Chords for We visit the window where The Replacements shot the cover of Let It Be

Tempo:
85.15 bpm
Chords used:

B

F

Bb

Ab

Eb

Tuning:Standard Tuning (EADGBE)Capo:+0fret
Show Tuner
We visit the window where The Replacements shot the cover of Let It Be chords
Start Jamming...
[Am] [Dm]
[F]
[Eb] Welcome to Pop Pilgrims.
Today we're here in Minneapolis, Minnesota.
Everything that Grunge did and Nirvana kicked off in 91 was basically what the Replacements
were doing six or seven years earlier.
How do you feel about the interview?
About talking to [B] Tommy Stenson?
Yeah.
Pretty intimidating.
[Eb] [Bb]
My [Gb]
older sister had the front room with the alcove kind of in it.
And where were you?
We were sitting right in front of the, between the two windows, right on that roof.
What can you tell us about the day that you [D] shot that?
You know, so long ago, I can't remember a whole lot about the actual day, but I remember
we sat up there for a good long time trying to figure out how to get the right shot because
not enough room to move and Daniel Corgan had to kind of really grapple the edge there
and get that right shot.
It was kind of [B] rough, you know?
Getting them together was half the battle because [Bb] Tommy would wander off or Bob would
[N] be doing, you know, sticking his finger in somebody's ear.
The Let It Be house, that shoot was actually [Ab] a reshoot.
We rescheduled to shoot [A] at their house where they're doing their, had their [C] practice space.
We were already a band when we moved here.
Yeah, we put the basement together and had our little [B] rehearsals down there.
[Bb] We just decided to go outside, up on the roof.
My sister's bedroom was the one right there.
That was my little sister's bedroom.
So we crawled out that window to get up there.
You can see in the back of that, you can see her softball trophies and stuff.
No one really in the [Gb] neighborhood really knew what the hell we were doing.
So it wasn't like, oh my God, that's crowds of people watching us do this thing.
It was like, it's an old day, you know?
And that image has [G] taken on such [Ab] a like sort of iconic [B] life of its own.
You know, do you [Eb] ever, I mean, do you have any awareness of that?
The [E] fact that like your sister's bedroom has like this weird mythological status in the
indie rock world.
People can make up all kinds of crap [N] they want about it.
When you're in it and it's part of your daily life, it's not like you have this sort of surreal existence.
It's like this just regular life to us.
We had no idea we were going to leave a mark like we've left.
You know, we didn't have any clue about that.
The picture's been analyzed [Bb] a lot, [A] whereas beforehand it wasn't at all.
You [Bm] know, it's just kind of, let's see what happens.
Even after we made that [C] picture and we're looking at [B] them all together, I still insisted
the elevator [N] picture was better.
Insisted.
And to my [B] eye, I still like it better as a picture.
But thank God I [C] didn't listen to myself.
And that was a lesson [Ab] that I learned a long time ago.
[B] It's like, if you had a good editor, [Db] trust them.
I don't [N] think I've actually been standing in front of it in 20 some years.
Before the Reflations were to have our first gig, my brother and I, we're climbing what
is now, looks like it's been chopped down, but there's a little row of trees back here.
And there used to be a white picket fence here.
We climbed up on this tree they've obviously taken down and fell out of the tree, land
on the picket fence with the armpit.
Ambulance comes and gets me.
Luckily it didn't slice my arm off completely.
Just you know, all the muscles and shit.
If my memory serves me, I think the gig that we almost had was opening it for Gary Newman
at the Civic Center.
That's what I think.
I could be mistaken on that.
Well it's funny because Paul and I have been recording the last two days, just down the street.
And this whole thing, doing this the day after we recorded, it's a little emotional.
It's a rough day and a rough last night too.
We had a great time.
And the funny thing about all of that is we never had like this big blowout, he and I.
And we didn't really break up.
[D] We didn't just say, ah, we're breaking up.
We just kind of left it [Ab] there.
And I was joking with someone that's, the Reflations are still kind of on [F] that tour
bus that we got off of [D] in 91.
It's still out there waiting to pick us [F] up again.
