Chords for Oh Susanna sings Wendell Gee and Joe Boyd talks about R.E.M. @ Luminato
Tempo:
140.55 bpm
Chords used:
G
C
D
Bm
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Jam Along & Learn...
[G]
[A] [G] And [Am] the deer takes a [D] tug upon the string [G] of a pale and [D] lying tree.
[G]
[Am]
It's [Dm] weird to give respect, [G] but somewhere [D] down the line he [C] chills.
Whistle [G] as the wind [Bm]
blows.
[C]
Whistle [G] as the wind
[D] blows through [G] the leaves.
He had a [D] dream one [Am] night.
[D] The tree had lost its middle, [Bm] so he built a [D] trunk of chicken wire.
[G]
Chicken [D] [Am] wire.
[D] Wire, the wire [Bm] turned a lizard's skin, [D]
and then he [C] climbed inside.
It wasn't [G] even time [Bm] to [C] say goodbye to [G] Wendell G.
[C]
Whistle [G] as the wind blows.
[C]
Whistle [Em] as the wind [Bm] [C] blows.
[G]
But if the wind were color,
[C]
and the air [G] could speak.
[Bm] [C]
Whistle [G] as the wind blows.
[C]
Whistle [G] as the wind blows.
[C] Whistle [G] as the wind blows.
[C]
Whistle as the [G]
wind [Bm] [C] blows.
[G] Whistle as the wind blows.
[C]
We still [Bm] [G] have the view, [N] we [G] still have the view, we still have the view.
[D]
[C] [Bm] [G]
[B]
[N] You came with a secret key to the song Wendell G.
I got an email from Mike Mills.
And it seems that in the year [C] before they made that record, the record that I [G] made with them,
Tables of the Reconstruction, Michael [N]
Stipe and I think some of the other guys were involved in a film,
kind of experimental art film, I can't remember the name of the filmmaker,
but it was being made somewhere outside of Athens, Georgia.
And they would go out there frequently, drive this highway out of Athens, Georgia.
And on that highway there's a used car dealership called Wendell G.
And that's about it.
Now, I could footnote this [G] with what happened at the beginning of my [Bb] relationship with them.
When I got to Athens, [Dm] I actually went in [G] a studio that day and cut a demo of songs,
which I think that most of that demo is now available on the deluxe edition of Tables of Reconstruction.
[E]
And Peter Buck was the guy who was the buck, the guy who had the Fairport Convention records,
the Monique Drake records, and the Craig Mad [D] records.
It [G] was his idea, let's get Joe Boyd to be the record.
And the other guys were a little like, you know, Joe Boyd.
But they were like, okay, Peter, you know, he sort of played his stuff, convinced us it was a good [Eb] idea,
and then I arrived, and we got along okay, [E]
and then made the [G] fateful decision to do the record.
I said, we've got to do it in England, [Eb] so I've got a record there [N] in Iran, I can't just go away to Georgia.
[G] And they [E] liked the idea of getting it.
They didn't realize that London in February would be as depressing as they eventually found it.
And for a while, after they made the record, they hated the record.
[Bb]
And now, they've kind of come, like a lot of [G] critics who were kind of a little unsure about the record,
people seem to have come [Gm] around to the idea that it's actually kind of okay.
[N] [G] Some people even call it a good record.
But the moment that, in my relationship with them, you know, [N] Mike Mills is very frank.
He was easy from the beginning.
Peter Barber liked the idea that I was doing it.
Stein was a bit, you know, standoffish.
[G] And then we were having this conversation one day, which [N] somehow brought up the subject of the cut-ups,
which is the project that William Burroughs did, where he took readings, he took the tape,
and [E] then he just cut the tape, [Eb] and jumbled it all together in a basket, and [N] then reassembled it.
And Stein was obsessed with cut-ups.
And I think [G] you can tell from the lyrics that he almost [N] liked stringing together images in a [D] grand order.
You know, [E] that's sort of what a lot of the lyrics on [G] that record are like.
And then later on, he got much more linear and much more commercial as a result.
[N]
In that record, you can see a lot of them are [G] just strung together images.
