Chords for REM performing Harbourcoat in Dublin in July 2007
Tempo:
96.65 bpm
Chords used:
E
A
Abm
Dbm
Ab
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
The first night, that [F] the old songs, I didn't feel the need to [G] rhyme every [Ab] line, which I've
somehow felt for the last, [Eb] I don't know, several records [Gb] or so.
And it was really difficult to realize [N] as a writer and a lyricist that the words don't
have to rhyme [Db] all the time.
If you find one good one [Eb] in the chorus and you [Ab] mean it, then all [Bb] the rest of it can just
be [Cm] my version of a narrative, which is usually [G] pretty straightforward, but even to myself,
often confusing.
So [Ab] this song was written about Lillian Hellman, who was an early hero of mine.
Peter dashed all of my romantic [Eb] ideas about her as a writer earlier this [Gm] afternoon by [Abm] telling me
[Eb] Okay, she was a great writer, [Bb] [E] but
Peter hates talking on the microphone.
I don't want a bad mouth, [Eb] Lillian Hellman.
I want a good one.
But she [Ab] said she can't defend [N] herself on that.
Anyway, I always loved the idea of her riding on the train from New York to Boston, and
they have to stop and she [Ab] gets out to smoke, because she's a smoker, from probably from
the cradle to the grave.
[Bb] You can tell it from looking at her face.
She was madly [G] in love with Dashiell Hammett, [Ab] and I somehow concocted this idea of her giving
him a blowjob with a mouth full of snow.
[Dm]
[Abm] That's not in the song, by the way.
This [N] came years later, but I just thought that was a very romantic thing between two women.
[B] [Ab] I'm so sorry if we're not.
We have family here.
[A]
[B] I'm [D] sorry, Mom.
You know what?
We [N] need to thank this to Adora, who I know is here, and to the younger members of our
family who are here.
If you don't know that word yet, you don't watch the same [Ab] TV shows I do.
[Bb] I don't actually have a TV on, though.
[E] [Bb] I'm actually blushing, [Eb] though.
Thank you, Peter.
But it doesn't show through [D] the stage makeup.
Thank [Eb] God.
[Gm] [E] Right.
Enough [Gm] about that.
This is vaguely somehow about Lillian Hellman.
[E]
[Abm] [A]
[E] [Abm] [A]
[E] [Dbm] I've been [E] feeling in the swamp, y [A]'all.
[B] [Dbm] I can't take it for [E] granted.
It's hard [A] to die.
[B] My [Dbm] lips is on the [E] wall.
It's too hot [A] now.
[D] My [Dbm] lips is wetter than your eye.
[E] It reeks of [A] weed, yeah.
[Ab]
[Gbm] [E] The statues are on my windows.
[A] [B]
[Dbm] I'm ready now, [E] yeah.
I'm sitting on the [A] down low.
[B] [Dbm] She got some [E] books and the middle's cut [A] out.
[B] [Dbm] She got enough [E] coins, and I'm calling [A] her down.
[D] [Abm] [Gbm]
[Abm] [Gbm] [Abm] [Gbm] Ooh, [E] ooh, ooh.
[Abm] Why?
[A]
[E] Can't go [A] outside without her.
[E]
Why?
[A] [E]
[Abm] Can't go outside [A] without her.
[Dbm] I've been crying in the [E] swamp.
[A]
[D] [Dbm] I can't take it [E] for granted.
It's hard to [A] die.
[Ab] [Dbm] My lips is on [E] the wall.
It's too hot [A] now.
[B] My [Dbm] lips is wetter than your [E] eye.
It reeks of [A] weed, yeah.
I'm on the [G] A-T-T.
[Abm] [Gb] [Abm] [Gbm] [Ab] [Gbm] Ooh, ooh, [E] ooh.
[Abm]
[A] Why?
[E] [Abm] Can't go [A] outside without her.
[E] Why?
[A]
[E] Can't go outside [A] without her.
[Bm]
[B] [Dbm] The statues [E] are hotter than [A] ghosts.
