Chords for American Music Club - Promo Part 1
Tempo:
103.25 bpm
Chords used:
G
D
Bm
E
B
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[A] [A]
[B]
Captree is an underwater cave [C#m] that's filled with crutches, canes, [B] and faces that were
washed [E] away, [C#] away from [C#] innocence and [G#] pain.
[G] They don't care [E] who lost the war.
They just want to get the whole [Em]
[E] thing over with.
The things that are unique about playing with American Music Club, [N] the most unique thing
is the music itself, Mark's [F#] songs, and the [F] emotional manner in which they're delivered.
[G#m] There have been nights where I've [N] been in tears because of the drama and the beauty
[G] while we're playing, [E] and that's [B] a rarity.
I haven't experienced that in very many other playing [Bm] situations.
I just [F#m] called you up [Bm] to see if you [F#m] wanted to go out and drink a little [Bm] wine and waste
some [F#m] time on a roller [B] coaster ride.
But you say it's [F#m] too dangerous to lead an empty life.
And I [F#m] hate to see [B] all your sweet [Bm] words just go to waste.
[A]
But honey, they're a little weak.
Yeah, [Bm] they're weak from my taste.
[Em]
They're weak [D] from my taste.
They're [G] weak from my taste.
Yeah, [Bm] they're weak from my [G] taste.
[D]
[Bm] They're weak from [G] my taste.
[E] The hard thing about writing songs is that some of the best [G] songs happen by accident.
If you work on a song, you'll [F#] find that
[Em] it just sounds worked on.
[F#] Every song you write has to sound [G] free-flowing and natural.
The trouble is [E] sometimes those songs which come [Bm] naturally, they [E] happen for reasons [B] that are [G] beyond your control.
And that can be annoying when you're constantly trying to write [Em] songs.
Ten years ago, [A] Voodie came and asked me if I wanted to play in his band with this guy named Mark Geitzel,
who he thought deserved to have a band playing behind him.
When we started playing this really kind of frightening music.
I mean, I was frightened the whole time I ever played [D] his show.
And I think from day one, our first show in like 1984, until now I'm still [Gm] frightened.
If I sleep, [D] I wake.
[A#] Well, I'm the happiest hot [F] potato on the [D] plate.
Yeah, [A#] I'm looking, I'm looking, it's beautiful.
[D] I think [Gm] I want to go and live out there right [D] now.
[G] Oh, stewardess, [F] can you [G] fix me?
[G] Oh, [D] stewardess, can you fix [D] me some [F] mercury?
[D]
[F] [G] Did a few [C#] different things and then, well, I ran into [Dm] Mark.
[N]
And he's the best songwriter I'd ever seen at the time.
And even though he wasn't squat compared to what he is now, but I figured it was the scene for me.
So I told him I thought he was really good and he said, fuck you.
And walked away and about six months later he called
[B]
Captree is an underwater cave [C#m] that's filled with crutches, canes, [B] and faces that were
washed [E] away, [C#] away from [C#] innocence and [G#] pain.
[G] They don't care [E] who lost the war.
They just want to get the whole [Em]
[E] thing over with.
The things that are unique about playing with American Music Club, [N] the most unique thing
is the music itself, Mark's [F#] songs, and the [F] emotional manner in which they're delivered.
[G#m] There have been nights where I've [N] been in tears because of the drama and the beauty
[G] while we're playing, [E] and that's [B] a rarity.
I haven't experienced that in very many other playing [Bm] situations.
I just [F#m] called you up [Bm] to see if you [F#m] wanted to go out and drink a little [Bm] wine and waste
some [F#m] time on a roller [B] coaster ride.
But you say it's [F#m] too dangerous to lead an empty life.
And I [F#m] hate to see [B] all your sweet [Bm] words just go to waste.
[A]
But honey, they're a little weak.
Yeah, [Bm] they're weak from my taste.
[Em]
They're weak [D] from my taste.
They're [G] weak from my taste.
