Chords for Mike Nesmith Tapioca Tundra live at Manchester RNCM 29th October 2012 P1080606.MOV
Tempo:
74.45 bpm
Chords used:
G
D
Am
Eb
Em
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
The settings have kind of been written a little bit already, but they have a nice setting,
a nice, fun, cozy little place.
So this one's simple.
This is 1970s.
He walks off the stage, he's alone, walks off a concert stage where he's just played
for 20,000 people.
And he's lost in his thoughts because he learned something about this night, and [G] he thinks
about it, and this is what he thinks about [N] it.
Okay, now stop.
Hold that thought.
Because musing over the writing of this setting, I kept thinking, how do I say [C] what I need to say?
And then I stumbled across this passage in a book by Craig [N] Brown called Hello, Goodbye,
Hello.
Craig is one of your countrymen.
It's a good book.
Hello, Goodbye, Hello.
But it's about meetings between [G] famous people.
And what I want to do right now is I want to [Gm] read you, read actually, an exchange between
[D] Mark Twain and Rudyard Kipling.
And in this exchange, Rudyard Kipling gives Twain something to [G] think about, the same thing
as Guy's thinking about.
And it states succinctly [Eb] what the song's about.
So let me just read this.
[D] Kipling is not Kipling yet.
You know, he's sort of an upstart.
Twain is [G] already 20, so he's gone to meet him, and they're discussing copyrights and
other stuff like that.
[D] And [Bb] then Kipling writes, growing bold and feeling that I had a future, I'm going to
[Db] be a great man.
And Twain [D] says, [G] [C] I'm going to be a great [D] man.
[E] And he says, I'm going to be a great man.
[G] And he says, I'm going to be a great man.
And he says, I'm going to be a great man.
And he says, I'm going to be a great man.
And he says, I'm going to be a great man.
And he says, [G] I'm going to be a great man.
But Thomas Sawyer is real.
[N] Oh, he is real, says Twain.
He's all the boys that I've ever known, and I recollect that that would be a good way
of ending the book.
Because when you come to think of it, either religion, [Ab] training, educating against the
force of circumstances that drive man.
Suppose we took the next four and 20 years [D] of Thomas Sawyer's life and give it [G] a little
joggle, to the circumstance that controlled him.
It would, you know, according to the [N] joggle, turn out a rip or an angel.
Do you believe that then?"
says Kipling.
I [G] think so.
Isn't that what you call kismet?
[N]
Yes, but don't give him two joggles and then just show the result.
Because he isn't your [D] property anymore.
He belongs to us.
[Ab] Okay, back to our performer as he waves goodnight [Bb] to the 20,000 folks.
Let's move inside his head.
[G]
[Em] [G]
[Am] [D]
[Am] [Dm] [D]
[Am] [Eb] [Cm]
[G]
Reasoned verse, some prose of a rhyme
[Em] That I've found [Dbm] yet another time
[Am] And waiting holds a [D] cast of silence spell
That [Am] that speaking [D] cloud includes
It [Am] cannot be [Eb] a part of me
For [G] now it's part of you
Careful plays on fields that seem [Em] to vanish
When they're [Dbm] in between
[Am] And soft plays [D] as they're lowered
In [Am] freshly textured sheets
[Am] It cannot be [Eb] a part of me
[C] For now it's [G] part of you
[B] Sunshine ragtime [E] glowing [Em] in the breeze
[A] Midnight looks like [D] Wednesday morning
[Bbm] [G]
[B] Figures stay [Em] for what he [Db] had to say
And [Am] once again one more time
[D] [Am] Set in by [D] the news
[Am] It cannot be [Eb] a part of me
[Cm] For now it's part [G] of you
[B] Sunshine [E] ragtime
Glowing [G] [A] in the breeze
[D] Standing for a TV
[G] In the air
[B]
[Em] [Db] Oh, [Am] sunshine [Dm] ragtime
[Am] [D] [Am] [Eb]
[Cm] [G] [B] Sunshine ragtime
[E] [A] And midnight looks like [D] [G] Wednesday [Em] morning
Figures stay for what he had to say
[Am] And once again one more [D] time
The faded [Am] green
It's set [D] in by the news
[Am] It cannot [Eb] be a part of [Cm] me
For now [G] it's
[Eb] [G] part of you
Yeah, [Eb] yeah, [Cm] yeah, yeah
[G]
a nice, fun, cozy little place.
So this one's simple.
This is 1970s.
He walks off the stage, he's alone, walks off a concert stage where he's just played
for 20,000 people.