[Bm] [Dbm] I'm ready now, [E] yeah.
I'm calling [A] her down.
[Bm] When [Dbm] we're tips and bucks, and the [E] middle's cut [A] out.
[D] [Dbm] She got enough [E] coins, and I'm [A] calling her down.
[D] [Abm] [Gbm] [Abm]
[Gb] Ooh, [E]
[Abm] ooh, ooh. Why?
[A]
[E] [Abm] Can't go [A] outside without her.
[E] Why?
[Abm] [A]
[E] [Abm] Can't go outside [A] without her. Why?
[Gbm] [B]
somehow felt for the last, [Eb] I don't know, several records [Gb] or so.
And it was really difficult to realize [N] as a writer and a lyricist that the words don't
have to rhyme [Db] all the time.
If you find one good one [Eb] in the chorus and you [Ab] mean it, then all [Bb] the rest of it can just
be [Cm] my version of a narrative, which is usually [G] pretty straightforward, but even to myself,
often confusing.
So [Ab] this song was written about Lillian Hellman, who was an early hero of mine.
Peter dashed all of my romantic [Eb] ideas about her as a writer earlier this [Gm] afternoon by [Abm] telling me
[Eb] Okay, she was a great writer, [Bb] [E] but
Peter hates talking on the microphone.
I don't want a bad mouth, [Eb] Lillian Hellman.
I want a good one.
But she [Ab] said she can't defend [N] herself on that.
Anyway, I always loved the idea of her riding on the train from New York to Boston, and
they have to stop and she [Ab] gets out to smoke, because she's a smoker, from probably from
the cradle to the grave.
[Bb] You can tell it from looking at her face.
She was madly [G] in love with Dashiell Hammett, [Ab] and I somehow concocted this idea of her giving
him a blowjob with a mouth full of snow.
[Dm]
[Abm] That's not in the song, by the way.
This [N] came years later, but I just thought that was a very romantic thing between two women.
[B] [Ab] I'm so sorry if we're not.
We have family here.
[A]
[B] I'm [D] sorry, Mom.
You know what?
We [N] need to thank this to Adora, who I know is here, and to the younger members of our
family who are here.
If you don't know that word yet, you don't watch the same [Ab] TV shows I do.
[Bb] I don't actually have a TV on, though.
[E] [Bb] I'm actually blushing, [Eb] though.
Thank you, Peter.
But it doesn't show through [D] the stage makeup.
Thank [Eb] God.
[Gm] [E] Right.
Enough [Gm] about that.
This is vaguely somehow about Lillian Hellman.
[E]
[Abm] [A]
[E] [Abm] [A]
[E] [Dbm] I've been [E] feeling in the swamp, y [A]'all.
[B] [Dbm] I can't take it for [E] granted.
It's hard [A] to die.
[B] My [Dbm] lips is on the [E] wall.
It's too hot [A] now.
[D] My [Dbm] lips is wetter than your eye.
[E] It reeks of [A] weed, yeah.
[Ab]
[Gbm] [E] The statues are on my windows.
[A] [B]
[Dbm] I'm ready now, [E] yeah.
I'm sitting on the [A] down low.
[B] [Dbm] She got some [E] books and the middle's cut [A] out.
[B] [Dbm] She got enough [E] coins, and I'm calling [A] her down.
[D] [Abm] [Gbm]
[Abm] [Gbm] [Abm] [Gbm] Ooh, [E] ooh, ooh.
[Abm] Why?
[A]
[E] Can't go [A] outside without her.
[E]
Why?
[A] [E]
[Abm] Can't go outside [A] without her.
[Dbm] I've been crying in the [E] swamp.
[A]
[D] [Dbm] I can't take it [E] for granted.
It's hard to [A] die.
[Ab] [Dbm] My lips is on [E] the wall.
It's too hot [A] now.
[B] My [Dbm] lips is wetter than your [E] eye.
It reeks of [A] weed, yeah.
I'm on the [G] A-T-T.
