Chords for Tommy Emmanuel on "Me & Bobby McGee" + "Windy & Warm" - LIVE in SLC UT 2007
Tempo:
80.5 bpm
Chords used:
C#
D
A
E
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Remember when I first heard Chet, [F#] Chet's album called [A#] Chet Hacker's [C] Alone came out in [C#] 1974
[C] and I bought it [C#] a few years later.
There was a version of me and Bobby McGee on it
and that's a song that tells the [D#] story.
Chris Christopherson wrote that song, [C] has a good song.
Bust a flat in Baton Rouge, heading for the train, feeling nearly faded [C#] as my jeans.
[C#]
[F#m] Freedom's just another word, so [C#] nothing to lose.
Fantastic melody, [G] but as an instrumental
[C#] it's a little challenging to make it interesting.
So I remember [A] when I bought that album
the [C] moment I saw me and Bobby McGee on there I just went straight, I put the needle straight to that track
because I [C#] thought what can he possibly do with me and Bobby McGee, such a straight ahead melody.
[A] Well this is what he did.
[C#]
And then when [G#] he played the chorus he did [G] something so beautiful.
[D] Freedom.
[A] [E]
[Em] [E]
[F#m] [E] Wow, that [F#m] just kills me.
He's [D] in A, he goes G.
[E]
I would [G] never have thought to do that.
[C#] But it's such a beautiful [D] thing he did.
[A] [D] [E]
[F#m] [Dm]
[C#] And he made that song so interesting just by [G] that thing and the fact that he [D] did that
it just hit you, boom, right [C] there because you didn't expect it.
[F#] And again, [E] instead of [F#] going,
Feeling good was [A] easy Lord when Bobby's saying the news,
[E] Feeling good was good enough for [D] me.
Instead of doing that,
feeling good was so [G] good.
And I heard that thought and it came right back to that principle I said to you [G#] earlier.
Melody against a chord.
And there it was, the classic [N] example I would write right there.
Beautiful.
So that's some simple ideas of
being [B] able to spice up your arrangements.
[A#] [C] The other thing I wanted to say about learning songs,
about playing songs that everybody knows [D] is it's a good idea to learn
the melody as the composer [G#m] intended [D] first.
Make sure that you learn the melody before you go messing with it.
I had a young man the other day, came up to me and he discovered the guitar
through listening to me, which I felt quite strange because
here he is in America, the land of guitar.
This is where guitar players
[C#] have existed for hundreds of years.
And he was playing some songs
and one of the songs that stood out to me was a song that I learned
to play when I was a kid called [Em] Windy and Warm.
[A]
[Em] [D]
[C#] But the only place he'd heard it [G#] was on my album, my previous [A] album.
And of course I learned it in [G] 1963.
And I didn't mess with it until when I put it on my [A] album.
I played it in my own way, right?
Like this.
[Em] [Am]
[Em]
[A] [Am]
[Em] [C#] So I made it kind of funky and messed around with it.
And then when [F#] he played it, he'd already messed with my arrangement of it
and so it was almost, what song is it again?
And I had to say to him, please go back and listen to the original,
learn that first and then do what you want with it.
But make sure that you state [B] the melody right.
Because although I'm [A] kind of messing with it and doing it in my own way,
I'm still going
That's
[E] how the melody goes, right?
[C] Now, there's a funny story [C#] about that song.
The original song,
the original recording of this was in the key of C minor.
[D] And when we all tried to learn [C#] it when we were kids, we're thinking
Ted would never use a capo.
[D] So we all [Cm] learned it.
[Gm] It's so hard to play in C minor.
[D] And when I finally met Chet in 1980, I said to him,
Hey Chet, I've got to [N] know.
Windy and warm.
He said, yeah, capo third fret.
Right.
[E] So there you go.
[N]
[C] and I bought it [C#] a few years later.
There was a version of me and Bobby McGee on it
and that's a song that tells the [D#] story.