Not quite grander, [D] but sort of, you can see that [E] he likes that.
Anyway, he mentioned cut-ups.
And I said, oh, well, back in the 60s, I met Byron Geisen once, who was William [Eb] Burroughs' collaborator,
the guy who did Carlton [N] Burroughs.
And Stein looked at me and said, you met Brian Geisen?
And I said, yeah, he was [G] kind of a nice guy.
And from that [N] point, I was fine.
Stein, [Gm] at that point, decided I was okay.
[G] And so we got well-read.
[A] [G] And [Am] the deer takes a [D] tug upon the string [G] of a pale and [D] lying tree.
[G]
[Am]
It's [Dm] weird to give respect, [G] but somewhere [D] down the line he [C] chills.
Whistle [G] as the wind [Bm]
blows.
[C]
Whistle [G] as the wind
[D] blows through [G] the leaves.
He had a [D] dream one [Am] night.
[D] The tree had lost its middle, [Bm] so he built a [D] trunk of chicken wire.
[G]
Chicken [D] [Am] wire.
[D] Wire, the wire [Bm] turned a lizard's skin, [D]
and then he [C] climbed inside.
It wasn't [G] even time [Bm] to [C] say goodbye to [G] Wendell G.
[C]
Whistle [G] as the wind blows.
[C]
Whistle [Em] as the wind [Bm] [C] blows.
[G]
But if the wind were color,
[C]
and the air [G] could speak.
[Bm] [C]
Whistle [G] as the wind blows.
[C]
Whistle [G] as the wind blows.
[C] Whistle [G] as the wind blows.
[C]
Whistle as the [G]
wind [Bm] [C] blows.
[G] Whistle as the wind blows.
[C]
We still [Bm] [G] have the view, [N] we [G] still have the view, we still have the view.
[D]
[C] [Bm] [G]
[B]
[N] You came with a secret key to the song Wendell G.
I got an email from Mike Mills.
And it seems that in the year [C] before they made that record, the record that I [G] made with them,
Tables of the Reconstruction, Michael [N]
Stipe and I think some of the other guys were involved in a film,
kind of experimental art film, I can't remember the name of the filmmaker,
but it was being made somewhere outside of Athens, Georgia.
And they would go out there frequently, drive this highway out of Athens, Georgia.
And on that highway there's a used car dealership called Wendell G.
And that's about it.
Now, I could footnote this [G] with what happened at the beginning of my [Bb] relationship with them.
When I got to Athens, [Dm] I actually went in [G] a studio that day and cut a demo of songs,
which I think that most of that demo is now available on the deluxe edition of Tables of Reconstruction.
[E]
And Peter Buck was the guy who was the buck, the guy who had the Fairport Convention records,
the Monique Drake records, and the Craig Mad [D] records.
It [G] was his idea, let's get Joe Boyd to be the record.
And the other guys were a little like, you know, Joe Boyd.
But they were like, okay, Peter, you know, he sort of played his stuff, convinced us it was a good [Eb] idea,
and then I arrived, and we got along okay, [E]
and then made the [G] fateful decision to do the record.
I said, we've got to do it in England, [Eb] so I've got a record there [N] in Iran, I can't just go away to Georgia.
[G] And they [E] liked the idea of getting it.
They didn't realize that London in February would be as depressing as they eventually found it.
And for a while, after they made the record, they hated the record.
[Bb]
And now, they've kind of come, like a lot of [G] critics who were kind of a little unsure about the record,
people seem to have come [Gm] around to the idea that it's actually kind of okay.
[N] [G] Some people even call it a good record.
But the moment that, in my relationship with them, you know, [N] Mike Mills is very frank.
He was easy from the beginning.
Peter Barber liked the idea that I was doing it.
Stein was a bit, you know, standoffish.
[G] And then we were having this conversation one day, which [N] somehow brought up the subject of the cut-ups,
which is the project that William Burroughs did, where he took readings, he took the tape,
and [E] then he just cut the tape, [Eb] and jumbled it all together in a basket, and [N] then reassembled it.
And Stein was obsessed with cut-ups.
And I think [G] you can tell from the lyrics that he almost [N] liked stringing together images in a [D] grand order.