[Abm] [Gb] [Abm] [Gbm] [Ab] [Gbm] Ooh, ooh, [E] ooh.
[Abm]
[A] Why?
[E] [Abm] Can't go [A] outside without her.
[E] Why?
[A]
[E] Can't go outside [A] without her.
[Bm]
[B] [Dbm] The statues [E] are hotter than [A] ghosts.
[Bm] [Dbm] I'm ready now, [E] yeah.
I'm calling [A] her down.
[Bm] When [Dbm] we're tips and bucks, and the [E] middle's cut [A] out.
[D] [Dbm] She got enough [E] coins, and I'm [A] calling her down.
[D] [Abm] [Gbm] [Abm]
[Gb] Ooh, [E]
[Abm] ooh, ooh. Why?
[A]
[E] [Abm] Can't go [A] outside without her.
[E] Why?
[Abm] [A]
[E] [Abm] Can't go outside [A] without her. Why?
[Gbm] [B]
Key:
E
A
Abm
Dbm
Ab
E
A
Abm
The first night, _ that [F] the old songs, I didn't feel the need to [G] rhyme every [Ab] line, which I've
somehow felt for the last, [Eb] I don't know, several records [Gb] or so.
And it was really difficult to realize [N] as a writer and a lyricist that the _ _ words don't
have to rhyme [Db] all the time.
If you find one good one [Eb] in the chorus and you [Ab] mean it, then all [Bb] the rest of it can just
be [Cm] my version of a narrative, which is usually [G] pretty straightforward, but even to myself,
often confusing.
So [Ab] this song was written about Lillian Hellman, who was an early hero of mine.
Peter dashed all of my romantic _ [Eb] ideas about her as a writer earlier this [Gm] afternoon by [Abm] telling me_
[Eb] Okay, she was a great writer, [Bb] _ _ _ [E] but_
Peter hates talking on the microphone.
I don't want a bad mouth, [Eb] Lillian Hellman.
I want a good one.
But she [Ab] said she can't defend [N] herself on that.
_ _ _ _ Anyway, I always loved the idea of her riding on the train from New York to Boston, and
they have to stop and she [Ab] gets out to smoke, because she's a smoker, from probably from
the cradle to the grave.
[Bb] You can tell it from looking at her face.
She was madly [G] in love with Dashiell Hammett, [Ab] and I somehow concocted this idea of her giving
him a blowjob with a mouth full of snow.
[Dm] _
_ _ [Abm] That's not in the song, by the way.
This [N] came years later, but I just thought that was a very romantic thing between two women. _ _
_ _ [B] _ [Ab] I'm so sorry if we're not.
We have family here.
_ _ [A] _ _ _ _
[B] I'm [D] sorry, Mom.
You know what?
We [N] need to thank _ _ _ _ _ _ _ _ _
_ this to Adora, who I know is here, and to the younger members of our
family who are here.
If you don't know that word yet, _ _ _ you don't watch the same [Ab] TV shows I do.
[Bb] I don't actually have a TV on, though.
[E] _ [Bb] I'm actually blushing, [Eb] though.
Thank you, Peter.
_ _ But it doesn't show through [D] the stage makeup.
Thank [Eb] God.
[Gm] _ _ [E] _ Right.
Enough [Gm] about that.
This is vaguely somehow about Lillian Hellman.
_ _ _ [E] _ _
_ _ [Abm] _ _ _ [A] _ _ _
[E] _ _ _ _ [Abm] _ _ [A] _ _
_ _ [E] _ [Dbm] I've been [E] feeling in the swamp, y [A]'all.
_ _ _ [B] [Dbm] I can't take it for [E] granted.
It's hard [A] to die.
_ [B] My [Dbm] lips is on the [E] wall.
It's too hot [A] now.
_ _ [D] My [Dbm] lips is wetter than your eye.
[E] It reeks of [A] weed, yeah. _
_ [Ab] _ _ _ _ _ _ _
_ [Gbm] _ _ _ _ [E] _ The statues are on my windows.
