Chords for The Story of "Sugar Magnolia" by The Grateful Dead
Tempo:
149.05 bpm
Chords used:
B
E
A
F#
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Takes the wheel [D] when I'm two and double
Lays my [E] chicken and [A] I speak
When we first did this in the studio here, we had never done it on stage I don't think
So we had no idea what it was going to develop into
[F#m] Here it's [E] got a sort of a country-ish flavor to it
When we [Am] got it on stage, it was pretty [F#] much balls out rock and [A] roll
She can't even do [D] raised [A] violins
[E] She can wait any drop [A] of dew
She [G#] don't come and I [F#] don't bother
[E] Wait till backstage [D] when I [A] sing to you
She can [D] dance, she [A] can't just rhythm
It's your [Em] life, it will be simple, [A] we'll agree
She's my summer, [G#] spring, fall, and winter
[E] She can make heaven, [D] any man [A] ever
Just standard rhythm, right?
Yeah
[E]
[A] That [C#m] against [F#m] a questionable [E] intonation
[D]
[A] And that against a steel
Pretty much with two rhythm guitars
[E] This is a Jurius pedal, steel, [C#m] flotation period
[F#]
[A] None of us at the time ever felt like this was [D#] going to be [D] a hit
Or, you know, it [G] was music that was going [D] to change lives
And certainly [E] [A] it has [D] changed a lot of lives
[G] [D]
[E] [A]
[A#]
[A]
[F#] She comes skimming through raised violins
She can wait any drop of dew
She don't come and I don't bother
Wait till backstage while I sing to you
Hunter was in here writing the end part
While I was in there doing the lead vocal
And then I took a quick break and came in here and said
Well, you [A#] got anything for the end part, man?
And he gave me this [F#] piece of paper
I went back out and sang it off the piece of [B] paper
I didn't even read through it
I'm amazed, because I'm dyslexic, a [E] slow reader
I'm amazed that I managed to [B] read through it that first time without stumbling
[C#m] I'll [B] never be numb
[F#]
[E] Love [B] me like a red rose
[E] [B] This has a lightness and a lilt [F#] to it
That [B] the stage [E] version, you know, just [B] straight ahead, [C#] thunder, rock
[D]
She's got [G] everything [D] you like, oh
She's got [A] everything I [D]
need
Breezing the pines in the summer night moonlight
Crazy [Em] in the sunlight, yes [A] indeed
Sometimes when the cuckoo's crying
When the moon is halfway [B] down
Sometimes when [E] the night [B] is dying
Take me out [F#m] in a [E] wonder [B] [F#] round
Wonder round
[B]
[G] [B]
[F#] [E] [B]
[F#m] [E] [B]
[F#] [B]
[F#] [B]
[E] [B]
[E] [B]
[F#] [E] [B]
[F#m] [E] [B]
[F#] The [E] relationship [B] between the Grateful Dead and their fans I think was very, very intimate
Because in a [E] way, [B] they're characters
They're not icons
[F#] You have [C#m] an ongoing [B] relationship with them
You'll think you have a window on the relationship [G] between Bob and Jerry
By the way they [B] interact, and it may or may not be accurate
And it sort of doesn't matter whether it [F#m] reflects [F#] what's really going on between [B] those guys
Because it's the public [A#m] persona that we're [B] dealing with anyway
And the real [F#m] private Jerry Garcia and [E] Bob Weir are beyond our reach
See, I think the Grateful Dead embody the real American dream
[A] Not the [G] materialistic American [G#] dream of a house in the suburbs and [G] a lawn of your own
[A#] You know, the [N] bogus sort of consumer version of that
I think the Grateful Dead [A] embody the real American [G#] dream of self [N]-determination
They created a culture, they created a music
They created a business entity among [F#] themselves
[G] And they did it in a [A#] way that respected every individual [A] in the band and the people around [A#] them
Think about it
[D] Because that would be the hippest
[A] The screen is [Em] so high
[N]
Lays my [E] chicken and [A] I speak
When we first did this in the studio here, we had never done it on stage I don't think
So we had no idea what it was going to develop into
[F#m] Here it's [E] got a sort of a country-ish flavor to it
When we [Am] got it on stage, it was pretty [F#] much balls out rock and [A] roll
She can't even do [D] raised [A] violins
[E] She can wait any drop [A] of dew
She [G#] don't come and I [F#] don't bother
[E] Wait till backstage [D] when I [A] sing to you
She can [D] dance, she [A] can't just rhythm
It's your [Em] life, it will be simple, [A] we'll agree
She's my summer, [G#] spring, fall, and winter
[E] She can make heaven, [D] any man [A] ever
Just standard rhythm, right?
