Chords for Shirley Collins visits coffee bars in search of good music
Tempo:
118.65 bpm
Chords used:
E
Ab
A
G
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[E] [G] [A]
[C] It was the cellar, [N] the folk cellar I think, the skiffle cellar, where you could go and hear
what to me was fairly ghastly skiffle.
And
there was a folk and blues club, and there was the Cranbourne.
I cannot remember honestly the names of them all.
They've sort of all, you know, blurred into one really.
I remember my mum being very worried because I was going into coffee houses, you know, and
they were dangerous places.
I don't know what she thinks when she walks past the Starbucks.
But I can remember one night, because I always wanted to go and hear folk song.
I wasn't interested in skiffle.
You know, I didn't want to
go and watch people sort of
rubbing [E] away at the washboards, [Ab] and I didn't like the [N] music, and I didn't like Lonnie Donegan.
Because I knew by then that he didn't write those songs, you know, the songs he was singing came from Lead Belly.
And he was claiming copyright on them, and I knew that was wrong, and I just thought it was
thought it was appalling.
And then the way he sang, it was all so fast, you know, and it was exciting, and everybody loved it,
and I didn't, and I felt sort of quite outside the whole thing.
To such an extent that one night when I went to one of the, it might have been at the Hungry Eye,
[Ab]
[A] when Martin [E] Windsor and Red [Db] Sullivan [Ab] used to sing,
it had a [Eb] poster out saying sort of [N] saying folk, blues and skiffle, and I went in for an evening, and there wasn't any
folk.
It was all, well, it wasn't even in blues either.
It was all skiffle, and I got my lipstick out and crossed out folk on the poster, and Martin Windsor caught me and
said, if you do that again,
you'll get knifed.
And he cut his knife out.
Dangerous bloke.
So perhaps my mum was right about not going into skiffle,
skiffle cellars or coffee bars.
You know, that's where you heard people like, you know,
Bob Dylan, who came over for the first time and sang there, was, you know, allowed to play a couple of songs, and
didn't go down very well, because
we all loved rambling Jack Elliot
from the stage, you know, a cowboy singer, complete with cowboy hat, iconic speech, you know, really
[Ab] attractive, and we liked his music, and we thought Bob Dylan was just a sort of rambling [A] Jack, you know, so he wasn't too successful.
I mean, [E] I also sang on a concert with Paul [N] Simon when he came over in his early days, when he was bottom of the bill
at the Delaware Pavilion in Bexhill-on-Sea, and I was called, I was Shirley Collins,
Britain's
versatile young instrumentalist.
Well, you know, I could play three or four chords on a banjo and guitar,
but Paul Simon, bottom of the bill, didn't think much of him, didn't reckon he'd do very well.
I mean, I, you know, did sort of go to Muddy Waters concerts, and now I saw Memphis Slim and
Sonny Terry and Brownie McGee, you know,
just wonderful performers, and, you know, and good music as well.
Of course, they're all very big in Paris as well,
you know, there was a huge blues movement over there, and so
all those musicians were doing awfully well.
No, I think there was sort of quite a substantial interest here, and
at least that's how I remember it.
The thing about being a folk artist is that you never make any money unless you're, you know, Joan Baez or
Julie
[C] It was the cellar, [N] the folk cellar I think, the skiffle cellar, where you could go and hear
what to me was fairly ghastly skiffle.
And
there was a folk and blues club, and there was the Cranbourne.
I cannot remember honestly the names of them all.
They've sort of all, you know, blurred into one really.
I remember my mum being very worried because I was going into coffee houses, you know, and
they were dangerous places.
I don't know what she thinks when she walks past the Starbucks.
But I can remember one night, because I always wanted to go and hear folk song.
I wasn't interested in skiffle.
You know, I didn't want to
go and watch people sort of
rubbing [E] away at the washboards, [Ab] and I didn't like the [N] music, and I didn't like Lonnie Donegan.
Because I knew by then that he didn't write those songs, you know, the songs he was singing came from Lead Belly.
And he was claiming copyright on them, and I knew that was wrong, and I just thought it was
thought it was appalling.
And then the way he sang, it was all so fast, you know, and it was exciting, and everybody loved it,
and I didn't, and I felt sort of quite outside the whole thing.
