Chords for The Story of "Ripple" by the Grateful Dead
Tempo:
127.45 bpm
Chords used:
G
C
D
E
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
If your [C] cup be empty, if your cup is full, may it be [G]
again, let it be known.
[A] There [C] is a fountain that [G] was [D] not made [C] by the hands [G] of men.
There is a fountain that was not made by the hands of [C] men.
Ooh, yeah.
That's a goosebump kind of lyric, that.
And the dark [G] of night, and if you go.
We just set up in a small room with [A] a lot of [C] leakage from the drums to acoustic guitars.
It was done live and simultaneously.
Let, let her, let her [G] son, I don't know, don't [C] really care.
[G] Let, let her son.
We wisely [D] held back on the mandolins [Ab] until here.
[G] Yes, the bridge.
That's where we took it.
Yeah, the bridge.
That's where it really makes an effect.
[Am]
Ripple him, [D] still warm.
Charisma.
Here's what I [C] would have played if they had [G] let me come in earlier.
If my words did glow with the [C] gold of sunshine,
and my tune were played on the harp [Am] of the [G] sky,
would you and my voice [Em] [G] come [C] through the music?
Would you [G]
hold [E] me?
I was visiting a [Eb] friend in San Francisco [C] for [Eb] the weekend,
and [A] somehow this [Bm] friend heard about a [Em] baseball game between the Grateful Dead [E] and the Jefferson Airplane.
The [Bm] thoughts [C] are broken.
And, you know, I was a friend of Jerry's, so I said, oh, let's go out there, I'll surprise him.
Let us.
[Dm] So we went out [Em] to the baseball game and I saw Jerry and he said,
[N] great, man, hey, you know, we're making a record and I've got some songs that would be [E] perfect for you,
and [E] could you come and [G]
play [F] on this record?
So [E] I guess it was the next day or something.
Down to the studio and [G] it was just me and the [E] tape and, you know, some of the guys and we put the parts [G] on.
[A] There [C] is a fountain that [G] will [D] not be [C] filled.
[Em] [G]
Alive.
Optimistic, really.
And innocent.
Yes.
[C]
The band had been together for about [G] five years and we [A] had gone through the whole experimental music thing
and really carved [G] out a language of music for ourselves and invented [Gb] ourselves, really.
[C] He was [G] [C] flying.
[G] That path [D] is far, [C] your steps [G] alone,
[A] [Am] crippled in [D] still water,
when there [G] is no help [C] or toss.
My preference is to play [Gb] live for people and that's my orientation, that's what [E] I like, that's what I'm sort of [A] geared [D] toward.
And working [Ab] in the studio is another kind of [B] energy and another approach
and I view that as [Ab] more along [E] the lines of creative problem solving,
and [G] [F] [Em] musical [F] nitpicking in a way.
[D] Working in the studio is like building a [A] ship in a bottle.
[G] Playing live is like having a rowboat [F] on the ocean.
[G] It's like they're very different [D] dynamics.
[A] We're not performers, strictly speaking, and [E] we can't manufacture intensity.
In a recording studio we can't [G] just go in there and say now we're going to be intense,
or now we're going to be sensitive, or now we're going to be soulful.
[Gb] Those kind of things are not available to us in the sense that an actor,
[Ab] we're not technicians in a performing sense, we're musicians more than anything else.
For us that stuff either has to be really happening or [D] it's not happening at all.
See, the dead used to frighten everybody at [E] Warners.
The [Bb] name frightened [Ab] everybody the way they [Abm] were.
So when [Db] they'd come up [E] to see me in my office, people would [B] hide, lock the doors of their [C] offices.
But now they'd [N] heard the working man's death,
so almost the entire Warners staff [Gbm] crowded into my [E] office to hear American Beauty.
And I [D] remember spontaneous applause, and I said,
again, let it be known.
[A] There [C] is a fountain that [G] was [D] not made [C] by the hands [G] of men.
There is a fountain that was not made by the hands of [C] men.