Yeah
[E]
[A] That [C#m] against [F#m] a questionable [E] intonation
[D]
[A] And that against a steel
Pretty much with two rhythm guitars
[E] This is a Jurius pedal, steel, [C#m] flotation period
[F#]
[A] None of us at the time ever felt like this was [D#] going to be [D] a hit
Or, you know, it [G] was music that was going [D] to change lives
And certainly [E] [A] it has [D] changed a lot of lives
[G] [D]
[E] [A]
[A#]
[A]
[F#] She comes skimming through raised violins
She can wait any drop of dew
She don't come and I don't bother
Wait till backstage while I sing to you
Hunter was in here writing the end part
While I was in there doing the lead vocal
And then I took a quick break and came in here and said
Well, you [A#] got anything for the end part, man?
And he gave me this [F#] piece of paper
I went back out and sang it off the piece of [B] paper
I didn't even read through it
I'm amazed, because I'm dyslexic, a [E] slow reader
I'm amazed that I managed to [B] read through it that first time without stumbling
[C#m] I'll [B] never be numb
[F#]
[E] Love [B] me like a red rose
[E] [B] This has a lightness and a lilt [F#] to it
That [B] the stage [E] version, you know, just [B] straight ahead, [C#] thunder, rock
[D]
She's got [G] everything [D] you like, oh
She's got [A] everything I [D]
need
Breezing the pines in the summer night moonlight
Crazy [Em] in the sunlight, yes [A] indeed
Sometimes when the cuckoo's crying
When the moon is halfway [B] down
Sometimes when [E] the night [B] is dying
Take me out [F#m] in a [E] wonder [B] [F#] round
Wonder round
[B]
[G] [B]
[F#] [E] [B]
[F#m] [E] [B]
[F#] [B]
[F#] [B]
[E] [B]
[E] [B]
[F#] [E] [B]
[F#m] [E] [B]
[F#] The [E] relationship [B] between the Grateful Dead and their fans I think was very, very intimate
Because in a [E] way, [B] they're characters
They're not icons
[F#] You have [C#m] an ongoing [B] relationship with them
You'll think you have a window on the relationship [G] between Bob and Jerry
By the way they [B] interact, and it may or may not be accurate
And it sort of doesn't matter whether it [F#m] reflects [F#] what's really going on between [B] those guys
Because it's the public [A#m] persona that we're [B] dealing with anyway
And the real [F#m] private Jerry Garcia and [E] Bob Weir are beyond our reach
See, I think the Grateful Dead embody the real American dream
[A] Not the [G] materialistic American [G#] dream of a house in the suburbs and [G] a lawn of your own
[A#] You know, the [N] bogus sort of consumer version of that
I think the Grateful Dead [A] embody the real American [G#] dream of self [N]-determination
They created a culture, they created a music
They created a business entity among [F#] themselves
[G] And they did it in a [A#] way that respected every individual [A] in the band and the people around [A#] them
Think about it
[D] Because that would be the hippest
[A] The screen is [Em] so high
[N]
Key:
B
E
A
F#
D
B
E
A
Takes the wheel [D] when I'm two and double
Lays my [E] chicken and [A] I speak
_ _ _ When we first did this in the studio here, we had never done it on stage I don't think
So we had no idea what it was going to develop into _ _
[F#m] Here it's [E] got a sort of a country-ish flavor to it
When we [Am] got it on stage, _ it was pretty [F#] much balls out rock and [A] roll
She can't even do [D] raised [A] violins
[E] She can wait any drop [A] of dew
She [G#] don't come and I [F#] don't bother
[E] Wait till backstage [D] when I [A] sing to you _ _
_ _ _ _ _ _ She can [D] dance, she [A] can't just rhythm
It's your [Em] life, it will be simple, [A] we'll agree
She's my summer, _ [G#] spring, fall, and winter
[E] She can make heaven, [D] any man [A] ever _
Just _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
_ standard rhythm, right?