And he's lost in his thoughts because he learned something about this night, and [G] he thinks
about it, and this is what he thinks about [N] it.
Okay, now stop.
Hold that thought.
Because musing over the writing of this setting, I kept thinking, how do I say [C] what I need to say?
And then I stumbled across this passage in a book by Craig [N] Brown called Hello, Goodbye,
Hello.
Craig is one of your countrymen.
It's a good book.
Hello, Goodbye, Hello.
But it's about meetings between [G] famous people.
And what I want to do right now is I want to [Gm] read you, read actually, an exchange between
[D] Mark Twain and Rudyard Kipling.
And in this exchange, Rudyard Kipling gives Twain something to [G] think about, the same thing
as Guy's thinking about.
And it states succinctly [Eb] what the song's about.
So let me just read this.
[D] Kipling is not Kipling yet.
You know, he's sort of an upstart.
Twain is [G] already 20, so he's gone to meet him, and they're discussing copyrights and
other stuff like that.
[D] And [Bb] then Kipling writes, growing bold and feeling that I had a future, I'm going to
[Db] be a great man.
And Twain [D] says, [G] [C] I'm going to be a great [D] man.
[E] And he says, I'm going to be a great man.
[G] And he says, I'm going to be a great man.
And he says, I'm going to be a great man.
And he says, I'm going to be a great man.
And he says, I'm going to be a great man.
And he says, [G] I'm going to be a great man.
But Thomas Sawyer is real.
[N] Oh, he is real, says Twain.
He's all the boys that I've ever known, and I recollect that that would be a good way
of ending the book.
Because when you come to think of it, either religion, [Ab] training, educating against the
force of circumstances that drive man.
Suppose we took the next four and 20 years [D] of Thomas Sawyer's life and give it [G] a little
joggle, to the circumstance that controlled him.
It would, you know, according to the [N] joggle, turn out a rip or an angel.
Do you believe that then?"
says Kipling.
I [G] think so.
Isn't that what you call kismet?
[N]
Yes, but don't give him two joggles and then just show the result.
Because he isn't your [D] property anymore.
He belongs to us.
[Ab] Okay, back to our performer as he waves goodnight [Bb] to the 20,000 folks.
Let's move inside his head.
[G]
[Em] [G]
[Am] [D]
[Am] [Dm] [D]
[Am] [Eb] [Cm]
[G]
Reasoned verse, some prose of a rhyme
[Em] That I've found [Dbm] yet another time
[Am] And waiting holds a [D] cast of silence spell
That [Am] that speaking [D] cloud includes
It [Am] cannot be [Eb] a part of me
For [G] now it's part of you
Careful plays on fields that seem [Em] to vanish
When they're [Dbm] in between
[Am] And soft plays [D] as they're lowered
In [Am] freshly textured sheets
[Am] It cannot be [Eb] a part of me
[C] For now it's [G] part of you
[B] Sunshine ragtime [E] glowing [Em] in the breeze
[A] Midnight looks like [D] Wednesday morning
[Bbm] [G]
[B] Figures stay [Em] for what he [Db] had to say
And [Am] once again one more time
[D] [Am] Set in by [D] the news
[Am] It cannot be [Eb] a part of me
[Cm] For now it's part [G] of you
[B] Sunshine [E] ragtime
Glowing [G] [A] in the breeze
[D] Standing for a TV
[G] In the air
[B]
[Em] [Db] Oh, [Am] sunshine [Dm] ragtime
[Am] [D] [Am] [Eb]
[Cm] [G] [B] Sunshine ragtime
[E] [A] And midnight looks like [D] [G] Wednesday [Em] morning
Figures stay for what he had to say
[Am] And once again one more [D] time
The faded [Am] green
It's set [D] in by the news
[Am] It cannot [Eb] be a part of [Cm] me
For now [G] it's
[Eb] [G] part of you
Yeah, [Eb] yeah, [Cm] yeah, yeah
[G]
Key:
G
D
Am
Eb
Em
G
D
Am
The settings have kind of been written a little bit already, but they have a nice setting,
a nice, fun, cozy little place.
So this one's simple.
This is 1970s.
He walks off the stage, he's alone, walks off a concert stage where he's just played
for 20,000 people.
And he's lost in his thoughts because he learned something about this night, and [G] he thinks
about it, and this is what he thinks about [N] it.
Okay, now stop.
Hold that thought.
Because musing over the writing of this setting, I kept thinking, how do I say [C] what I need to say?
