Chords for "The Weight" (Part 1) | Behind The Song | Playing For Change

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_ [G] _ _ [C] _ _ _
_ _ _ _ [A#] _ _
_ [Gm] _ _ [G] _ _ [C] _
_ _ _ [Bm] _ _ [A] _
_ _ We had been finishing up all along the [G] watchtower around the world and we were [Bm] mixing it in
the studio, the [F#m] final edit.
That video had taken a couple of years [A] to put together.
And [Bm] our good friend and producer, Robbie [G] Robertson's son, Sebastian Robertson, [Bm] had come to visit
us in the studio.
[E] He watched all [D] along the watchtower [F#m] and he just really loved it.
He loved seeing this mod.
He hadn't [G] seen a Playing for Change stuff in a while.
He [Bm] really loved how fresh they were coming out.
[G] And he just said, wow, you know, [D] I'm coming up with the 50th anniversary [F#m] of The Wait,
written [G] by his father, Robbie Robertson, with the band.
And maybe we should consider [A#m] taking that song around the world.
_ [C] _ _ _ [A#] I think that the funnest thing for us is reinventing these songs for a lot of the artists who wrote the songs.
The Playing [Dm] for Change version of The Wait [A#] and the combination, this global [Dm] combination,
was like [N] a dream to me.
What key is it in, Robbie?
[F#m] _
_ [Em] _ _ [D] _ _ [F#]
It gives [A] it a very special soul to me, seeing music come together like that.
Told him [C#m] to Nazareth, [D] I was feeling about half [A]-past death.
I think the number one quality for [C#m] us in everything we ever [D] do is soul [A] and sincerity.
Hey mister, [C#m] can you tell me [D] where I met my [A] final best?
Those are the two things that transcend [C#m] every kind of music.
[D] You can't fake [A] that.
I can't tune that.
You know, I [D] can't edit that for you later.
And that's a lot of times why we record outside.
Because it opens people back up to connecting with nature and with the environment.
And it just [A] brings out a humble nature that I think really supports this style of [D] music
that we make with the songs around the world.
I [A] picked up [C#m] my badge, [D] when looking for a place [A] to hide.
The Wait is an [C#m] amazing song, especially [D] in the verses.
[A] You don't know exactly what you're even singing about or [C#m] what you're hearing,
but they [D] work so well in [A] the way the words combine and unfold [C#m] this narrative.
I gotta go, [D] but my friend can [A] stick around.
Take [D] a load off Benny's, take a load for free.
[A] Take a load [D] off Benny's, and hang _ around _ me. _ _ _
_ _ _ [A] Go down [C#m] Miss Moses, [D] there ain't nothing you [A] can say.
There's nothing cooler than showing Robbie, 50 [C#m] years after you wrote this [D] thing,
the whole world wants to [A] play it.
Interpret it, feel it, and [C#m] share it with a whole new audience all over the world.
[A] That's what makes music timeless and endless.
[C#m]
There's always another [D] person to share the music [A] with, and great songs never end.
Take [D] a load off Benny's, take a load for free.
Take a load off Benny's, and hang around [A] me.
And the sound of the oud, one of my favorite instruments [D] and everything,
when I saw that I thought, alright.
[A] _ _ [C#m] _
_ [D] _ _ [A] So when you have a song that great, [E] it was a chance for [D] us to [E] really use the skills
that we've learned with Playing for Change, traveling all these years all over the world,
and really put [A] our best foot forward.
Go out there and [B] find the best talent that's [D] diverse,
that we have musicians [A] in the video like Marcus King in his [D] early 20s,
and Ringo Starr [A] in his late 70s, [E] and everything in [D] between.
Multiple languages spoke making this video.
So you really feel like what you're doing is giving this artist a chance
to see their work again in a new way.
And I think [A] that offers them a [F#m] freshness to it,
and it also [D] pulls a lot of people into music they [A] hadn't heard before.
Crazy [C#m] just to follow me, [D] and he caught me [A] in the fog.
He said, [C#m] I will fix your rat [D] if you take [A] Jack my dog.
I said, [C#m] wait a minute Chester, no I'm a [A] peaceful man.
He said, [C#m] that's okay boy, [D] I'll feed him when you can.
[A] _
Thank you Lord on Phoenix.
You know, with the wait [E] when we finished the [D] video,
I think there was over 20 different artists recorded,
from 20 different locations around the world.
And it's a longer song.
So it really [A] gave us a chance to go deeper cinematic _ [D] and artistic.
And what I love the most about it is that it [F#] really keeps unfolding
[D] all the way until the very end.
You know that final verse [C#m] is Sharida and [D] Rosaline,
[A] they are in Damian Marley's band,
and we [C#m] filmed them in Trenchtown Jamaica,
[D] right in front of Bob Marley's old [A] home.
To get [C#m] back to Miss Fanny, [D] you know she's the only [A] one.
Who sent [C#m] me here with a [D] regard for everyone.
[A] _ Take a [D] load off Fanny, take a load for free.
I think the thing I'm the most [E] proud of about the [D] wait is,
how amazing our world is.
You know, it just blows my mind that there's this much talent,
and that all [F#m] of these different cultures,
[D] from Japan, the Middle East, to [A] Nepal, Africa, [F#] and the Congo,
all the [D] way to Los Angeles, fit so well together.
And it just reaffirms that thing we all believe,
that no matter how many things in life divide us,
it's never going to be as strong as the power of music to [D#] bring us together.
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_ [D] Don't write on me.
Oh [F#m] yeah.
_ [D] _ _ _ _ _
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[A] First of all, thank you so much.
Take a load [D] off Fanny, take a load for free.
Take a load off _ _ _ _ _ _ Fanny.
[A] _ _