Ooh, yeah.
That's a goosebump kind of lyric, that.
And the dark [G] of night, and if you go.
We just set up in a small room with [A] a lot of [C] leakage from the drums to acoustic guitars.
It was done live and simultaneously.
Let, let her, let her [G] son, I don't know, don't [C] really care.
[G] Let, let her son.
We wisely [D] held back on the mandolins [Ab] until here.
[G] Yes, the bridge.
That's where we took it.
Yeah, the bridge.
That's where it really makes an effect.
[Am]
Ripple him, [D] still warm.
Charisma.
Here's what I [C] would have played if they had [G] let me come in earlier.
If my words did glow with the [C] gold of sunshine,
and my tune were played on the harp [Am] of the [G] sky,
would you and my voice [Em] [G] come [C] through the music?
Would you [G]
hold [E] me?
I was visiting a [Eb] friend in San Francisco [C] for [Eb] the weekend,
and [A] somehow this [Bm] friend heard about a [Em] baseball game between the Grateful Dead [E] and the Jefferson Airplane.
The [Bm] thoughts [C] are broken.
And, you know, I was a friend of Jerry's, so I said, oh, let's go out there, I'll surprise him.
Let us.
[Dm] So we went out [Em] to the baseball game and I saw Jerry and he said,
[N] great, man, hey, you know, we're making a record and I've got some songs that would be [E] perfect for you,
and [E] could you come and [G]
play [F] on this record?
So [E] I guess it was the next day or something.
Down to the studio and [G] it was just me and the [E] tape and, you know, some of the guys and we put the parts [G] on.
[A] There [C] is a fountain that [G] will [D] not be [C] filled.
[Em] [G]
Alive.
Optimistic, really.
And innocent.
Yes.
[C]
The band had been together for about [G] five years and we [A] had gone through the whole experimental music thing
and really carved [G] out a language of music for ourselves and invented [Gb] ourselves, really.
[C] He was [G] [C] flying.
[G] That path [D] is far, [C] your steps [G] alone,
[A] [Am] crippled in [D] still water,
when there [G] is no help [C] or toss.
My preference is to play [Gb] live for people and that's my orientation, that's what [E] I like, that's what I'm sort of [A] geared [D] toward.
And working [Ab] in the studio is another kind of [B] energy and another approach
and I view that as [Ab] more along [E] the lines of creative problem solving,
and [G] [F] [Em] musical [F] nitpicking in a way.
[D] Working in the studio is like building a [A] ship in a bottle.
[G] Playing live is like having a rowboat [F] on the ocean.
[G] It's like they're very different [D] dynamics.
[A] We're not performers, strictly speaking, and [E] we can't manufacture intensity.
In a recording studio we can't [G] just go in there and say now we're going to be intense,
or now we're going to be sensitive, or now we're going to be soulful.
[Gb] Those kind of things are not available to us in the sense that an actor,
[Ab] we're not technicians in a performing sense, we're musicians more than anything else.
For us that stuff either has to be really happening or [D] it's not happening at all.
See, the dead used to frighten everybody at [E] Warners.
The [Bb] name frightened [Ab] everybody the way they [Abm] were.
So when [Db] they'd come up [E] to see me in my office, people would [B] hide, lock the doors of their [C] offices.
But now they'd [N] heard the working man's death,
so almost the entire Warners staff [Gbm] crowded into my [E] office to hear American Beauty.
And I [D] remember spontaneous applause, and I said,
Key:
G
C
D
E
A
G
C
D
_ If your [C] cup be empty, _ _ _ if your cup _ is full, may it be [G] _
again, let it be known. _ _
_ [A] There [C] is a fountain _ _ that _ [G] _ _ was [D] not made _ _ [C] by the hands [G] of men.
There _ _ is a fountain that was not made by the hands of [C] men. _
Ooh, yeah.
_ That's a goosebump kind of lyric, that.
_ And the dark [G] of night, and if you go.