[A] _ _ _ [B] _
[Dbm] I'm ready now, [E] yeah.
I'm sitting on the [A] down low. _ _
[B] [Dbm] She got some [E] books and the middle's cut [A] out. _
_ _ [B] [Dbm] She got enough [E] coins, and I'm calling [A] her down.
_ [D] _ _ _ [Abm] _ [Gbm] _
[Abm] _ _ [Gbm] _ [Abm] _ [Gbm] _ Ooh, [E] ooh, ooh.
[Abm] Why?
_ [A] _ _
_ _ [E] _ _ Can't go [A] outside without her.
_ [E] _ _ _ _
Why?
[A] _ _ _ _ [E] _ _
[Abm] Can't go outside [A] without her. _ _
[Dbm] I've been crying in the [E] _ swamp.
[A] _ _ _
[D] _ [Dbm] I can't take it [E] for granted.
It's hard to [A] die.
_ _ [Ab] [Dbm] My lips is on [E] the wall.
It's too hot [A] now.
_ _ [B] My [Dbm] lips is wetter than your [E] eye.
It reeks of [A] weed, yeah.
I'm on the [G] A-T-T. _
[Abm] _ [Gb] _ [Abm] _ [Gbm] _ [Ab] _ _ [Gbm] Ooh, ooh, [E] ooh.
_ _ [Abm] _ _ _
[A] _ Why?
_ [E] _ _ [Abm] Can't go [A] outside without her.
_ [E] _ Why?
_ _ _ [A] _ _ _ _ _
[E] _ Can't go outside [A] without her.
_ [Bm] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ [B] _ _ [Dbm] The statues [E] are hotter than [A] ghosts.
_ _ _ [Bm] _ [Dbm] I'm ready now, [E] yeah.
I'm calling [A] her down.
_ _ [Bm] When [Dbm] we're tips and bucks, and the [E] middle's cut [A] out. _ _ _
[D] [Dbm] She got enough [E] coins, and I'm [A] calling her down.
_ _ [D] _ _ [Abm] _ [Gbm] _ [Abm] _ _
_ _ [Gb] Ooh, _ _ [E] _ _
[Abm] ooh, ooh. Why?
_ [A] _ _ _ _
_ [E] _ [Abm] Can't go [A] outside without her.
_ _ [E] Why?
_ [Abm] _ _ [A] _
_ _ _ _ [E] _ [Abm] Can't go outside [A] without her. Why?
_ _ _ _ [Gbm] _ _ [B] _ _ _ _ _ _ _ _
somehow felt for the last, [Eb] I don't know, several records [Gb] or so.
And it was really difficult to realize [N] as a writer and a lyricist that the _ _ words don't
have to rhyme [Db] all the time.
If you find one good one [Eb] in the chorus and you [Ab] mean it, then all [Bb] the rest of it can just
be [Cm] my version of a narrative, which is usually [G] pretty straightforward, but even to myself,
often confusing.
So [Ab] this song was written about Lillian Hellman, who was an early hero of mine.
Peter dashed all of my romantic _ [Eb] ideas about her as a writer earlier this [Gm] afternoon by [Abm] telling me_
[Eb] Okay, she was a great writer, [Bb] _ _ _ [E] but_
Peter hates talking on the microphone.
I don't want a bad mouth, [Eb] Lillian Hellman.
I want a good one.
But she [Ab] said she can't defend [N] herself on that.
_ _ _ _ Anyway, I always loved the idea of her riding on the train from New York to Boston, and
they have to stop and she [Ab] gets out to smoke, because she's a smoker, from probably from
the cradle to the grave.
[Bb] You can tell it from looking at her face.
She was madly [G] in love with Dashiell Hammett, [Ab] and I somehow concocted this idea of her giving
him a blowjob with a mouth full of snow.
[Dm] _
_ _ [Abm] That's not in the song, by the way.
