Bob Dylan, The Band - The Basement Tapes Complete Trailer Chords
Tempo:
105 bpm
Chords used:
E
D
A
B
Bm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
To me it's always been holy grail to actually fumble the original reel.
You know, to actually [Bm] say, yeah, this is it.
This is the real thing.
[D] Well, the goal was to get as much out of the [A] tapes as possible and to allow you to, you
know, be on the stairs that [B] led down to the basement so you could hear one of those guys [E] playing.
Here in the room, you're right there.
[A] You feel people breathing.
Everything that's been [Bm] mythologized or turned into legend [D] on behalf of what happened in
that Woodstock basement in the summer of 67 [A] is true.
I think the basement tape starts, I think there's no question, with that world tour
of 65, 66.
They were [Bm] unbelievably grueling shows [C#m] because, of course, everywhere Bob went [A] he was badly
obscene by sections of the audience.
At some shows, a large section of the audience [B] turned on him, [F#] usually during the electric set.
You can't do that for a year without a get-in to you at [E] some point.
After that long, grueling tour, Dylan went back to Woodstock to relax.
It's where Bob [Bm] Dylan starts to get his mojo back.
They [Em] leave Dylan's [E] house and they go to [G#] Big P.
[E] Dick Danko [F#] said, you have [B] to understand, he said, this was a clubhouse.
It was wonderful.
[E] At [B] [E]
[F#] [B]
some point, [G#m] somebody flicks [D] the trigger, you know, [E] and [D] suddenly the front gate's open.
[E] [D]
[E] [D] [E]
[D] [E]
[D] [E] And suddenly all [D] the imagery and [E] all the ideas that are going to make the basement tapes
[D] extraordinary body of work come [E] together in one song.
And it's [D] there, literally, [E] unlocking the key.
[D] [E] And he kind of opens up the [D] history of American popular music [E] in this extraordinary way [A]
for
these guys [C#] during these sessions.
Tears of
[F#m] [D] rage, [Bm] I shall be released, too [A] much of nothing.
He seems to be coming out with masterpieces on an almost daily basis.
[E]
[A] [E] The original [A#] publishing demos start to circulate in 1968 and they get bootlegged on vinyl in [D#] 1969.
It was literally just a white cover [A#] that they had a rubber stamp made that said Great White Wonder.
And they went, [F] it didn't just start a [D#] minor Bob Dylan fan [A#] club, it started a whole bootleg industry.
[A]
When the 2LP set came [E] out in 1975, it should have, in [A] theory, one might think, quenched
the thirst of the public of the basement tapes.
[E] Ah-ha!
Anybody [A] else, the 2LP [Em] set would have come out, oh great, that's what they did, [B] this
is great, now we've got it.
[E] But the Dylan fans, they began to dig, dig, dig, dig, dig, dig, dig, dig, and they found
out there was a lot more stuff done there, and it took 40-something [C#m] years, but here we are.
[A] When you talk about [E] bootlegs, what has been more [C#m] desired than this?
[A] Who [E] [B] is that million [E] dollar bastard?
[Em] You don't have to use
You know, to actually [Bm] say, yeah, this is it.
This is the real thing.
[D] Well, the goal was to get as much out of the [A] tapes as possible and to allow you to, you
know, be on the stairs that [B] led down to the basement so you could hear one of those guys [E] playing.
Here in the room, you're right there.
[A] You feel people breathing.
Everything that's been [Bm] mythologized or turned into legend [D] on behalf of what happened in
that Woodstock basement in the summer of 67 [A] is true.
I think the basement tape starts, I think there's no question, with that world tour
of 65, 66.
They were [Bm] unbelievably grueling shows [C#m] because, of course, everywhere Bob went [A] he was badly
obscene by sections of the audience.
At some shows, a large section of the audience [B] turned on him, [F#] usually during the electric set.
You can't do that for a year without a get-in to you at [E] some point.
After that long, grueling tour, Dylan went back to Woodstock to relax.
It's where Bob [Bm] Dylan starts to get his mojo back.
They [Em] leave Dylan's [E] house and they go to [G#] Big P.
[E] Dick Danko [F#] said, you have [B] to understand, he said, this was a clubhouse.
It was wonderful.