[Dm] [G] [F]
Key:  
B
12341112
F
134211111
Bb
12341111
Ab
134211114
Eb
12341116
B
12341112
F
134211111
Bb
12341111
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_ _ _ [Am] _ _ _ _ [Dm] _
_ _ _ _ _ _ _ _
_ _ [F] _ _ _ _ _
[Eb] Welcome to Pop Pilgrims.
Today we're here in Minneapolis, Minnesota.
Everything that Grunge did and Nirvana kicked off in 91 was basically what the Replacements
were doing six or seven years earlier.
How do you feel about the interview?
About talking to [B] Tommy Stenson?
Yeah.
Pretty intimidating.
_ [Eb] _ _ _ _ [Bb]
My _ _ _ _ [Gb] _ _
older sister had the front room with the alcove kind of in it.
And where were you?
We were sitting right in front of the, between the two windows, right on that roof.
What can you tell us about the day that you [D] shot that?
You know, so long ago, I can't remember a whole lot about the actual day, but I remember
we sat up there for a good long time trying to figure out how to get the right shot because
not enough room to move and Daniel Corgan had to kind of really grapple the edge there
and get that right shot.
It was kind of [B] rough, you know?
Getting them together was _ half the battle because [Bb] Tommy would wander off or Bob would
[N] be doing, you know, sticking his finger in somebody's ear.
The Let It Be house, that shoot was actually [Ab] a reshoot.
We rescheduled to shoot [A] at their house where they're doing their, had their [C] practice space.
We were already a band when we moved here.
Yeah, we put the basement together and had our little [B] rehearsals down there.
[Bb] We just decided to go outside, up on the roof.
My sister's bedroom was the one right there.
That was my little sister's bedroom.
So we crawled out that window to get up there.
You can see in the back of that, you can see her softball trophies and stuff.
No one really in the [Gb] neighborhood really knew what the hell we were doing.
So it wasn't like, oh my God, that's crowds of people watching us do this thing.
It was like, it's an old day, you know?
And that image has [G] taken on such [Ab] a like sort of iconic [B] life of its own.
You know, do you [Eb] ever, I mean, do you have any awareness of that?
The [E] fact that like your sister's bedroom has like this weird mythological status in the
indie rock world.
People can make up all kinds of crap [N] they want about it.
When you're in it and it's part of your daily life, it's not like you have this sort of surreal existence.
It's like this just regular life to us.
We had no idea we were going to leave a mark like we've left.
You know, we didn't have any clue about that.
The picture's been analyzed [Bb] a lot, [A] whereas beforehand it wasn't at all.
You [Bm] know, it's just kind of, let's see what happens.
Even after we made that [C] picture and we're looking at [B] them all together, I still insisted
the elevator [N] picture was better.
Insisted.
And to my [B] eye, I still like it better as a picture.
But thank God I [C] didn't listen to myself.
And that was a lesson [Ab] that I learned a long time ago.
[B] It's like, if you had a good editor, [Db] trust them.
I don't [N] think I've actually been standing in front of it in 20 some years.
Before the Reflations were to have our first gig, my brother and I, we're climbing what
is now, looks like it's been chopped down, but there's a little row of trees back here.
And there used to be a white picket fence here.
We climbed up on this tree they've obviously taken down and fell out of the tree, land
on the picket fence with the armpit.
Ambulance comes and gets me.
Luckily it didn't slice my arm off completely.
Just you know, all the muscles and shit.
If my memory serves me, I think the gig that we almost had was opening it for Gary Newman
at the Civic Center.
That's what I think.
I could be mistaken on that.
Well it's funny because Paul and I have been recording the last two days, just down the street.
And this whole thing, doing this the day after we recorded, it's a little emotional.
It's a rough day and a rough last night too.
We had a great time.
And the funny thing about all of that is we never _ had like this big blowout, he and I.
And we didn't really break up.
[D] We didn't just say, ah, we're breaking up.
We just kind of left it [Ab] there.
And I was joking with someone that's, the Reflations are still kind of on [F] that tour
bus that we got off of [D] in 91.
It's still out there waiting to pick us [F] up again.
_ [Dm] _ _ _ [G] _ _ _ [F] _ _ _ _ _