Chris Christopherson wrote that song, [C] has a good song.
Bust a flat in Baton Rouge, heading for the train, feeling nearly faded [C#] as my jeans.
[C#]
[F#m] Freedom's just another word, so [C#] nothing to lose.
Fantastic melody, [G] but as an instrumental
[C#] it's a little challenging to make it interesting.
So I remember [A] when I bought that album
the [C] moment I saw me and Bobby McGee on there I just went straight, I put the needle straight to that track
because I [C#] thought what can he possibly do with me and Bobby McGee, such a straight ahead melody.
[A] Well this is what he did.
[C#]
And then when [G#] he played the chorus he did [G] something so beautiful.
[D] Freedom.
[A] [E]
[Em] [E]
[F#m] [E] Wow, that [F#m] just kills me.
He's [D] in A, he goes G.
[E]
I would [G] never have thought to do that.
[C#] But it's such a beautiful [D] thing he did.
[A] [D] [E]
[F#m] [Dm]
[C#] And he made that song so interesting just by [G] that thing and the fact that he [D] did that
it just hit you, boom, right [C] there because you didn't expect it.
[F#] And again, [E] instead of [F#] going,
Feeling good was [A] easy Lord when Bobby's saying the news,
[E] Feeling good was good enough for [D] me.
Instead of doing that,
feeling good was so [G] good.
And I heard that thought and it came right back to that principle I said to you [G#] earlier.
Melody against a chord.
And there it was, the classic [N] example I would write right there.
Beautiful.
So that's some simple ideas of
being [B] able to spice up your arrangements.
[A#] [C] The other thing I wanted to say about learning songs,
about playing songs that everybody knows [D] is it's a good idea to learn
the melody as the composer [G#m] intended [D] first.
Make sure that you learn the melody before you go messing with it.
I had a young man the other day, came up to me and he discovered the guitar
through listening to me, which I felt quite strange because
here he is in America, the land of guitar.
This is where guitar players
[C#] have existed for hundreds of years.
And he was playing some songs
and one of the songs that stood out to me was a song that I learned
to play when I was a kid called [Em] Windy and Warm.
[A]
[Em] [D]
[C#] But the only place he'd heard it [G#] was on my album, my previous [A] album.
And of course I learned it in [G] 1963.
And I didn't mess with it until when I put it on my [A] album.
I played it in my own way, right?
Like this.
[Em] [Am]
[Em]
[A] [Am]
[Em] [C#] So I made it kind of funky and messed around with it.
And then when [F#] he played it, he'd already messed with my arrangement of it
and so it was almost, what song is it again?
And I had to say to him, please go back and listen to the original,
learn that first and then do what you want with it.
But make sure that you state [B] the melody right.
Because although I'm [A] kind of messing with it and doing it in my own way,
I'm still going
That's
[E] how the melody goes, right?
[C] Now, there's a funny story [C#] about that song.
The original song,
the original recording of this was in the key of C minor.
[D] And when we all tried to learn [C#] it when we were kids, we're thinking
Ted would never use a capo.
[D] So we all [Cm] learned it.
[Gm] It's so hard to play in C minor.
[D] And when I finally met Chet in 1980, I said to him,
Hey Chet, I've got to [N] know.
Windy and warm.
He said, yeah, capo third fret.
Right.
[E] So there you go.
[N]
Key:
C#
D
A
E
C
C#
D
A
_ _ _ _ _ _ Remember when I first heard Chet, [F#] Chet's album called [A#] Chet Hacker's [C] Alone came out in [C#] 1974
[C] and I bought it [C#] a few years later.
There was a version of me and Bobby McGee on it
and that's a song that tells the [D#] story.
Chris Christopherson wrote that song, [C] has a good song.
Bust a flat in Baton Rouge, heading for the train, feeling nearly faded [C#] as my jeans.
_ [C#] _ _
[F#m] Freedom's just another word, so [C#] nothing to lose.
Fantastic melody, [G] but as an instrumental
[C#] it's a little challenging to make it interesting.
So I remember [A] when I bought that album
the [C] moment I saw me and Bobby McGee on there I just went straight, I put the needle straight to that track
because I [C#] thought what can he possibly do with me and Bobby McGee, such a straight ahead melody.
[A] Well this is what he did.
_ _ _ _ _ _ _ [C#] _
And then when [G#] he played the chorus he did [G] something so beautiful.
[D] Freedom.
_ [A] _ _ [E] _ _ _
_ _ _ [Em] _ _ _ [E] _ _
_ _ _ [F#m] _ _ [E] Wow, that [F#m] just kills me.
He's [D] in A, he goes G.
_ _ [E] _
I would [G] never have thought to do that.
[C#] But it's such a beautiful [D] thing he did. _ _
_ [A] _ _ [D] _ _ _ [E] _ _
_ _ _ _ _ [F#m] _ _ [Dm] _
_ [C#] And he made that song so interesting just by [G] that thing and the fact that he [D] did that
_ it just hit you, boom, right [C] there because you didn't expect it.
[F#] And again, [E] instead of [F#] going,
Feeling good was [A] easy Lord when Bobby's saying the news,
[E] Feeling good was good enough for [D] me.
Instead of doing that,
feeling good was so [G] good.
And I heard that thought and it came right back to that principle I said to you [G#] earlier.
Melody against a chord.
And there it was, the classic [N] example I would write right there.
Beautiful.
So that's some simple ideas of
being [B] able to spice up your arrangements.
[A#] _ _ [C] The other thing I wanted to say about learning songs,
about playing songs that everybody knows [D] is it's a good idea to learn
the melody as the composer [G#m] intended [D] first.
Make sure that you learn the melody before you go messing with it.
I had a young man the other day, came up to me and he discovered the guitar
through listening to me, which I felt quite strange because
here he is in America, the land of guitar.
This is where guitar players
[C#] _ have existed for hundreds of years.
And _ _ _ he was playing some songs
and one of the songs that stood out to me was a song that I learned
to play when I was a kid called [Em] Windy and Warm.
_ [A] _ _
[Em] _ _ _ _ _ _ [D] _
[C#] But the only place he'd heard it [G#] was on my album, my previous [A] album.
And of course I learned it in [G] 1963.
And I didn't mess with it until when I put it on my [A] album.
I played it in my own way, right?
Like this.
[Em] _ _ _ [Am] _ _
_ _ _ _ [Em] _ _ _ _
_ [A] _ _ _ [Am] _ _ _ _
_ [Em] _ [C#] So I made it kind of funky and messed around with it.
And then when [F#] he played it, _ _ he'd already messed with my arrangement of it
and so it was almost, what song is it again?
And I had to say to him, please go back and listen to the original,
learn that first and then do what you want with it.
But make sure that you state [B] the melody right.
Because although I'm [A] kind of messing with it and doing it in my own way,
I'm still going_
That's
_ _ _ _ _ _ _ _
_ _ [E] how the melody goes, right?
[C] Now, there's a funny story [C#] about that song.
The original song,
the original recording of this was in the key of C minor.
[D] And when we all tried to learn [C#] it when we were kids, we're thinking
_ Ted would never use a capo. _
[D] So we all [Cm] learned it.
_ [Gm] It's so hard to play in C minor. _ _ _ _ _ _
_ [D] _ And when I finally met Chet in 1980, I said to him,
Hey Chet, I've got to [N] know.
Windy and warm.
He said, yeah, capo third fret.
Right. _ _
_ _ _ _ _ [E] So there you go.
_ _ _ _ _ _ [N] _ _
[C] and I bought it [C#] a few years later.
There was a version of me and Bobby McGee on it
and that's a song that tells the [D#] story.
Chris Christopherson wrote that song, [C] has a good song.
Bust a flat in Baton Rouge, heading for the train, feeling nearly faded [C#] as my jeans.
_ [C#] _ _
[F#m] Freedom's just another word, so [C#] nothing to lose.
Fantastic melody, [G] but as an instrumental
[C#] it's a little challenging to make it interesting.
So I remember [A] when I bought that album
the [C] moment I saw me and Bobby McGee on there I just went straight, I put the needle straight to that track
because I [C#] thought what can he possibly do with me and Bobby McGee, such a straight ahead melody.
[A] Well this is what he did.
_ _ _ _ _ _ _ [C#] _
And then when [G#] he played the chorus he did [G] something so beautiful.
[D] Freedom.
_ [A] _ _ [E] _ _ _
_ _ _ [Em] _ _ _ [E] _ _
_ _ _ [F#m] _ _ [E] Wow, that [F#m] just kills me.
He's [D] in A, he goes G.
_ _ [E] _
I would [G] never have thought to do that.
[C#] But it's such a beautiful [D] thing he did. _ _
_ [A] _ _ [D] _ _ _ [E] _ _
_ _ _ _ _ [F#m] _ _ [Dm] _
_ [C#] And he made that song so interesting just by [G] that thing and the fact that he [D] did that
_ it just hit you, boom, right [C] there because you didn't expect it.
[F#] And again, [E] instead of [F#] going,
Feeling good was [A] easy Lord when Bobby's saying the news,
[E] Feeling good was good enough for [D] me.
Instead of doing that,
feeling good was so [G] good.
And I heard that thought and it came right back to that principle I said to you [G#] earlier.
Melody against a chord.
And there it was, the classic [N] example I would write right there.
Beautiful.
So that's some simple ideas of
being [B] able to spice up your arrangements.
[A#] _ _ [C] The other thing I wanted to say about learning songs,
about playing songs that everybody knows [D] is it's a good idea to learn
the melody as the composer [G#m] intended [D] first.
Make sure that you learn the melody before you go messing with it.
I had a young man the other day, came up to me and he discovered the guitar
through listening to me, which I felt quite strange because
here he is in America, the land of guitar.
This is where guitar players
[C#] _ have existed for hundreds of years.
And _ _ _ he was playing some songs
and one of the songs that stood out to me was a song that I learned
to play when I was a kid called [Em] Windy and Warm.
_ [A] _ _
[Em] _ _ _ _ _ _ [D] _
[C#] But the only place he'd heard it [G#] was on my album, my previous [A] album.
And of course I learned it in [G] 1963.
And I didn't mess with it until when I put it on my [A] album.
I played it in my own way, right?
Like this.
[Em] _ _ _ [Am] _ _
_ _ _ _ [Em] _ _ _ _
_ [A] _ _ _ [Am] _ _ _ _
_ [Em] _ [C#] So I made it kind of funky and messed around with it.
And then when [F#] he played it, _ _ he'd already messed with my arrangement of it
and so it was almost, what song is it again?
And I had to say to him, please go back and listen to the original,
learn that first and then do what you want with it.
But make sure that you state [B] the melody right.
Because although I'm [A] kind of messing with it and doing it in my own way,
I'm still going_
That's
_ _ _ _ _ _ _ _
_ _ [E] how the melody goes, right?
[C] Now, there's a funny story [C#] about that song.
The original song,
the original recording of this was in the key of C minor.
[D] And when we all tried to learn [C#] it when we were kids, we're thinking
_ Ted would never use a capo. _
[D] So we all [Cm] learned it.
_ [Gm] It's so hard to play in C minor. _ _ _ _ _ _
_ [D] _ And when I finally met Chet in 1980, I said to him,
Hey Chet, I've got to [N] know.
Windy and warm.
He said, yeah, capo third fret.
Right. _ _
_ _ _ _ _ [E] So there you go.
_ _ _ _ _ _ [N] _ _