You know, [E] that's sort of what a lot of the lyrics on [G] that record are like.
And then later on, he got much more linear and much more commercial as a result.
[N]
In that record, you can see a lot of them are [G] just strung together images.
Not quite grander, [D] but sort of, you can see that [E] he likes that.
Anyway, he mentioned cut-ups.
And I said, oh, well, back in the 60s, I met Byron Geisen once, who was William [Eb] Burroughs' collaborator,
the guy who did Carlton [N] Burroughs.
And Stein looked at me and said, you met Brian Geisen?
And I said, yeah, he was [G] kind of a nice guy.
And from that [N] point, I was fine.
Stein, [Gm] at that point, decided I was okay.
[G] And so we got well-read.
100% ➙ 141BPM
G
C
D
Bm
E
G
C
D
_ _ [G] _ _ _ _ _ _
[A] _ [G] And [Am] the deer _ _ takes a [D] tug _ upon the string _ [G] of a pale and [D] lying _ _ tree.
[G] _ _ _ _ _
_ _ _ [Am] _ _ _ _ _
It's [Dm] _ weird to give respect, [G] but somewhere [D] down the line he [C] chills. _ _
Whistle [G] as the wind _ _ [Bm] _
blows.
_ [C] _ _ _ _
Whistle [G] as the _ wind _
[D] blows through [G] the leaves. _ _
He had a [D] dream one [Am] night. _ _
_ _ _ [D] The tree had lost its middle, _ [Bm] so he built a [D] trunk of chicken wire.
[G] _ _ _ _ _
Chicken [D] _ _ [Am] wire. _ _
_ _ _ [D] _ Wire, the wire [Bm] turned a lizard's skin, [D]
and then he [C] climbed inside. _
It wasn't [G] even _ time [Bm] to _ _ [C] say _ _ goodbye to [G] Wendell G. _ _ _
_ _ _ _ [C] _ _ _ _
Whistle [G] as the _ wind _ _ _ blows.
[C] _ _ _ _
Whistle [Em] as the _ _ wind _ _ [Bm] _ [C] blows.
_ _ [G]
But if the wind were color, _ _ _
_ _ _ [C] _ _ _ _
and the air [G] could _ _ speak.
[Bm] _ _ _ [C] _ _ _ _
Whistle _ [G] as the wind _ _ blows.
_ _ [C] _ _ _ _
Whistle _ [G] as the _ wind blows.
_ _ _ _ [C] Whistle _ _ _ _ _ [G] as the wind _ _ _ _ blows.
[C] _ _ _
Whistle _ as the [G] _ _
wind [Bm] _ _ _ [C] blows. _ _
_ [G] Whistle as the wind _ blows.
_ [C] _ _ _ _
We still [Bm] [G] have the view, _ _ _ [N] we _ _ _ _ [G] still have the _ view, _ _ _ _ _ _ _
we still have the view.
[D] _
_ _ _ [C] _ _ [Bm] _ _ [G] _
_ _ _ _ _ _ _ _
_ _ _ _ [B] _ _ _ _
_ _ [N] You came with a secret key to the song Wendell G.
_ I got an email from Mike Mills. _ _ _
_ _ _ _ And it seems that _ in the year [C] before they made that record, the record that I [G] made with them,
Tables of the Reconstruction, _ _ _ _ Michael [N]
Stipe and I think some of the other guys were _ involved in a film,
_ kind of experimental art film, I can't remember the name of the filmmaker,
but it was being made somewhere outside of Athens, Georgia.
And they would go out there frequently, drive this highway out of Athens, Georgia. _
And _ _ _ _ _ on _ _ that highway _ there's a used car dealership called Wendell G.
_ _ _ _ And _ that's about it. _ _ _
Now, _ _ I could _ _ _ _ _ _ footnote this _ [G] with _ what happened at the beginning of my [Bb] relationship with them.
When I got _ to Athens, [Dm] I actually went in [G] a studio that day and cut a demo of songs,
_ which I think that most of that demo is now available on the deluxe edition of _ Tables of Reconstruction. _ _ _
_ _ _ [E] _ _ _ _ _
_ And Peter Buck was the guy who was the buck, the guy who had the Fairport Convention records,
the Monique Drake records, and the _ Craig Mad [D] records.