Yeah, [Bm] they're weak from my [G] taste.
[D]
[Bm] They're weak from [G] my taste.
[E] The hard thing about writing songs is that some of the best [G] songs happen by accident.
If you work on a song, you'll [F#] find that
[Em] it just sounds worked on.
[F#] Every song you write has to sound [G] free-flowing and natural.
The trouble is [E] sometimes those songs which come [Bm] naturally, they [E] happen for reasons [B] that are [G] beyond your control.
And that can be annoying when you're constantly trying to write [Em] songs.
Ten years ago, [A] Voodie came and asked me if I wanted to play in his band with this guy named Mark Geitzel,
who he thought deserved to have a band playing behind him.
When we started playing this really kind of frightening music.
I mean, I was frightened the whole time I ever played [D] his show.
And I think from day one, our first show in like 1984, until now I'm still [Gm] frightened.
If I sleep, [D] I wake.
[A#] Well, I'm the happiest hot [F] potato on the [D] plate.
Yeah, [A#] I'm looking, I'm looking, it's beautiful.
[D] I think [Gm] I want to go and live out there right [D] now.
[G] Oh, stewardess, [F] can you [G] fix me?
[G] Oh, [D] stewardess, can you fix [D] me some [F] mercury?
[D]
[F] [G] Did a few [C#] different things and then, well, I ran into [Dm] Mark.
[N]
And he's the best songwriter I'd ever seen at the time.
And even though he wasn't squat compared to what he is now, but I figured it was the scene for me.
So I told him I thought he was really good and he said, fuck you.
And walked away and about six months later he called
Key:
G
D
Bm
E
B
G
D
Bm
_ _ _ _ _ _ _ _
_ _ _ _ [A] _ _ _ [A] _
_ [B] _ _ _ _ _ _ _
_ Captree is an underwater cave [C#m] that's filled with crutches, _ canes, _ [B] and faces that were
washed [E] away, _ _ [C#] away from [C#] innocence and [G#] pain.
_ [G] They don't _ _ care [E] who lost the war. _ _ _
_ _ They just want to get the whole [Em] _
[E] thing over with. _ _
The things that are unique about playing with American Music Club, [N] _ the most unique thing
is the music itself, Mark's [F#] songs, and the [F] emotional manner in which they're delivered.
_ _ [G#m] There have been nights where I've [N] been in tears because of the drama and the beauty
[G] while we're playing, [E] and that's [B] a rarity.
I haven't experienced that in very many other playing [Bm] situations.
I just [F#m] called you up [Bm] to see if you [F#m] wanted to go out and drink a little [Bm] wine and waste
some [F#m] time on a roller [B] coaster ride.
But you say it's [F#m] too dangerous to lead an empty life.
And I [F#m] hate to see [B] _ _ all your sweet [Bm] words just go to waste.
_ _ _ [A] _
But honey, _ they're a little weak.
Yeah, [Bm] they're weak from my taste.
[Em]
They're weak [D] from my taste. _ _ _ _
_ _ They're [G] weak from my taste.
_ _ _ Yeah, [Bm] they're weak from my [G] taste.
_ [D] _ _ _ _
_ [Bm] They're weak from [G] my taste. _
_ [E] _ _ The hard thing about writing songs is that some of the best [G] songs happen by accident.
If you work on a song, you'll [F#] find that _
[Em] it just sounds worked on.
[F#] Every song you write has to sound [G] free-flowing and natural.
The trouble is [E] sometimes those songs which come [Bm] naturally, they [E] happen for reasons [B] that are [G] beyond your control.
And that can be annoying when you're constantly trying to write [Em] songs.
Ten years ago, [A] Voodie came and asked me if I wanted to play in his band with this guy named Mark Geitzel,
who he thought deserved to have a band playing behind him.
When we started playing this really kind of frightening music.
I mean, I was frightened the whole time I ever played [D] his show.
And I think from day one, our first show in like 1984, until now I'm still [Gm] frightened.