Yeah
_ _ [E] _
_ [A] _ _ That [C#m] against _ [F#m] a questionable [E] intonation
_ _ [D] _
_ [A] And that against a steel _
Pretty much with two rhythm guitars _ _ _
_ _ _ _ _ [E] This is _ a Jurius pedal, steel, [C#m] flotation period
[F#] _
_ _ _ _ _ [A] None of us at the time ever felt like this was [D#] going to be [D] a hit
Or, you know, it [G] was music that was going [D] to change lives
And certainly [E] [A] it has [D] changed a lot of lives
_ _ _ _ [G] _ _ [D] _ _
_ _ _ [E] _ _ _ [A] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [A#] _ _
_ _ _ _ _ _ _ _
_ _ [A] _ _ _ _ _ _
_ _ _ _ [F#] She comes skimming through raised violins
_ She can wait any drop of dew
She don't come and I don't bother
Wait till backstage while I sing to you
Hunter was in here writing the end part
While I was in there doing the lead vocal
And then I took a quick break and came in here and said
Well, you [A#] got anything for the end part, man?
And he gave me this [F#] piece of paper
I went back out and sang it off the piece of [B] paper
I didn't even read through it
I'm amazed, because I'm _ dyslexic, a [E] slow reader
I'm amazed that I managed to [B] read through it that first time without stumbling
[C#m] I'll [B] never be numb
_ _ [F#] _
_ [E] Love [B] me like a red rose _
_ [E] _ [B] This has a lightness and a lilt [F#] to it
That _ [B] _ _ the stage [E] version, you know, just [B] straight ahead, [C#] thunder, rock
[D] _
_ She's got [G] everything [D] you like, oh
She's got [A] everything I [D]
need
Breezing the pines in the summer night moonlight
Crazy [Em] in the sunlight, yes [A] indeed
_ _ _ _ _ _ _ _
_ _ Sometimes when the cuckoo's crying
_ When the moon is halfway [B] down
_ Sometimes when [E] the night [B] is dying
_ Take me out [F#m] in a [E] wonder _ [B] _ _ _ [F#] round _ _
Wonder round
_ [B] _ _ _
_ _ [G] _ _ _ [B] _ _ _
_ _ _ _ _ _ _ _
_ [F#] _ _ [E] _ _ [B] _ _ _
_ _ _ _ _ _ _ _
_ [F#m] _ _ [E] _ _ [B] _ _ _
_ _ _ _ _ _ _ _
_ [F#] _ _ _ _ [B] _ _ _
_ _ _ _ _ _ _ _
_ _ _ [F#] _ _ _ _ [B] _
_ _ _ [E] _ _ [B] _ _ _
_ _ _ [E] _ _ [B] _ _ _
_ _ _ _ _ _ _ _
_ [F#] _ _ [E] _ _ [B] _ _ _
_ _ _ _ _ _ _ _
_ [F#m] _ _ [E] _ _ [B] _ _ _
_ _ _ _ _ _ _ _
_ [F#] The [E] relationship [B] between the Grateful Dead and their fans I think was very, very intimate _ _
Because in a [E] way, [B] they're _ _ characters
_ They're not _ icons
[F#] You have [C#m] an ongoing [B] relationship with them _
_ You'll think you have a window on the relationship [G] between Bob and Jerry
By the way they [B] interact, and it may or may not be accurate
And it sort of doesn't matter whether it [F#m] reflects [F#] what's really going on between [B] those guys
Because it's the public [A#m] persona that we're [B] dealing with anyway
And the real [F#m] private Jerry Garcia and [E] Bob Weir are beyond our reach
_ See, I think the Grateful Dead embody the real American dream
[A] Not the [G] materialistic American [G#] dream of a house in the suburbs and [G] a lawn of your own
[A#] You know, the [N] bogus sort of consumer version of that
I think the Grateful Dead [A] embody the real American [G#] dream of self [N]-determination
_ They created a culture, they created a music
They created a business entity among [F#] themselves
[G] And they did it in a [A#] way _ that respected every individual [A] in the band and the people around [A#] them
Think about it
[D] Because that would be the hippest
_ [A] _ The screen is [Em] so high
_ _ _ _ _ [N] _ _
Lays my [E] chicken and [A] I speak
_ _ _ When we first did this in the studio here, we had never done it on stage I don't think
So we had no idea what it was going to develop into _ _
[F#m] Here it's [E] got a sort of a country-ish flavor to it
When we [Am] got it on stage, _ it was pretty [F#] much balls out rock and [A] roll
She can't even do [D] raised [A] violins
[E] She can wait any drop [A] of dew
She [G#] don't come and I [F#] don't bother
[E] Wait till backstage [D] when I [A] sing to you _ _
_ _ _ _ _ _ She can [D] dance, she [A] can't just rhythm
It's your [Em] life, it will be simple, [A] we'll agree
She's my summer, _ [G#] spring, fall, and winter
[E] She can make heaven, [D] any man [A] ever _
Just _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
_ standard rhythm, right?