And then I stumbled across this passage in a book by Craig [N] Brown called Hello, Goodbye,
Hello.
Craig is one of your countrymen.
It's a good book.
Hello, Goodbye, Hello.
But it's about meetings between [G] famous people.
And what I want to do right now is I want to [Gm] read you, read actually, an exchange between
[D] Mark Twain and Rudyard Kipling.
And in this exchange, Rudyard Kipling gives Twain something to [G] think about, the same thing
as Guy's thinking about.
And it states succinctly [Eb] what the song's about.
So let me just read this.
[D] Kipling is not Kipling yet.
You know, he's sort of an upstart.
Twain is [G] already 20, so he's gone to meet him, and they're discussing copyrights and
other stuff like that.
[D] And [Bb] then Kipling writes, growing bold and feeling that I had a future, I'm going to _ _ _
_ _ [Db] be a great man.
And Twain [D] says, _ _ [G] _ _ [C] I'm going to be a great _ [D] _ _ _ _ man.
[E] And he says, I'm going to be a great man.
_ [G] _ And he says, I'm going to be a great man.
And he says, I'm going to be a great man.
And he says, I'm going to be a great man.
And he says, I'm going to be a great man.
And he says, [G] I'm going to be a great man.
But Thomas Sawyer is real. _
[N] Oh, he is real, says Twain.
He's all the boys that I've ever known, and I recollect that that would be a good way
of ending the book.
Because when you come to think of it, either religion, [Ab] training, educating against the
force of circumstances that drive man.
_ Suppose we took the next four and 20 years [D] of Thomas Sawyer's life and give it [G] a little
joggle, to the circumstance that controlled him.
It would, you know, according to the [N] joggle, turn out a rip or an angel.
Do you believe that then?"
says Kipling.
I [G] think so.
Isn't that what you call kismet?
[N] _
Yes, but don't give him two joggles and then just show the result.
Because he isn't your [D] property anymore.
He belongs to us.
[Ab] Okay, back to our performer as he waves goodnight [Bb] to the 20,000 folks.
Let's move inside his head.
_ _ _ _ [G] _ _ _
_ _ _ _ [Em] _ _ _ [G] _
_ _ [Am] _ _ _ _ [D] _ _
_ [Am] _ _ _ [Dm] _ _ [D] _ _
[Am] _ _ [Eb] _ _ _ _ [Cm] _ _
_ [G] _ _ _ _ _ _
Reasoned verse, some prose of a rhyme
[Em] _ That I've found [Dbm] yet another time
[Am] And waiting holds a [D] cast of silence spell
That [Am] that speaking [D] cloud includes
It [Am] cannot be [Eb] a part of me
For [G] now it's part of you _ _ _ _
Careful plays on fields that seem [Em] to vanish
When they're [Dbm] in between
[Am] And soft plays [D] as they're lowered
In [Am] freshly textured sheets
[Am] It cannot be [Eb] a part of me
[C] For now it's [G] part of you _ _ _
_ _ [B] Sunshine _ _ ragtime [E] glowing [Em] in the breeze
_ [A] Midnight _ looks like [D] Wednesday morning
_ _ _ [Bbm] _ _ _ [G] _ _
_ _ _ [B] Figures stay [Em] for what he [Db] had to say
And [Am] once again one more time
[D] _ [Am] Set in by [D] the news
[Am] It cannot be [Eb] a part of me
[Cm] For now it's part [G] of you
_ _ [B] Sunshine _ [E] ragtime
Glowing _ [G] _ [A] in the breeze _
[D] Standing for a TV
[G] In the air
[B] _ _
[Em] _ [Db] Oh, [Am] sunshine [Dm] ragtime _
[Am] _ _ [D] _ _ [Am] _ _ [Eb] _ _
[Cm] _ _ [G] _ _ _ [B] Sunshine ragtime
_ _ [E] _ _ _ [A] And midnight looks like [D] _ _ _ _ [G] Wednesday _ [Em] morning
Figures stay for what he had to say
[Am] And once again one more [D] time
The faded [Am] green
It's set [D] in by the news
[Am] It cannot [Eb] be a part of [Cm] me
For now [G] it's _ _ _
_ _ [Eb] _ _ _ [G] part of you
_ Yeah, [Eb] yeah, [Cm] yeah, yeah
_ [G] _ _ _ _ _ _
a nice, fun, cozy little place.
So this one's simple.
This is 1970s.
He walks off the stage, he's alone, walks off a concert stage where he's just played
for 20,000 people.
And he's lost in his thoughts because he learned something about this night, and [G] he thinks
about it, and this is what he thinks about [N] it.