_ If I sleep, [D] I wake.
[A#] Well, I'm the happiest hot [F] potato on the [D] plate.
Yeah, [A#] I'm looking, I'm looking, it's beautiful.
[D] _ I think [Gm] I want to go and live out there right [D] now.
_ [G] Oh, stewardess, [F] can you [G] fix me?
[G] Oh, [D] stewardess, can you fix [D] me _ _ some [F] mercury?
_ _ _ _ [D] _ _
_ [F] _ _ _ [G] _ Did a few [C#] different things and then, well, I ran into [Dm] Mark.
_ [N] _ _
And he's the best songwriter I'd ever seen at the time.
And even though he wasn't squat compared to what he is now, but I figured it was _ _ the scene for me.
So I told him I thought he was really good and he said, fuck you.
And walked away and about six months later he called
_ _ _ _ [A] _ _ _ [A] _
_ [B] _ _ _ _ _ _ _
_ Captree is an underwater cave [C#m] that's filled with crutches, _ canes, _ [B] and faces that were
washed [E] away, _ _ [C#] away from [C#] innocence and [G#] pain.
_ [G] They don't _ _ care [E] who lost the war. _ _ _
_ _ They just want to get the whole [Em] _
[E] thing over with. _ _
The things that are unique about playing with American Music Club, [N] _ the most unique thing
is the music itself, Mark's [F#] songs, and the [F] emotional manner in which they're delivered.
_ _ [G#m] There have been nights where I've [N] been in tears because of the drama and the beauty
[G] while we're playing, [E] and that's [B] a rarity.
I haven't experienced that in very many other playing [Bm] situations.
I just [F#m] called you up [Bm] to see if you [F#m] wanted to go out and drink a little [Bm] wine and waste
some [F#m] time on a roller [B] coaster ride.
But you say it's [F#m] too dangerous to lead an empty life.
And I [F#m] hate to see [B] _ _ all your sweet [Bm] words just go to waste.
_ _ _ [A] _
But honey, _ they're a little weak.
Yeah, [Bm] they're weak from my taste.
[Em]
They're weak [D] from my taste. _ _ _ _
_ _ They're [G] weak from my taste.
_ _ _ Yeah, [Bm] they're weak from my [G] taste.
_ [D] _ _ _ _
_ [Bm] They're weak from [G] my taste. _
_ [E] _ _ The hard thing about writing songs is that some of the best [G] songs happen by accident.
If you work on a song, you'll [F#] find that _
[Em] it just sounds worked on.
[F#] Every song you write has to sound [G] free-flowing and natural.
The trouble is [E] sometimes those songs which come [Bm] naturally, they [E] happen for reasons [B] that are [G] beyond your control.
And that can be annoying when you're constantly trying to write [Em] songs.
Ten years ago, [A] Voodie came and asked me if I wanted to play in his band with this guy named Mark Geitzel,
who he thought deserved to have a band playing behind him.
When we started playing this really kind of frightening music.
I mean, I was frightened the whole time I ever played [D] his show.
And I think from day one, our first show in like 1984, until now I'm still [Gm] frightened.
_ If I sleep, [D] I wake.
[A#] Well, I'm the happiest hot [F] potato on the [D] plate.
Yeah, [A#] I'm looking, I'm looking, it's beautiful.
[D] _ I think [Gm] I want to go and live out there right [D] now.
_ [G] Oh, stewardess, [F] can you [G] fix me?
[G] Oh, [D] stewardess, can you fix [D] me _ _ some [F] mercury?
_ _ _ _ [D] _ _
_ [F] _ _ _ [G] _ Did a few [C#] different things and then, well, I ran into [Dm] Mark.
_ [N] _ _
And he's the best songwriter I'd ever seen at the time.
And even though he wasn't squat compared to what he is now, but I figured it was _ _ the scene for me.
So I told him I thought he was really good and he said, fuck you.
And walked away and about six months later he called