It [G] was his idea, _ let's get Joe Boyd to be the record.
_ And the other guys were a little like, you know, Joe Boyd. _
_ _ _ But they were like, okay, Peter, you know, he sort of played his stuff, convinced us it was a good [Eb] idea,
and then I arrived, and we got along okay, _ [E] _
and then made the [G] fateful decision to do the record.
I said, we've got to do it in England, [Eb] so I've got a record there [N] in Iran, I can't just go away to Georgia.
[G] And they [E] liked the idea of getting it.
They didn't realize that London in February _ would be as depressing as they eventually found it.
_ _ _ _ And for a while, after they made the record, they hated the record.
[Bb]
And now, _ they've kind of come, like a lot of [G] critics who were kind of a little unsure about the record,
people seem to have come [Gm] around to the idea that it's actually kind of okay.
[N] _ [G] Some people even call it a good record. _
_ But _ _ _ _ _ the moment that, in my relationship with them, you know, [N] Mike Mills is very frank.
He was easy from the beginning.
Peter Barber liked the idea that I was doing it. _
Stein was a bit, you know, _ _ standoffish.
_ _ _ [G] And then we were having this conversation one day, which [N] somehow _ brought up the subject of the cut-ups, _ _
which is the project that William Burroughs did, where he took _ readings, he took the tape,
and [E] then he just cut the tape, [Eb] and jumbled it all together in a basket, and [N] then reassembled it. _ _ _ _
_ _ And Stein was obsessed with cut-ups.
And I think [G] you can tell from the lyrics that he almost [N] liked stringing together images in a [D] grand order.
You know, [E] that's sort of what a lot of the lyrics on [G] that record are like.
And then later on, he got much more linear and much more commercial as a result.
[N]
In that record, you can see a lot of them are [G] just strung together images.
Not quite grander, [D] but sort of, you can see that [E] he likes that.
Anyway, he mentioned cut-ups.
And I said, _ oh, well, back in the 60s, I met Byron Geisen once, who was William [Eb] Burroughs' _ collaborator,
the guy who did Carlton [N] Burroughs.
And Stein looked at me and said, _ you met Brian Geisen?
_ And I said, yeah, he was [G] kind of a nice guy.
_ And from that [N] point, I was fine.
_ Stein, [Gm] at that point, decided I was okay.
[G] And so we got well-read.
[A] _ [G] And [Am] the deer _ _ takes a [D] tug _ upon the string _ [G] of a pale and [D] lying _ _ tree.
[G] _ _ _ _ _
_ _ _ [Am] _ _ _ _ _
It's [Dm] _ weird to give respect, [G] but somewhere [D] down the line he [C] chills. _ _
Whistle [G] as the wind _ _ [Bm] _
blows.
_ [C] _ _ _ _
Whistle [G] as the _ wind _
[D] blows through [G] the leaves. _ _
He had a [D] dream one [Am] night. _ _
_ _ _ [D] The tree had lost its middle, _ [Bm] so he built a [D] trunk of chicken wire.
[G] _ _ _ _ _
Chicken [D] _ _ [Am] wire. _ _
_ _ _ [D] _ Wire, the wire [Bm] turned a lizard's skin, [D]
and then he [C] climbed inside. _
It wasn't [G] even _ time [Bm] to _ _ [C] say _ _ goodbye to [G] Wendell G. _ _ _
_ _ _ _ [C] _ _ _ _
Whistle [G] as the _ wind _ _ _ blows.
[C] _ _ _ _
Whistle [Em] as the _ _ wind _ _ [Bm] _ [C] blows.
_ _ [G]
But if the wind were color, _ _ _
_ _ _ [C] _ _ _ _
and the air [G] could _ _ speak.
[Bm] _ _ _ [C] _ _ _ _
Whistle _ [G] as the wind _ _ blows.
_ _ [C] _ _ _ _
Whistle _ [G] as the _ wind blows.
_ _ _ _ [C] Whistle _ _ _ _ _ [G] as the wind _ _ _ _ blows.
