Chords for Sylvia Tyson on the Day Dylan Went Electric
Tempo:
87.2 bpm
Chords used:
E
Eb
Gb
B
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Gb] [B] You know, and also, [D] you know, these days a lot of music fans [E] wait to hear what Coachella
is going to do as a festival, [C] but back in the 60s, the Newport Folk Festival was really
the place great artists like Skip James played, but weren't you there when Dylan went electric?
Yep, absolutely.
And didn't folk singers just have kittens all over the place when that happened?
Well, yes they did.
I mean, certainly seeing Pete Seeger backstage, you know, with tears running down his face. He cried?
Oh, yes.
Does that make you think he was a bit of a baby?
Because clearly as [Eb] years have gone on, Dylan proved Pete Seeger was wrong.
Yeah, but maybe he felt that he was right at the time and he felt that he'd been a sort
of a mentor for Dylan and that this was such a major change.
I mean, it was a change in the whole political approach too.
How come you guys didn't play, Ian and Sylvia didn't play Newport very often?
Well, the powers that be at Newport, there was definitely a kind of a left-wing bias
in terms of who they hired.
I mean, for the left-wing, [Bb] which is [Ab] unusual.
The idea was always that folk [N] singers were lefties, right?
Yes, and it's not that we were right politically.
We were Canadians and we were guests in the country and we didn't feel really comfortable
about making criticisms of the U.S. government.
Have you guys talked about it?
Have you made those kinds of songs?
Well, I definitely have a feeling about protest material.
There've been some amazing protest songs, but by and large, I find that protest material
is kind of like yesterday's newspaper.
Once the point of the exercise is taken care of, there's no point in singing it anymore.
I suppose that most people don't actually know what Masters of War is written about,
right?
They [Eb] just know that it's a fabulous song.
[E] But there were an awful lot of them that were very specific and frankly, not very good music.
is going to do as a festival, [C] but back in the 60s, the Newport Folk Festival was really
the place great artists like Skip James played, but weren't you there when Dylan went electric?
Yep, absolutely.
And didn't folk singers just have kittens all over the place when that happened?
Well, yes they did.
I mean, certainly seeing Pete Seeger backstage, you know, with tears running down his face. He cried?
Oh, yes.
Does that make you think he was a bit of a baby?
Because clearly as [Eb] years have gone on, Dylan proved Pete Seeger was wrong.
Yeah, but maybe he felt that he was right at the time and he felt that he'd been a sort
of a mentor for Dylan and that this was such a major change.
I mean, it was a change in the whole political approach too.
How come you guys didn't play, Ian and Sylvia didn't play Newport very often?
Well, the powers that be at Newport, there was definitely a kind of a left-wing bias
in terms of who they hired.
I mean, for the left-wing, [Bb] which is [Ab] unusual.
The idea was always that folk [N] singers were lefties, right?
Yes, and it's not that we were right politically.
We were Canadians and we were guests in the country and we didn't feel really comfortable
about making criticisms of the U.S. government.
Have you guys talked about it?
Have you made those kinds of songs?
Well, I definitely have a feeling about protest material.
There've been some amazing protest songs, but by and large, I find that protest material
is kind of like yesterday's newspaper.
Once the point of the exercise is taken care of, there's no point in singing it anymore.
I suppose that most people don't actually know what Masters of War is written about,
right?
They [Eb] just know that it's a fabulous song.
[E] But there were an awful lot of them that were very specific and frankly, not very good music.
Key:
E
Eb
Gb
B
D
E
Eb
Gb
[Gb] _ _ [B] You know, and also, [D] you know, these days a lot of music fans [E] wait to hear what Coachella
is going to do as a festival, [C] but back in the 60s, the Newport Folk Festival was really
the place great artists like Skip James played, but weren't you there when Dylan went electric?
Yep, absolutely.
And didn't folk singers just have kittens all over the place when that happened?
Well, yes they did.
I mean, certainly seeing Pete Seeger backstage, you know, with tears running down his face. He cried?
Oh, yes.
Does that make you think he was a bit of a baby?
_ Because clearly as [Eb] years have gone on, Dylan proved Pete Seeger was wrong.
Yeah, but maybe he felt that he was right at the time and he felt that he'd been a sort
of a mentor for Dylan and that this was such a major change.
I mean, it was a change in the whole political approach too.
How come you guys didn't play, Ian and Sylvia didn't play Newport very often?
_ Well, the powers that be at Newport, there was _ definitely a kind of a left-wing bias
in terms of who they hired.
I mean, for the left-wing, [Bb] which is [Ab] unusual.
The idea was always that folk [N] singers were lefties, right?
Yes, and it's not that we were right politically.
We were Canadians and we were guests in the country and we didn't feel really comfortable
about making criticisms of the U.S. government.
Have you guys talked about it?
Have you made those kinds of songs?
Well, I definitely have a feeling about protest material.
There've been some amazing protest songs, but by and large, I find that protest material
is kind of like yesterday's newspaper.
Once the point of the exercise is taken care of, there's no point in singing it anymore.
I suppose that most people don't actually know what Masters of War is written about,
right?
They [Eb] just know that it's a fabulous song.
[E] But there were an awful lot of them that were very specific and frankly, not very good music.
is going to do as a festival, [C] but back in the 60s, the Newport Folk Festival was really
the place great artists like Skip James played, but weren't you there when Dylan went electric?
Yep, absolutely.
And didn't folk singers just have kittens all over the place when that happened?
Well, yes they did.
I mean, certainly seeing Pete Seeger backstage, you know, with tears running down his face. He cried?
Oh, yes.
Does that make you think he was a bit of a baby?
_ Because clearly as [Eb] years have gone on, Dylan proved Pete Seeger was wrong.
Yeah, but maybe he felt that he was right at the time and he felt that he'd been a sort
of a mentor for Dylan and that this was such a major change.
I mean, it was a change in the whole political approach too.
How come you guys didn't play, Ian and Sylvia didn't play Newport very often?
_ Well, the powers that be at Newport, there was _ definitely a kind of a left-wing bias
in terms of who they hired.
I mean, for the left-wing, [Bb] which is [Ab] unusual.
The idea was always that folk [N] singers were lefties, right?
Yes, and it's not that we were right politically.
We were Canadians and we were guests in the country and we didn't feel really comfortable
about making criticisms of the U.S. government.
Have you guys talked about it?
Have you made those kinds of songs?
Well, I definitely have a feeling about protest material.
There've been some amazing protest songs, but by and large, I find that protest material
is kind of like yesterday's newspaper.
Once the point of the exercise is taken care of, there's no point in singing it anymore.
I suppose that most people don't actually know what Masters of War is written about,
right?
They [Eb] just know that it's a fabulous song.
[E] But there were an awful lot of them that were very specific and frankly, not very good music.