This [N] came years later, but I just thought that was a very romantic thing between two women. _ _
_ _ [B] _ [Ab] I'm so sorry if we're not.
We have family here.
_ _ [A] _ _ _ _
[B] I'm [D] sorry, Mom.
You know what?
We [N] need to thank _ _ _ _ _ _ _ _ _
_ this to Adora, who I know is here, and to the younger members of our
family who are here.
If you don't know that word yet, _ _ _ you don't watch the same [Ab] TV shows I do.
[Bb] I don't actually have a TV on, though.
[E] _ [Bb] I'm actually blushing, [Eb] though.
Thank you, Peter.
_ _ But it doesn't show through [D] the stage makeup.
Thank [Eb] God.
[Gm] _ _ [E] _ Right.
Enough [Gm] about that.
This is vaguely somehow about Lillian Hellman.
_ _ _ [E] _ _
_ _ [Abm] _ _ _ [A] _ _ _
[E] _ _ _ _ [Abm] _ _ [A] _ _
_ _ [E] _ [Dbm] I've been [E] feeling in the swamp, y [A]'all.
_ _ _ [B] [Dbm] I can't take it for [E] granted.
It's hard [A] to die.
_ [B] My [Dbm] lips is on the [E] wall.
It's too hot [A] now.
_ _ [D] My [Dbm] lips is wetter than your eye.
[E] It reeks of [A] weed, yeah. _
_ [Ab] _ _ _ _ _ _ _
_ [Gbm] _ _ _ _ [E] _ The statues are on my windows.
[A] _ _ _ [B] _
[Dbm] I'm ready now, [E] yeah.
I'm sitting on the [A] down low. _ _
[B] [Dbm] She got some [E] books and the middle's cut [A] out. _
_ _ [B] [Dbm] She got enough [E] coins, and I'm calling [A] her down.
_ [D] _ _ _ [Abm] _ [Gbm] _
[Abm] _ _ [Gbm] _ [Abm] _ [Gbm] _ Ooh, [E] ooh, ooh.
[Abm] Why?
_ [A] _ _
_ _ [E] _ _ Can't go [A] outside without her.
_ [E] _ _ _ _
Why?
[A] _ _ _ _ [E] _ _
[Abm] Can't go outside [A] without her. _ _
[Dbm] I've been crying in the [E] _ swamp.
[A] _ _ _
[D] _ [Dbm] I can't take it [E] for granted.
It's hard to [A] die.
_ _ [Ab] [Dbm] My lips is on [E] the wall.
It's too hot [A] now.
_ _ [B] My [Dbm] lips is wetter than your [E] eye.
It reeks of [A] weed, yeah.
I'm on the [G] A-T-T. _
[Abm] _ [Gb] _ [Abm] _ [Gbm] _ [Ab] _ _ [Gbm] Ooh, ooh, [E] ooh.
_ _ [Abm] _ _ _
[A] _ Why?
_ [E] _ _ [Abm] Can't go [A] outside without her.
_ [E] _ Why?
_ _ _ [A] _ _ _ _ _
[E] _ Can't go outside [A] without her.
_ [Bm] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ [B] _ _ [Dbm] The statues [E] are hotter than [A] ghosts.
_ _ _ [Bm] _ [Dbm] I'm ready now, [E] yeah.
I'm calling [A] her down.
_ _ [Bm] When [Dbm] we're tips and bucks, and the [E] middle's cut [A] out. _ _ _
[D] [Dbm] She got enough [E] coins, and I'm [A] calling her down.
_ _ [D] _ _ [Abm] _ [Gbm] _ [Abm] _ _
_ _ [Gb] Ooh, _ _ [E] _ _
[Abm] ooh, ooh. Why?
_ [A] _ _ _ _
_ [E] _ [Abm] Can't go [A] outside without her.
_ _ [E] Why?
_ [Abm] _ _ [A] _
_ _ _ _ [E] _ [Abm] Can't go outside [A] without her. Why?
_ _ _ _ [Gbm] _ _ [B] _ _ _ _ _ _ _ _