[C] _ _ _
Whistle _ as the [G] _ _
wind [Bm] _ _ _ [C] blows. _ _
_ [G] Whistle as the wind _ blows.
_ [C] _ _ _ _
We still [Bm] [G] have the view, _ _ _ [N] we _ _ _ _ [G] still have the _ view, _ _ _ _ _ _ _
we still have the view.
[D] _
_ _ _ [C] _ _ [Bm] _ _ [G] _
_ _ _ _ _ _ _ _
_ _ _ _ [B] _ _ _ _
_ _ [N] You came with a secret key to the song Wendell G.
_ I got an email from Mike Mills. _ _ _
_ _ _ _ And it seems that _ in the year [C] before they made that record, the record that I [G] made with them,
Tables of the Reconstruction, _ _ _ _ Michael [N]
Stipe and I think some of the other guys were _ involved in a film,
_ kind of experimental art film, I can't remember the name of the filmmaker,
but it was being made somewhere outside of Athens, Georgia.
And they would go out there frequently, drive this highway out of Athens, Georgia. _
And _ _ _ _ _ on _ _ that highway _ there's a used car dealership called Wendell G.
_ _ _ _ And _ that's about it. _ _ _
Now, _ _ I could _ _ _ _ _ _ footnote this _ [G] with _ what happened at the beginning of my [Bb] relationship with them.
When I got _ to Athens, [Dm] I actually went in [G] a studio that day and cut a demo of songs,
_ which I think that most of that demo is now available on the deluxe edition of _ Tables of Reconstruction. _ _ _
_ _ _ [E] _ _ _ _ _
_ And Peter Buck was the guy who was the buck, the guy who had the Fairport Convention records,
the Monique Drake records, and the _ Craig Mad [D] records.
It [G] was his idea, _ let's get Joe Boyd to be the record.
_ And the other guys were a little like, you know, Joe Boyd. _
_ _ _ But they were like, okay, Peter, you know, he sort of played his stuff, convinced us it was a good [Eb] idea,
and then I arrived, and we got along okay, _ [E] _
and then made the [G] fateful decision to do the record.
I said, we've got to do it in England, [Eb] so I've got a record there [N] in Iran, I can't just go away to Georgia.
[G] And they [E] liked the idea of getting it.
They didn't realize that London in February _ would be as depressing as they eventually found it.
_ _ _ _ And for a while, after they made the record, they hated the record.
[Bb]
And now, _ they've kind of come, like a lot of [G] critics who were kind of a little unsure about the record,
people seem to have come [Gm] around to the idea that it's actually kind of okay.
[N] _ [G] Some people even call it a good record. _
_ But _ _ _ _ _ the moment that, in my relationship with them, you know, [N] Mike Mills is very frank.
He was easy from the beginning.
Peter Barber liked the idea that I was doing it. _
Stein was a bit, you know, _ _ standoffish.
_ _ _ [G] And then we were having this conversation one day, which [N] somehow _ brought up the subject of the cut-ups, _ _
which is the project that William Burroughs did, where he took _ readings, he took the tape,
and [E] then he just cut the tape, [Eb] and jumbled it all together in a basket, and [N] then reassembled it. _ _ _ _
_ _ And Stein was obsessed with cut-ups.
And I think [G] you can tell from the lyrics that he almost [N] liked stringing together images in a [D] grand order.
You know, [E] that's sort of what a lot of the lyrics on [G] that record are like.
And then later on, he got much more linear and much more commercial as a result.
[N]
In that record, you can see a lot of them are [G] just strung together images.
Not quite grander, [D] but sort of, you can see that [E] he likes that.
Anyway, he mentioned cut-ups.
And I said, _ oh, well, back in the 60s, I met Byron Geisen once, who was William [Eb] Burroughs' _ collaborator,
the guy who did Carlton [N] Burroughs.
And Stein looked at me and said, _ you met Brian Geisen?
_ And I said, yeah, he was [G] kind of a nice guy.
_ And from that [N] point, I was fine.
_ Stein, [Gm] at that point, decided I was okay.
[G] And so we got well-read.