Okay, now stop.
Hold that thought.
Because musing over the writing of this setting, I kept thinking, how do I say [C] what I need to say?
And then I stumbled across this passage in a book by Craig [N] Brown called Hello, Goodbye,
Hello.
Craig is one of your countrymen.
It's a good book.
Hello, Goodbye, Hello.
But it's about meetings between [G] famous people.
And what I want to do right now is I want to [Gm] read you, read actually, an exchange between
[D] Mark Twain and Rudyard Kipling.
And in this exchange, Rudyard Kipling gives Twain something to [G] think about, the same thing
as Guy's thinking about.
And it states succinctly [Eb] what the song's about.
So let me just read this.
[D] Kipling is not Kipling yet.
You know, he's sort of an upstart.
Twain is [G] already 20, so he's gone to meet him, and they're discussing copyrights and
other stuff like that.
[D] And [Bb] then Kipling writes, growing bold and feeling that I had a future, I'm going to _ _ _
_ _ [Db] be a great man.
And Twain [D] says, _ _ [G] _ _ [C] I'm going to be a great _ [D] _ _ _ _ man.
[E] And he says, I'm going to be a great man.
_ [G] _ And he says, I'm going to be a great man.
And he says, I'm going to be a great man.
And he says, I'm going to be a great man.
And he says, I'm going to be a great man.
And he says, [G] I'm going to be a great man.
But Thomas Sawyer is real. _
[N] Oh, he is real, says Twain.
He's all the boys that I've ever known, and I recollect that that would be a good way
of ending the book.
Because when you come to think of it, either religion, [Ab] training, educating against the
force of circumstances that drive man.
_ Suppose we took the next four and 20 years [D] of Thomas Sawyer's life and give it [G] a little
joggle, to the circumstance that controlled him.
It would, you know, according to the [N] joggle, turn out a rip or an angel.
Do you believe that then?"
says Kipling.
I [G] think so.
Isn't that what you call kismet?
[N] _
Yes, but don't give him two joggles and then just show the result.
Because he isn't your [D] property anymore.
He belongs to us.
[Ab] Okay, back to our performer as he waves goodnight [Bb] to the 20,000 folks.
Let's move inside his head.
_ _ _ _ [G] _ _ _
_ _ _ _ [Em] _ _ _ [G] _
_ _ [Am] _ _ _ _ [D] _ _
_ [Am] _ _ _ [Dm] _ _ [D] _ _
[Am] _ _ [Eb] _ _ _ _ [Cm] _ _
_ [G] _ _ _ _ _ _
Reasoned verse, some prose of a rhyme
[Em] _ That I've found [Dbm] yet another time
[Am] And waiting holds a [D] cast of silence spell
That [Am] that speaking [D] cloud includes
It [Am] cannot be [Eb] a part of me
For [G] now it's part of you _ _ _ _
Careful plays on fields that seem [Em] to vanish
When they're [Dbm] in between
[Am] And soft plays [D] as they're lowered
In [Am] freshly textured sheets
[Am] It cannot be [Eb] a part of me
[C] For now it's [G] part of you _ _ _
_ _ [B] Sunshine _ _ ragtime [E] glowing [Em] in the breeze
_ [A] Midnight _ looks like [D] Wednesday morning
_ _ _ [Bbm] _ _ _ [G] _ _
_ _ _ [B] Figures stay [Em] for what he [Db] had to say
And [Am] once again one more time
[D] _ [Am] Set in by [D] the news
[Am] It cannot be [Eb] a part of me
[Cm] For now it's part [G] of you
_ _ [B] Sunshine _ [E] ragtime
Glowing _ [G] _ [A] in the breeze _
[D] Standing for a TV
[G] In the air
[B] _ _
[Em] _ [Db] Oh, [Am] sunshine [Dm] ragtime _
[Am] _ _ [D] _ _ [Am] _ _ [Eb] _ _
[Cm] _ _ [G] _ _ _ [B] Sunshine ragtime
_ _ [E] _ _ _ [A] And midnight looks like [D] _ _ _ _ [G] Wednesday _ [Em] morning
Figures stay for what he had to say
[Am] And once again one more [D] time
The faded [Am] green
It's set [D] in by the news
[Am] It cannot [Eb] be a part of [Cm] me
For now [G] it's _ _ _
_ _ [Eb] _ _ _ [G] part of you
_ Yeah, [Eb] yeah, [Cm] yeah, yeah
_ [G] _ _ _ _ _ _