Yeah
_ _ [E] _
_ [A] _ _ That [C#m] against _ [F#m] a questionable [E] intonation
_ _ [D] _
_ [A] And that against a steel _
Pretty much with two rhythm guitars _ _ _
_ _ _ _ _ [E] This is _ a Jurius pedal, steel, [C#m] flotation period
[F#] _
_ _ _ _ _ [A] None of us at the time ever felt like this was [D#] going to be [D] a hit
Or, you know, it [G] was music that was going [D] to change lives
And certainly [E] [A] it has [D] changed a lot of lives
_ _ _ _ [G] _ _ [D] _ _
_ _ _ [E] _ _ _ [A] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [A#] _ _
_ _ _ _ _ _ _ _
_ _ [A] _ _ _ _ _ _
_ _ _ _ [F#] She comes skimming through raised violins
_ She can wait any drop of dew
She don't come and I don't bother
Wait till backstage while I sing to you
Hunter was in here writing the end part
While I was in there doing the lead vocal
And then I took a quick break and came in here and said
Well, you [A#] got anything for the end part, man?
And he gave me this [F#] piece of paper
I went back out and sang it off the piece of [B] paper
I didn't even read through it
I'm amazed, because I'm _ dyslexic, a [E] slow reader
I'm amazed that I managed to [B] read through it that first time without stumbling
[C#m] I'll [B] never be numb
_ _ [F#] _
_ [E] Love [B] me like a red rose _
_ [E] _ [B] This has a lightness and a lilt [F#] to it
That _ [B] _ _ the stage [E] version, you know, just [B] straight ahead, [C#] thunder, rock
[D] _
_ She's got [G] everything [D] you like, oh
She's got [A] everything I [D]
need
Breezing the pines in the summer night moonlight
Crazy [Em] in the sunlight, yes [A] indeed
_ _ _ _ _ _ _ _
_ _ Sometimes when the cuckoo's crying
_ When the moon is halfway [B] down
_ Sometimes when [E] the night [B] is dying
_ Take me out [F#m] in a [E] wonder _ [B] _ _ _ [F#] round _ _
Wonder round
_ [B] _ _ _
_ _ [G] _ _ _ [B] _ _ _
_ _ _ _ _ _ _ _
_ [F#] _ _ [E] _ _ [B] _ _ _
_ _ _ _ _ _ _ _
_ [F#m] _ _ [E] _ _ [B] _ _ _
_ _ _ _ _ _ _ _
_ [F#] _ _ _ _ [B] _ _ _
_ _ _ _ _ _ _ _
_ _ _ [F#] _ _ _ _ [B] _
_ _ _ [E] _ _ [B] _ _ _
_ _ _ [E] _ _ [B] _ _ _
_ _ _ _ _ _ _ _
_ [F#] _ _ [E] _ _ [B] _ _ _
_ _ _ _ _ _ _ _
_ [F#m] _ _ [E] _ _ [B] _ _ _
_ _ _ _ _ _ _ _
_ [F#] The [E] relationship [B] between the Grateful Dead and their fans I think was very, very intimate _ _
Because in a [E] way, [B] they're _ _ characters
_ They're not _ icons
[F#] You have [C#m] an ongoing [B] relationship with them _
_ You'll think you have a window on the relationship [G] between Bob and Jerry
By the way they [B] interact, and it may or may not be accurate
And it sort of doesn't matter whether it [F#m] reflects [F#] what's really going on between [B] those guys
Because it's the public [A#m] persona that we're [B] dealing with anyway
And the real [F#m] private Jerry Garcia and [E] Bob Weir are beyond our reach
_ See, I think the Grateful Dead embody the real American dream
[A] Not the [G] materialistic American [G#] dream of a house in the suburbs and [G] a lawn of your own
[A#] You know, the [N] bogus sort of consumer version of that
I think the Grateful Dead [A] embody the real American [G#] dream of self [N]-determination
_ They created a culture, they created a music
They created a business entity among [F#] themselves
[G] And they did it in a [A#] way _ that respected every individual [A] in the band and the people around [A#] them
Think about it
[D] Because that would be the hippest
_ [A] _ The screen is [Em] so high
_ _ _ _ _ [N] _ _