We just set up in a small room with [A] a lot of [C] leakage from the drums to acoustic guitars.
It was done live and simultaneously.
Let, let her, _ _ let her [G] son, I don't know, _ _ _ don't [C] really care. _ _ _
_ _ [G] Let, let her son.
We wisely [D] held back on the mandolins [Ab] until here.
[G] Yes, the bridge.
That's where we took it.
Yeah, the bridge.
That's where it really makes an effect.
_ [Am] _ _
_ Ripple him, [D] still warm.
_ _ _ _ Charisma. _ _
Here's what I [C] would have played if they had [G] let me come in earlier.
_ _ If my words did glow _ with _ the [C] gold of sunshine,
_ _ _ and my tune _ were played on the harp [Am] of the [G] sky,
would you and my voice _ [Em] _ _ [G] come [C] through the music?
_ _ _ Would you [G]
hold [E] me?
I was visiting a [Eb] friend in San Francisco [C] for [Eb] the weekend,
and [A] somehow this [Bm] friend heard about a [Em] baseball game between the Grateful Dead [E] and the Jefferson Airplane.
The [Bm] thoughts [C] are broken.
_ _ _ And, you know, I was a friend of Jerry's, so I said, oh, let's go out there, I'll surprise him. _ _
_ Let us.
[Dm] So we went out [Em] to the baseball game and I saw Jerry and he said,
_ [N] great, man, hey, you know, we're making a record and I've got some songs that would be [E] perfect for you,
and _ [E] could you come and [G] _
play [F] on this record?
So [E] I guess it was the next day or something.
Down to the studio and _ [G] it was just me and the [E] tape and, you know, some of the guys and we put the parts [G] on.
_ _ [A] There [C] is a fountain _ _ _ that [G] _ _ will [D] not be _ _ _ [C] filled.
[Em] _ [G]
Alive.
_ _ _ _ Optimistic, really. _
And innocent.
Yes.
[C] _ _ _ _
_ _ The band had been together for about [G] five years and we [A] had gone through the whole experimental music thing
and really carved [G] out _ a language of music for ourselves and invented [Gb] ourselves, really.
[C] He was [G] [C] flying.
_ _ _ _ [G] That path [D] is far, _ _ [C] _ your steps [G] alone, _ _ _ _ _ _
[A] _ _ [Am] _ crippled in [D] still water,
_ _ _ when there [G] is no help [C] or toss.
My preference is to play [Gb] live for people and that's my orientation, that's what [E] I like, that's what I'm sort of [A] geared [D] toward.
And working [Ab] in the studio is another kind of [B] energy and another approach
and I view that as [Ab] more along [E] the lines of creative problem solving,
and [G] _ _ _ [F] _ [Em] musical [F] nitpicking in a way.
[D] Working in the studio is like building a [A] ship in a bottle.
[G] Playing live is like having a rowboat [F] on the ocean.
[G] It's like they're very different [D] dynamics.
_ [A] We're not performers, strictly speaking, and [E] we can't manufacture intensity.
In a recording studio we can't [G] just go in there and say now we're going to be intense,
or now we're going to be sensitive, or now we're going to be soulful.
[Gb] Those kind of things are not available to us in the sense that an actor,
[Ab] we're not technicians in a performing sense, we're musicians more than anything else.
For us that stuff either has to be really happening or [D] it's not happening at all.
See, the dead used to frighten everybody at [E] Warners.
The [Bb] name frightened [Ab] everybody the way they [Abm] were.
So when [Db] they'd come up [E] to see me in my office, people would [B] hide, lock the doors of their [C] offices.
But now they'd [N] heard the working man's death,
so _ almost the entire Warners staff [Gbm] crowded into my [E] office to hear American Beauty.
And I [D] remember spontaneous applause, and I said,
again, let it be known. _ _
_ [A] There [C] is a fountain _ _ that _ [G] _ _ was [D] not made _ _ [C] by the hands [G] of men.