[E] At [B] [E]
[F#] [B]
some point, [G#m] somebody flicks [D] the trigger, you know, [E] and [D] suddenly the front gate's open.
[E] [D]
[E] [D] [E]
[D] [E]
[D] [E] And suddenly all [D] the imagery and [E] all the ideas that are going to make the basement tapes
[D] extraordinary body of work come [E] together in one song.
And it's [D] there, literally, [E] unlocking the key.
[D] [E] And he kind of opens up the [D] history of American popular music [E] in this extraordinary way [A]
for
these guys [C#] during these sessions.
Tears of
[F#m] [D] rage, [Bm] I shall be released, too [A] much of nothing.
He seems to be coming out with masterpieces on an almost daily basis.
[E]
[A] [E] The original [A#] publishing demos start to circulate in 1968 and they get bootlegged on vinyl in [D#] 1969.
It was literally just a white cover [A#] that they had a rubber stamp made that said Great White Wonder.
And they went, [F] it didn't just start a [D#] minor Bob Dylan fan [A#] club, it started a whole bootleg industry.
[A]
When the 2LP set came [E] out in 1975, it should have, in [A] theory, one might think, quenched
the thirst of the public of the basement tapes.
[E] Ah-ha!
Anybody [A] else, the 2LP [Em] set would have come out, oh great, that's what they did, [B] this
is great, now we've got it.
[E] But the Dylan fans, they began to dig, dig, dig, dig, dig, dig, dig, dig, and they found
out there was a lot more stuff done there, and it took 40-something [C#m] years, but here we are.
[A] When you talk about [E] bootlegs, what has been more [C#m] desired than this?
[A] Who [E] [B] is that million [E] dollar bastard?
[Em] You don't have to use
Key:
E
D
A
B
Bm
E
D
A
_ _ _ _ _ _ _ _
_ To me it's always been holy grail to actually fumble the original reel.
You know, to actually [Bm] say, yeah, this is it.
This is the real thing.
[D] Well, the goal was to get as much out of the [A] tapes as possible and to allow you to, you
know, be on the stairs that [B] led down to the basement so you could hear one of those guys [E] playing.
Here in the room, you're right there.
[A] You feel people breathing.
Everything that's been [Bm] mythologized or turned into legend [D] on behalf of what happened in
that Woodstock basement in the summer of 67 [A] is true. _ _
_ _ I think the basement tape starts, I think there's no question, with that world tour
of 65, 66.
They were [Bm] unbelievably grueling shows [C#m] because, of course, everywhere Bob went [A] he was badly
obscene by sections of the audience.
At some shows, _ a large section of the audience [B] turned on him, _ _ [F#] usually during the electric set.
You can't do that for a year without a get-in to you at [E] some point.
_ After that long, grueling tour, Dylan went back to Woodstock to relax.
It's where Bob [Bm] Dylan starts to get his mojo back.
They [Em] leave Dylan's [E] house and they go to [G#] Big P. _
[E] Dick Danko [F#] said, you have [B] to understand, he said, this was a clubhouse.
It was wonderful.
_ [E] _ At _ [B] _ _ _ _ _ [E] _ _
[F#] _ _ [B] _ _ _ _ _ _
_ some point, _ [G#m] somebody flicks [D] the trigger, you know, [E] and [D] suddenly the front gate's open.
_ [E] _ _ _ [D] _ _ _ _
[E] _ _ _ [D] _ _ _ [E] _ _
_ [D] _ _ _ _ [E] _ _ _
[D] _ _ _ [E] And suddenly all [D] the imagery and [E] all the ideas that are going to make the basement tapes
[D] extraordinary body of work come [E] together in one song.
And it's [D] there, literally, [E] unlocking the key.
_ [D] _ _ [E] And he kind of opens up the [D] history of American popular music [E] in this extraordinary way [A]
for
these guys [C#] during these sessions.
Tears of _ _
[F#m] _ _ _ _ _ _ [D] rage, [Bm] I shall be released, too [A] much of nothing.
He seems to be coming out with masterpieces on an almost daily basis.
_ [E] _ _
_ _ _ _ _ _ _ _
_ _ _ _ [A] _ _ [E] The original [A#] publishing demos start to circulate in 1968 and they get bootlegged on vinyl in [D#] 1969.
It was literally just a white cover [A#] that they had a rubber stamp made that said Great White Wonder.
