Chords for Nash on Leaving the Hollies, Dylan and Starting CSN
Tempo:
120.7 bpm
Chords used:
F
F#
A
D#
G#m
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
I left the Hollies for a couple of reasons.
[F] One of them was that I didn't feel that they trusted my need for direction.
Every Hollies single that we had made, you know, apart from the first couple,
made it into the top ten and that's where we were used to being.
You'd bring out a single, it would go into [A] the top ten.
That's what we were used to.
When I was with the Hollies, I think we had 14, maybe [F#] 16 top ten hits, right?
King Midas and [F] Reverse came along that I wrote in Croatia.
[F#]
We made a very decent record of it, but it only got into the top 30.
And so the Hollies went, bloody hell, we failed.
Now most bands would give their right arm to all the top 30 hits,
but because we were used to being in the top ten,
being in the top 30 wasn't so special, right?
So that was one point.
Then they wanted to do an album with Bob Dylan's songs
and I just didn't like the way that it was going.
I'm a great [F] fan of Bob Dylan.
I think he's our greatest poet and I think he's one of our greatest singers.
And the way that the Hollies wanted to do some of his stuff appalled me.
I did actually sing on Blowing in the Wind and it's out [F#] there somewhere
and to me it's just awful.
It's kind of a Las [N] Vegas kind of
How many roads
Come on, this isn't the Rat Pack here.
Come on, let's go.
Anyway, so those couple of things.
Plus I'd written Marrakesh Express and the Hollies had tried to record it
and they just weren't into it.
And it was obvious to me that my time with the Hollies was coming to an end.
I was ambivalent about leaving, I must confess.
I've always liked being a member of a band.
I've always liked interaction with other musicians.
[D#]
I was taking a big chance.
My friends thought I was crazy.
You're leaving the Hollies?
All this fame, all these women, all this money?
Are you nuts?
But they hadn't heard what me and David and Steven sounded like.
And if they had, they would probably have understood.
But it was a sad time.
I was leaving my friend Alan Clark,
who had been my friend since I was five or six years old,
so that was painful [G#m] for me.
But my mother and father had always taught me to follow my heart.
And my heart said that this blend that I'd created with David and Steven
was magically unique and that I need to follow it.
And that's what I did.
[F] One of them was that I didn't feel that they trusted my need for direction.
Every Hollies single that we had made, you know, apart from the first couple,
made it into the top ten and that's where we were used to being.
You'd bring out a single, it would go into [A] the top ten.
That's what we were used to.
When I was with the Hollies, I think we had 14, maybe [F#] 16 top ten hits, right?
King Midas and [F] Reverse came along that I wrote in Croatia.
[F#]
We made a very decent record of it, but it only got into the top 30.
And so the Hollies went, bloody hell, we failed.
Now most bands would give their right arm to all the top 30 hits,
but because we were used to being in the top ten,
being in the top 30 wasn't so special, right?
So that was one point.
Then they wanted to do an album with Bob Dylan's songs
and I just didn't like the way that it was going.
I'm a great [F] fan of Bob Dylan.
I think he's our greatest poet and I think he's one of our greatest singers.
And the way that the Hollies wanted to do some of his stuff appalled me.
I did actually sing on Blowing in the Wind and it's out [F#] there somewhere
and to me it's just awful.
It's kind of a Las [N] Vegas kind of
How many roads
Come on, this isn't the Rat Pack here.
Come on, let's go.
Anyway, so those couple of things.
Plus I'd written Marrakesh Express and the Hollies had tried to record it
and they just weren't into it.
And it was obvious to me that my time with the Hollies was coming to an end.
I was ambivalent about leaving, I must confess.
I've always liked being a member of a band.
I've always liked interaction with other musicians.
[D#]
I was taking a big chance.
My friends thought I was crazy.
You're leaving the Hollies?
All this fame, all these women, all this money?
Are you nuts?
But they hadn't heard what me and David and Steven sounded like.
And if they had, they would probably have understood.
But it was a sad time.
I was leaving my friend Alan Clark,
who had been my friend since I was five or six years old,
so that was painful [G#m] for me.
But my mother and father had always taught me to follow my heart.
And my heart said that this blend that I'd created with David and Steven
was magically unique and that I need to follow it.
And that's what I did.
Key:
F
F#
A
D#
G#m
F
F#
A
_ _ _ _ _ _ _ _
I left the Hollies for a couple of reasons.