There _ _ is a fountain that was not made by the hands of [C] men. _
Ooh, yeah.
_ That's a goosebump kind of lyric, that.
_ And the dark [G] of night, and if you go.
We just set up in a small room with [A] a lot of [C] leakage from the drums to acoustic guitars.
It was done live and simultaneously.
Let, let her, _ _ let her [G] son, I don't know, _ _ _ don't [C] really care. _ _ _
_ _ [G] Let, let her son.
We wisely [D] held back on the mandolins [Ab] until here.
[G] Yes, the bridge.
That's where we took it.
Yeah, the bridge.
That's where it really makes an effect.
_ [Am] _ _
_ Ripple him, [D] still warm.
_ _ _ _ Charisma. _ _
Here's what I [C] would have played if they had [G] let me come in earlier.
_ _ If my words did glow _ with _ the [C] gold of sunshine,
_ _ _ and my tune _ were played on the harp [Am] of the [G] sky,
would you and my voice _ [Em] _ _ [G] come [C] through the music?
_ _ _ Would you [G]
hold [E] me?
I was visiting a [Eb] friend in San Francisco [C] for [Eb] the weekend,
and [A] somehow this [Bm] friend heard about a [Em] baseball game between the Grateful Dead [E] and the Jefferson Airplane.
The [Bm] thoughts [C] are broken.
_ _ _ And, you know, I was a friend of Jerry's, so I said, oh, let's go out there, I'll surprise him. _ _
_ Let us.
[Dm] So we went out [Em] to the baseball game and I saw Jerry and he said,
_ [N] great, man, hey, you know, we're making a record and I've got some songs that would be [E] perfect for you,
and _ [E] could you come and [G] _
play [F] on this record?
So [E] I guess it was the next day or something.
Down to the studio and _ [G] it was just me and the [E] tape and, you know, some of the guys and we put the parts [G] on.
_ _ [A] There [C] is a fountain _ _ _ that [G] _ _ will [D] not be _ _ _ [C] filled.
[Em] _ [G]
Alive.
_ _ _ _ Optimistic, really. _
And innocent.
Yes.
[C] _ _ _ _
_ _ The band had been together for about [G] five years and we [A] had gone through the whole experimental music thing
and really carved [G] out _ a language of music for ourselves and invented [Gb] ourselves, really.
[C] He was [G] [C] flying.
_ _ _ _ [G] That path [D] is far, _ _ [C] _ your steps [G] alone, _ _ _ _ _ _
[A] _ _ [Am] _ crippled in [D] still water,
_ _ _ when there [G] is no help [C] or toss.
My preference is to play [Gb] live for people and that's my orientation, that's what [E] I like, that's what I'm sort of [A] geared [D] toward.
And working [Ab] in the studio is another kind of [B] energy and another approach
and I view that as [Ab] more along [E] the lines of creative problem solving,
and [G] _ _ _ [F] _ [Em] musical [F] nitpicking in a way.
[D] Working in the studio is like building a [A] ship in a bottle.
[G] Playing live is like having a rowboat [F] on the ocean.
[G] It's like they're very different [D] dynamics.
_ [A] We're not performers, strictly speaking, and [E] we can't manufacture intensity.
In a recording studio we can't [G] just go in there and say now we're going to be intense,
or now we're going to be sensitive, or now we're going to be soulful.
[Gb] Those kind of things are not available to us in the sense that an actor,
[Ab] we're not technicians in a performing sense, we're musicians more than anything else.
For us that stuff either has to be really happening or [D] it's not happening at all.
See, the dead used to frighten everybody at [E] Warners.
The [Bb] name frightened [Ab] everybody the way they [Abm] were.
So when [Db] they'd come up [E] to see me in my office, people would [B] hide, lock the doors of their [C] offices.
But now they'd [N] heard the working man's death,
so _ almost the entire Warners staff [Gbm] crowded into my [E] office to hear American Beauty.
And I [D] remember spontaneous applause, and I said,