Chords for Tom Petty and the Heartbreakers - MOJO (Documentary Directed by Sam Jones)

_ _ _ [F] _ _ _ _
When I'm in the car, _ _ [Eb] the music, when I play it in the car, is really where [Bb] I like it the most.
It seems to travel [B] well. _ _ _ _ _
I see, [N] like, you know, southern landscapes.
I get more of a southern picture.
_ It's not really a California kind of record.
_ Wildflowers say I would get California.
_ This is more of a [Eb] rural south, [Gb] I think, which we know a lot [Bm] about.
You know, we came from there.
_ [Cm] _ _ _ _ [C] _ _ _
[Cm] _ _ _ _ _ _ _ _
[G] _ _ _ [Cm] _ _ _ _ _
_ [Bb] _ _ _ _ [Cm] _ _ _
_ _ _ I can't figure out that note.
[C] _ [E] I can't do it all by myself.
What's the I note?
[Cm] I can't do [G] it all by myself.
_ _ [Bm]
I can't do it [Cm] all by myself.
_ _ [B] He wouldn't sing [B] that high.
_ _ _ [Gb] I can't do [E] it all by myself.
But when he does the bridge, it's [F] like when you walk. _
[Bb] [F] You walk with me.
[Ab] He sings higher.
[Fm] You talk.
[Eb] You [F] talk with me.
[Ab] _ _ [Fm] _ _
_ _ _ _ _ _ [Bb] _
[Ab] With this album, [Bb] what I felt strongest about is I wanted to [Fm] show, you know, other people what I hear with the band.
[Bb] You know, that this is [Cm] really where the band kind of [Bb] lives when it's playing for [Fm] itself.
We grew up in Florida, [F] you know.
We [Fm] grew up around a lot of blues and country music, like Muddy Waters, Jimmy Reed, Lightning Hopkins, [Bb] Hallow [Fm] Wall.
That's some of our favorite music.
When we sit around listening to music, that's what we listen to.
[Bbm] When we sit around and we don't have anything to learn [F] or rehearse, we're just messing around, this is the kind of music we play.
[Ab] You know, I used to be [Eb] a young man.
[F] _ _ _ _ _ [Fm] _
_ _ _ [F] _ _ _ _ _
_ _ _ _ _ [D] Mama lady living [Bb] with nothing.
Daddy had to work so hard.
[F] _ _ _ _ [C] _ _ Well, [B] this room has been, I think we've had it for eight [C] or nine years.
[E] We call it the clubhouse.
[D] _ _ [Am] _ _ _ _
[D] _ [Am] _ _ _ _ _ _ [D] _
_ [Am] _ _ [D] It was a growing [Am] process because it [E] became more and more [Am] like, well, you know, we can put some drums over here.
And if [E] we had the drums up, we could jam a little [D] bit.
They set up the equipment in there for us just to play.
[E] Because everything was here, we didn't have nobody to go and get anything.
And then it got to be, well, [Am] I don't [A] want to go to the studio, you know.
Wouldn't it be great if we could just stay here and bring some mics [Am] in?
And then slowly we'd thrown up a few mics and, [E] you know, made one of the offices kind of [Dm] soundproof.
And [E] it's just become a studio around [Am] us.
We built a better control [E] room, you know, because before it was pretty funky.
_ _ Okay, really close, yeah.
I think we can beat it.
It seems to hold back.
It's a lean back.
It [A] seems to lean forward.
When in doubt, _ lean up.
We're going on 113.
[Bbm] Just a tempo lean.
Instead [Bb] of back here.
All of us, you know.
[Ab] _ Really like that?
[Abm] _
_ Yeah, yeah, yeah.
[G] What about there?
What about here?
It's a [Abm] forward lean.
A forward lean.
It's kind of one of the_
The [E] Mud Crutch record, you know, [F] really turned my [E] head around.
[Bb] We caught it in here entirely live.
That record [Eb] is.
There isn't a single dub.