To such an extent that one night when I went to one of the, it might have been at the Hungry Eye,
[Ab]
[A] when Martin [E] Windsor and Red [Db] Sullivan [Ab] used to sing,
it had a [Eb] poster out saying sort of [N] saying folk, blues and skiffle, and I went in for an evening, and there wasn't any
folk.
It was all, well, it wasn't even in blues either.
It was all skiffle, and I got my lipstick out and crossed out folk on the poster, and Martin Windsor caught me and
said, if you do that again,
you'll get knifed.
And he cut his knife out.
Dangerous bloke.
So perhaps my mum was right about not going into skiffle,
skiffle cellars or coffee bars.
You know, that's where you heard people like, you know,
Bob Dylan, who came over for the first time and sang there, was, you know, allowed to play a couple of songs, and
didn't go down very well, because
we all loved rambling Jack Elliot
from the stage, you know, a cowboy singer, complete with cowboy hat, iconic speech, you know, really
[Ab] attractive, and we liked his music, and we thought Bob Dylan was just a sort of rambling [A] Jack, you know, so he wasn't too successful.
I mean, [E] I also sang on a concert with Paul [N] Simon when he came over in his early days, when he was bottom of the bill
at the Delaware Pavilion in Bexhill-on-Sea, and I was called, I was Shirley Collins,
Britain's
versatile young instrumentalist.
Well, you know, I could play three or four chords on a banjo and guitar,
but Paul Simon, bottom of the bill, didn't think much of him, didn't reckon he'd do very well.
I mean, I, you know, did sort of go to Muddy Waters concerts, and now I saw Memphis Slim and
Sonny Terry and Brownie McGee, you know,
just wonderful performers, and, you know, and good music as well.
Of course, they're all very big in Paris as well,
you know, there was a huge blues movement over there, and so
all those musicians were doing awfully well.
No, I think there was sort of quite a substantial interest here, and
at least that's how I remember it.
The thing about being a folk artist is that you never make any money unless you're, you know, Joan Baez or
Julie
Key:
E
Ab
A
G
C
E
Ab
A
[E] _ _ _ _ [G] _ [A] _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[C] It was the cellar, [N] the folk cellar I think, the skiffle cellar, where you could go and hear
what to me was fairly ghastly skiffle.
_ And _
there was a folk and blues club, _ _ _ and there was the Cranbourne.
I cannot remember honestly the names of them all.
They've sort of all, you know, blurred into one really.
_ I remember my mum being very worried because I was going into coffee houses, you know, and
they were dangerous places.
_ _ I don't know what she thinks when she walks past the Starbucks.
_ _ But I can remember one night, because I always wanted to go and hear folk song.
I wasn't interested in skiffle.
_ You know, I didn't want to _ _
_ go and watch people sort of
rubbing [E] away at the washboards, [Ab] and I didn't like the [N] music, and I didn't like Lonnie Donegan.
_ Because I knew by then that he didn't write those songs, you know, the songs he was singing came from Lead Belly.
And he was claiming copyright on them, and I knew that was wrong, and I just thought it was
thought it was appalling.
And then the way he sang, it was all so fast, you know, and it was exciting, and everybody loved it,
and I didn't, and I felt sort of quite outside the whole thing.
_ To such an extent that one night when I went to one of the, it might have been at the _ Hungry Eye,
_ [Ab] _ _
[A] when Martin [E] Windsor and Red [Db] Sullivan [Ab] used to sing, _
it had a [Eb] poster out saying sort of [N] saying folk, blues and skiffle, and I went in for an evening, and there wasn't any
folk.
It was all, well, it wasn't even in blues either.
It was all skiffle, and I got my lipstick out and crossed out folk on the poster, and Martin Windsor caught me and
said, if you do that again,
you'll get knifed.
And he cut his knife out.
_ Dangerous bloke.
So perhaps my mum was right about not going into skiffle, _
_ _ skiffle cellars or coffee bars.
You know, that's where you heard people like, you know,
Bob Dylan, who came over for the first time and sang there, was, you know, allowed to play a couple of songs, and
didn't go down very well, because
we all loved rambling Jack Elliot
_ _ from the stage, you know, a cowboy singer, complete with cowboy hat, iconic _ speech, you know, really
_ [Ab] attractive, and we liked his music, and we thought Bob Dylan was just a sort of rambling [A] _ Jack, you know, so he wasn't too successful.