[F] _ One of them was that I didn't feel that they trusted my _ _ _ _ _ _ _
need for direction. _ _ _ _ _ _
_ Every Hollies single that we had made, you know, apart from the first couple,
made it into the top ten and that's where we were used to being.
You'd bring out a single, it would go into [A] the top ten.
That's what we were used to.
When I was with the Hollies, I think we had 14, maybe [F#] 16 top ten hits, right?
King Midas and [F] Reverse came along that I wrote in Croatia.
_ _ [F#] _ _
We made a very decent record of it, but it only got into the top 30.
And so the Hollies went, bloody hell, we failed.
Now most bands would give their right arm to all the top 30 hits,
but because we were used to being in the top ten,
being in the top 30 wasn't so special, right?
So that was one point.
Then they wanted to do an album with Bob Dylan's songs
and I just didn't like the way that it was going.
_ _ _ I'm a great [F] fan of Bob Dylan.
I think he's our greatest poet and I think he's one of our greatest singers. _
And the way that the Hollies wanted to do some of his stuff appalled me.
I did actually sing on Blowing in the Wind _ and it's out [F#] there somewhere
and to me it's just awful.
It's kind of a Las [N] Vegas kind of_
How many roads_
Come on, this isn't the Rat Pack here.
Come on, let's go.
Anyway, so those couple of things.
Plus _ I'd written Marrakesh Express and the Hollies had tried to record it
and they just weren't into it.
And it was obvious to me that my time with the Hollies was coming to an end.
I was ambivalent about leaving, I must confess.
_ I've always _ liked being a member of a band.
I've always liked interaction with other musicians.
_ _ [D#] _ _ _ _
_ _ I was taking a big chance.
My friends thought I was crazy.
You're leaving the Hollies?
All this fame, all these women, all this money?
Are you nuts?
But they hadn't heard what me and David and Steven sounded like.
And if they had, they would probably have understood. _ _ _ _
But it was a sad time.
I was leaving my friend Alan Clark,
who had been my friend since I was five or six years old,
so that was painful [G#m] for me.
_ _ _ But my mother and father had always taught me to follow my heart.
And my heart said that this blend that I'd created with David and Steven
was magically unique and that I need to follow it.
And that's what I did.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
I left the Hollies for a couple of reasons.
[F] _ One of them was that I didn't feel that they trusted my _ _ _ _ _ _ _
need for direction. _ _ _ _ _ _
_ Every Hollies single that we had made, you know, apart from the first couple,
made it into the top ten and that's where we were used to being.
You'd bring out a single, it would go into [A] the top ten.
That's what we were used to.
When I was with the Hollies, I think we had 14, maybe [F#] 16 top ten hits, right?
King Midas and [F] Reverse came along that I wrote in Croatia.
_ _ [F#] _ _
We made a very decent record of it, but it only got into the top 30.
And so the Hollies went, bloody hell, we failed.
Now most bands would give their right arm to all the top 30 hits,
but because we were used to being in the top ten,
being in the top 30 wasn't so special, right?
So that was one point.
Then they wanted to do an album with Bob Dylan's songs
and I just didn't like the way that it was going.
_ _ _ I'm a great [F] fan of Bob Dylan.
I think he's our greatest poet and I think he's one of our greatest singers. _
And the way that the Hollies wanted to do some of his stuff appalled me.
I did actually sing on Blowing in the Wind _ and it's out [F#] there somewhere
and to me it's just awful.
It's kind of a Las [N] Vegas kind of_
How many roads_
Come on, this isn't the Rat Pack here.
Come on, let's go.
Anyway, so those couple of things.
Plus _ I'd written Marrakesh Express and the Hollies had tried to record it
and they just weren't into it.
And it was obvious to me that my time with the Hollies was coming to an end.
I was ambivalent about leaving, I must confess.
_ I've always _ liked being a member of a band.
I've always liked interaction with other musicians.
_ _ [D#] _ _ _ _
_ _ I was taking a big chance.
My friends thought I was crazy.
You're leaving the Hollies?
All this fame, all these women, all this money?
Are you nuts?
But they hadn't heard what me and David and Steven sounded like.
And if they had, they would probably have understood. _ _ _ _
But it was a sad time.
I was leaving my friend Alan Clark,
who had been my friend since I was five or six years old,
so that was painful [G#m] for me.
_ _ _ But my mother and father had always taught me to follow my heart.
And my heart said that this blend that I'd created with David and Steven
was magically unique and that I need to follow it.
And that's what I did.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _