Chords for View From The Bottom - Super Session

[G] What's a dazzling urbanite like you doing in a rustic setting like this?
[G#m] _ _ _ [D#] _
_ [E] _ _ _ _ _ [Am] _ _
_ _ _ _ _ _ [E] _ _
_ _ _ _ _ _ _ [Am] _
_ _ _ _ _ _ [F#] _ [E] _
_ _ _ [C#m] _ _ [F#m] _ _ _
[G] _ _ _ _ _ _ _ _
[F#m] _ [G#m] _ _ _ _ _ _ _
_ [Em] _ _ _ _ _ [Bm] _ _
_ _ [D] _ _ _ _ _ _
_ _ _ _ [C] _ _ _ [F] _
_ [C] _ _ _ _ _ [G] _ _
_ _ _ [C] _ _ _ _ [G] _
_ _ _ _ [Dm] _ _ [G] Super Session is, to my _ understanding, Cooper's idea.
_ He calls Bloomfield, if [E] he's part of it.
Bloomfield [G] picks, I think, Eddie Ho.
_ _ Cooper picks me, _ _ and that's the basic band. _
And Barry comes in to jam _ or something, and he gets [A] in there also.
The day before, I had taken [N] _ some psilocybin.
_ So I'm kind of _ _ whacked out.
_ _ And so I'm the playwright going down to LA, because I didn't know about it _ _ _ _
until I had already gone on my journey. _
And they go, say, oh yeah, sure.
_ _ Bloomfield kind of guides me down there, and _ I'm down at the Session. _ _ _ _ _ _
_ _ I didn't really have too much.
I think I was coming down by then.
_ And it was pretty comfortable.
I was just feeling pretty good.
_ [C] We start doing the Session, _ and it's really just jams.
And it's [Fm] really _ _ _ Cooper's _ _ direction and [C] Michael _ being Michael.
_ I'm staying, I think, at [Cm] some hotel.
I forget which one.
[C] _ I come back the next day.
There's no Bloomfield. _ _ _ _
Where's Mike?
_ He had to go. _
He had to go?
_ _ Oh, _ Mike had to go.
Okay.
_ Mike's gone.
So what are we going to do?
So he calls [D] Steve Stills, _ _ _ who at [N] that time was a lovely guy. _ _ _ _
Steve comes in and [D] plays his ass off.
_ [G] I thought he did [D#] great.
And [F] he was a nice guy.
We hung out.
[G] _ _ And _ _ _ _ _ _ _ _ _ pretty [D] much everything there [G] was very little rehearsal.
_ Just here's how it goes.
_ Boom.
[Dm] _ _
And _ [C#] [G] Eddie Ho, very spontaneous drummer.
_ Never heard from him again.
I heard a rumour he drove his [F] motorcycle into Lake [G] Michigan.
I don't know if that's true or not, but [G#] _ that's the last I heard of Eddie.
_ Porns were dubbed in [Dm] New York. _ _
_ [Fm] _ _ Totally separate [G#m] Session. _
[D#] _ _ _ _ _ [G#m] _ _ [Am] _
_ Harvey's tune _ [D#] was kind of like, well, [E] we've got enough for one _ [Am] thing left.
And Al _ very [E] nicely gave me a tune _ [F#m] on the album.
_ [G] And it was Harvey's tune.
_ I said, I [F#] got this little [G#m] tune.
It goes like [C#m] this.
_ The rest [Em] is history on that one.
The [B] Super Session, [E] _
two days.
[F#m] That was it.
[G] You know, I think it's kind of like jazz in [C#m] the sense of,
it really is jazz in the sense [A] _ [Am]
of the _ _ spontaneity of [G#m] it _ based on _ _ [C#m] jamming.
With _ a [F] basic idea of the head.
_ _ _ _ But with [Em]
another level of technical facility.
An earlier stage.
_ _ But the same philosophy.
_ [N] _ _ _ _ _
And what that creates is that feeling _ _ of _ _ _ spontaneity in the listening of it.
It feels very real, very alive.
It's a performance.
_ _ _ _ And we didn't butcher it too much.
_ The overdubs, you can hear they're canned, but [G] they work. _
It doesn't take away_
because the rhythm [C] section is loose [B] enough.
The music's loose enough to where [D] it's like we want_
It wasn't _ _ precise.
[C] Everything wasn't [A#] totally in tune.
[E] It wasn't all _ exactly _ [G] right.
[C] _
There was [E] enough, _ [G] you know, _ schmears and enough mistakes and enough _ life to _ make it _ profitable.
_ [E] _ _ _ _ _ _ _
_ _ [Am] _ _ _ _ _ _
_ _ [C#m] _ _ _ _ _ _
[G#] _ _ [A] _ _ [Am] _ _ _ _
_ [F#m] _ [E] _ _ _ [F#m] _ _ _
_ _ [G] _ _ _ _ _ _
_ [F#m] _ [G#m] _ _ _ _ _ [C#m] _
_ _ [C] _ _ _ _ _ _