blues.
[D] _
At the end of the day, _ _ of all the things I do _ _ as a creative spirit,
I find myself with the [D#] mandolin, [E] usually by myself, just doodling.
_ _ _ And I guess that's home, the mandolin.
_ _ And truly home is Mississippi.
_ I don't [F#m] really want to pound the pavement [D] for my individualism,
for [A] being from Mississippi and [C] the heritage which I step out from.
[A] _ And so it's a [F#m] record about a train.
_ [F] _ [F#m] I'm a mandolin player from Mississippi,
and it just seemed like the final, _ [B] kind of the final brush [F#m] stroke
on a portrait _ of a music [F#] and a culture that I love.
It's kind of who I am for real, where I come from.
[E] It's a simple way to say thank you very much, friends and neighbors.
[F#m] _ _ _