_ _ I mean, [E] I also sang on a concert with Paul [N] Simon when he came over in his early days, when he was bottom of the bill
at the Delaware Pavilion _ in Bexhill-on-Sea, and I was called, I was Shirley Collins,
_ Britain's
_ _ versatile young instrumentalist.
Well, you know, I could play three or four chords on a banjo and guitar,
but Paul Simon, bottom of the bill, didn't think much of him, didn't reckon he'd do very well. _
I mean, I, you know, did sort of go to Muddy Waters concerts, and now I saw Memphis Slim and
Sonny Terry and Brownie McGee, you know,
_ _ _ just wonderful performers, and, you know, and good music as well.
Of course, they're all very big in Paris as well,
you know, there was a huge blues movement over there, and so _
all those musicians were doing awfully well.
No, I think there was sort of quite a substantial interest here, _ _ _ and
at least that's how I remember it.
_ The thing about being a folk artist is that you never make any money unless you're, you know, Joan Baez or
_ Julie
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[C] It was the cellar, [N] the folk cellar I think, the skiffle cellar, where you could go and hear
what to me was fairly ghastly skiffle.
_ And _
there was a folk and blues club, _ _ _ and there was the Cranbourne.
I cannot remember honestly the names of them all.
They've sort of all, you know, blurred into one really.
_ I remember my mum being very worried because I was going into coffee houses, you know, and
they were dangerous places.
_ _ I don't know what she thinks when she walks past the Starbucks.
_ _ But I can remember one night, because I always wanted to go and hear folk song.
I wasn't interested in skiffle.
_ You know, I didn't want to _ _
_ go and watch people sort of
rubbing [E] away at the washboards, [Ab] and I didn't like the [N] music, and I didn't like Lonnie Donegan.
_ Because I knew by then that he didn't write those songs, you know, the songs he was singing came from Lead Belly.
And he was claiming copyright on them, and I knew that was wrong, and I just thought it was
thought it was appalling.
And then the way he sang, it was all so fast, you know, and it was exciting, and everybody loved it,
and I didn't, and I felt sort of quite outside the whole thing.
_ To such an extent that one night when I went to one of the, it might have been at the _ Hungry Eye,
_ [Ab] _ _
[A] when Martin [E] Windsor and Red [Db] Sullivan [Ab] used to sing, _
it had a [Eb] poster out saying sort of [N] saying folk, blues and skiffle, and I went in for an evening, and there wasn't any
folk.
It was all, well, it wasn't even in blues either.
It was all skiffle, and I got my lipstick out and crossed out folk on the poster, and Martin Windsor caught me and
said, if you do that again,
you'll get knifed.
And he cut his knife out.
_ Dangerous bloke.
So perhaps my mum was right about not going into skiffle, _
_ _ skiffle cellars or coffee bars.
You know, that's where you heard people like, you know,
Bob Dylan, who came over for the first time and sang there, was, you know, allowed to play a couple of songs, and
didn't go down very well, because
we all loved rambling Jack Elliot
_ _ from the stage, you know, a cowboy singer, complete with cowboy hat, iconic _ speech, you know, really
_ [Ab] attractive, and we liked his music, and we thought Bob Dylan was just a sort of rambling [A] _ Jack, you know, so he wasn't too successful.
_ _ I mean, [E] I also sang on a concert with Paul [N] Simon when he came over in his early days, when he was bottom of the bill
at the Delaware Pavilion _ in Bexhill-on-Sea, and I was called, I was Shirley Collins,
_ Britain's
_ _ versatile young instrumentalist.
Well, you know, I could play three or four chords on a banjo and guitar,
but Paul Simon, bottom of the bill, didn't think much of him, didn't reckon he'd do very well. _
I mean, I, you know, did sort of go to Muddy Waters concerts, and now I saw Memphis Slim and
Sonny Terry and Brownie McGee, you know,
_ _ _ just wonderful performers, and, you know, and good music as well.
Of course, they're all very big in Paris as well,
you know, there was a huge blues movement over there, and so _
all those musicians were doing awfully well.
No, I think there was sort of quite a substantial interest here, _ _ _ and
at least that's how I remember it.
_ The thing about being a folk artist is that you never make any money unless you're, you know, Joan Baez or
_ Julie