[Bb] And then I thought, well, why would I ever do it any other way?
And I can't wait to try this with the [C] Heartbreakers.
_ [Gm] _
_ _ _ [C] _ _ [G] _ _ _
_ [Bb] _ [G] We had done a live record, like a [Bb] proper live record,
where the whole [G] band plays together at the same time.
[C] And we really wanted [G] to do that this time.
[Dm] _ [Gm] _ _ [C] _ _ _ _
[Gm] _ [C] I didn't want to be [G] one of these things that you labor [Bb] over every drum beat and [C] auto-tunes and that. _ _ _ _ _ _ _
_ _ There's no [G] overdubs [C] to speak of, so it's a very [D] organic record.
More like a [Em] Polaroid than a painting.
[D] _ _
_ _ _ _ [C] _ _ _ _
_ _ _ _ [Bb] _ _ [G] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[F] _ It's about the right length, [Fm] huh? Yeah.
Well, _ [F] _
_ _ _ _ [A] _ you guys are playing good.
_ We know.
_ [Bm] _ _
_ _ _ No self-esteem [Bb] problems in this band.
I'm sure [Em] you do.
We [E] intentionally didn't make demos, which I had been known to do in the past,
is make really [B] elaborate demos.
And I felt that it was restricting them as players a little bit.
They're all such, [E] you know, really virtuoso players that
I didn't really want to come in and tell them what to play.
He would [C] bring it in, and he would have a sketch of the lyric [Gb] in some chords.
And he would say, here's this song, and he'll start playing it, have it [Bm] sitting at home.
And the whole band will listen, and as we become familiar with what he's doing, we might join in.
[C] And when everybody starts playing, it'll [D] morph into something else.
You might change the rhythm or the tempo or make it a waltz or whatever it takes to make some [E] chemistry happen.
You [B] hear a drum pickup and you know, okay, chorus, or, you know,
you take your cues from the collective vibe that's going on.
And [Am] then, wham, they're playing this great track.
So I'd have to run over in the corner and just focus and try to finish it.
She's getting a good song, though.
It's pretty exciting, because to me, the song isn't verified
until I get [E] into the studio and play it with them and [Am] make a good record of it.
[C] Then it's verified to me, [Am] you know.
But until then, I'm not sure.
It might just be me that likes it.
[A] _ _ _ _ [E] _ I should have come in with that verse [Em] before.
Yeah.
It _ does that, you know, where you got [B] the water so cooked through.
And then the solo comes after that, [Em] right? _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [Am] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [C] _
I really wanted to get Mike up to the front.
He's such [B] an incredible _ guitarist.
He also plays with a lot [Em] of taste.
_ _ [Dbm] _ _ He [Bb] edits himself back a lot of the time.
[Em] And I told [Gbm] him this time, [E] you know, I really want you right up front.
[Em] _ _ _ _
_ _ _ _ _ _ _ _
_ [Am] _ Let's look at this like it's a John Mayall record or a Jeff Beck record
or [Em] where the [E] guitar is right up in [C] the front.
You're going to be the other [D] voice in the [C] record.
Well, I got a new guitar, so [B] I'm selling my guitar.
He said, let's make a record around that [Gbm] guitar.
[E] He kind of did.
_ _ _ [Dbm] _ _
_ [C] _ _ [Bb] _ _ _ _ [G] _
_ [Gbm] _ _ _ _ _ [E] _ _
_ _ [Em] _ _ _ _ _ _
_ _ _ _ _ _ _ _
That was kind of fun.
Where's [B] the plane?
_ I can't see why [A] not.
_ I got [Eb] nothing else to do.
[N] We can do that.
_ _ Ron, you got [D] a view somewhere?
No, not till 10.
[B] _ Ron's good till 10. _ _
_ [Ab] _ _ _ [G] _ _ [D] _ _
_ _ _ _ _ _ One, two, one, two, [Fm] three. _ _ _
_ _ _ _ [Bb] _ [F] _ _ _
[Bb] _ _ [Fm] _ _ [Bbm] _ _ _ _
[Eb] _ [Bbm] _ _ _ [Eb] _ [F] _ _ _
[Bb] [Fm] Yeah, it's called Mojo.