And they went, _ [F] it didn't just start a [D#] minor Bob Dylan fan [A#] club, it started a whole bootleg industry.
[A] _ _ _ _ _
When the 2LP set came [E] out in 1975, it should have, in [A] theory, one might think, quenched
the thirst of the public of the basement tapes.
[E] Ah-ha! _ _
_ _ Anybody [A] else, the 2LP [Em] set would have come out, oh great, that's what they did, [B] this
is great, now we've got it.
[E] But the Dylan fans, they began to dig, dig, dig, dig, dig, dig, dig, dig, and they found
out there was a lot more stuff done there, and it took 40-something [C#m] years, but here we are.
[A] When you talk about [E] bootlegs, what has been more [C#m] desired than this?
[A] Who [E] _ [B] is that million [E] dollar bastard? _ _ _ _
_ _ _ _ _ [Em] You don't have to use
_ To me it's always been holy grail to actually fumble the original reel.
You know, to actually [Bm] say, yeah, this is it.
This is the real thing.
[D] Well, the goal was to get as much out of the [A] tapes as possible and to allow you to, you
know, be on the stairs that [B] led down to the basement so you could hear one of those guys [E] playing.
Here in the room, you're right there.
[A] You feel people breathing.
Everything that's been [Bm] mythologized or turned into legend [D] on behalf of what happened in
that Woodstock basement in the summer of 67 [A] is true. _ _
_ _ I think the basement tape starts, I think there's no question, with that world tour
of 65, 66.
They were [Bm] unbelievably grueling shows [C#m] because, of course, everywhere Bob went [A] he was badly
obscene by sections of the audience.
At some shows, _ a large section of the audience [B] turned on him, _ _ [F#] usually during the electric set.
You can't do that for a year without a get-in to you at [E] some point.
_ After that long, grueling tour, Dylan went back to Woodstock to relax.
It's where Bob [Bm] Dylan starts to get his mojo back.
They [Em] leave Dylan's [E] house and they go to [G#] Big P. _
[E] Dick Danko [F#] said, you have [B] to understand, he said, this was a clubhouse.
It was wonderful.
_ [E] _ At _ [B] _ _ _ _ _ [E] _ _
[F#] _ _ [B] _ _ _ _ _ _
_ some point, _ [G#m] somebody flicks [D] the trigger, you know, [E] and [D] suddenly the front gate's open.
_ [E] _ _ _ [D] _ _ _ _
[E] _ _ _ [D] _ _ _ [E] _ _
_ [D] _ _ _ _ [E] _ _ _
[D] _ _ _ [E] And suddenly all [D] the imagery and [E] all the ideas that are going to make the basement tapes
[D] extraordinary body of work come [E] together in one song.
And it's [D] there, literally, [E] unlocking the key.
_ [D] _ _ [E] And he kind of opens up the [D] history of American popular music [E] in this extraordinary way [A]
for
these guys [C#] during these sessions.
Tears of _ _
[F#m] _ _ _ _ _ _ [D] rage, [Bm] I shall be released, too [A] much of nothing.
He seems to be coming out with masterpieces on an almost daily basis.
_ [E] _ _
_ _ _ _ _ _ _ _
_ _ _ _ [A] _ _ [E] The original [A#] publishing demos start to circulate in 1968 and they get bootlegged on vinyl in [D#] 1969.
It was literally just a white cover [A#] that they had a rubber stamp made that said Great White Wonder.
And they went, _ [F] it didn't just start a [D#] minor Bob Dylan fan [A#] club, it started a whole bootleg industry.
[A] _ _ _ _ _
When the 2LP set came [E] out in 1975, it should have, in [A] theory, one might think, quenched
the thirst of the public of the basement tapes.
[E] Ah-ha! _ _
_ _ Anybody [A] else, the 2LP [Em] set would have come out, oh great, that's what they did, [B] this
is great, now we've got it.
[E] But the Dylan fans, they began to dig, dig, dig, dig, dig, dig, dig, dig, and they found
out there was a lot more stuff done there, and it took 40-something [C#m] years, but here we are.
[A] When you talk about [E] bootlegs, what has been more [C#m] desired than this?
[A] Who [E] _ [B] is that million [E] dollar bastard? _ _ _ _
_ _ _ _ _ [Em] You don't have to use