[Bb] I think [Cm] that's the athlete title. _
[F] [Bbm] Well, Mojo is a [Ebm] power.
[Fm] You've got your Mojo [Bb] working.
[F] Things are happening for [Bb] you.
[F] _ _ _
[Bb] _ [F] _ _ _ [Bb] _ [F] _ _ _
[Bb] _ [F] _ _ _ [Bb] _ _ _ _
[Eb] _ [Bbm] _ _ _ _ [F] _ _ _
[Bb] _ [F] _ _ _ [Bbm] [Cm] Yeah, _ _
[F] _ [Bbm] _ _ _ [Eb] _ [F] _ _ _
_ I will.
[Bb] _ [Fm] _ _ _
[Bb] _ [Fm] _ _ _ [Bb] [F] Mojo is your spark, isn't it?
It's [Bb] your creative [Fm] spark to me.
It [Bb] kind of takes you back to a different [Eb] time, [Bbm] a swampier time,
[F] when things were [Fm] a little more real.
Mojo [Bb] means [F] the magic, [Bb] [Cm] the thing that [Bb] _ [Db] gets girls excited,
[F] the _ thing [Bb] that [Fm] _ _ _ [Eb] [Fm] translates.
There's [Bb] all kinds of [Fm] Mojo.
There's Mojo [F] hand.
Mojo hand was actually a [Bb] little monkey [Fm] hand.
_ [Bb] They used to shrink down these little monkey [Eb] [Bbm] hands
to _ [Eb] make sure [C] your woman couldn't love anybody [Bb] but you
because [Ab] you had this hand.
[F] _ [Cm] You probably can still get one [F] in Louisiana.
[Bbm] You know, [Eb] I don't [F] have a definition for it.
I thought it was a mofo.
_ _ [Bb] And [F] when I walk, [Bb] you [F] walk with me.
[Bb] And [F] when I talk, [Bb] you [F] talk to me.
_ [Bbm] Oh, baby, _
[Eb] _ [Bb] I can't [Eb] do it all [Fm] by myself. _
[Bb] _ [F] _ _ [Bb] You [C] know, you don't help me, [Bb] darling.
_ I've got [Eb] to find [F] somebody else.
[Bb] _ [Fm] _ _ _ [F] _ _ _ _
[Bb] _ [Fm] _ _ _ [Bb] _ [F] _ _ _
[Bb] _ [Fm] _ _ Yeah, [Bbm] you got to help me, [Db] baby.
[Eb] _ [Bb] I [Db] can't do it [F] all by myself.
[Bb] _ _ [Fm] _ _ [Ab] [Cm] Yeah, if you don't help me, [Bbm] baby,
_ I've got to find [Fm] somebody else.
[Bb] _ [F] _ _ [Fm] _ _ _ _ _
Well, that's good.
I like that one the best.
Yeah, that was better.
That's the best track.
Let me hear that first [B] one.
_ _ _ [Em] _ _
[C] You know, we've done a lot of [G] records
that people identified and like.
[Em] So you're trying to [C] _ match your [G] best thing
and [E] one better if [Em] possible.
[C] You used to have a situation where [G] you'd had a big hit
and then [E] you had [Em] to come with another one all [C] the time.
[G] I don't feel that anymore.
I just, [A] you know, I [Em] feel more pressure
[C] to have something [G] that [D] _ feels [Em] pure to me.
_ [C] _
[G] We have the artistic freedom [D] to do this,
and so [Em] that's what we want to do.
[C] That's where [G] we're having fun right now.
I think [D] it really sounds like [Em] us, and I love [C] this band.
So [G] if it sounds like us, then I'm happy,
[Em] really happy with it.
[C] I just try to make some [G] good music that I like,
[E] [N] and I always have gone with it. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _