Chords for Bob Mould talks about Hoover Dam song
Tempo:
98.7 bpm
Chords used:
B
F#
E
A
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G] This song has [C#] never really left your [B] repertoire.
No!
I mean, why [E] do you think it's stayed [B] around?
People go nuts when I play it.
It's easy to play.
It's in my vocal range [Gm] still.
[G#] It's just, it's like one of those [F#] super, super easy,
fun, everybody loves it songs.
Why would you not [B] play those?
Standing on [E] the edge of the moon
[F#]
Well I'm [B] almost terrified
[F#] Of life it seems to be so [B] fine
If the wind [G] from the south
Makes your [F#] glow meet [E] your way
So Bob, why don't you tell us where we are?
We are at 70 [A] Richardson Street,
Brooklyn, New York, 11211.
I think it's still 11211.
And this is where Copper Blue was written.
This is where a good chunk of Copper Blue was written,
and Beester, and all kinds of stuff happened in this space.
These two windows here were my bedroom,
and if you go straight back about 40 feet
past a [G] big open area with a freight elevator,
I had a little room that was maybe whatever that is [D#] wide,
I'm guessing 12 wide by maybe 14 deep,
and the windows looked out on the BQE,
and there was tons of [F#] dust that would come in,
and there was like lead floors and brick walls.
[N] I mean, I had no money.
And you said in the book that this was like
your most fertile creative [F#] period ever.
Did the space contribute to that [A] creative spurt you had?
Yeah, I mean it was really fun.
The neighborhood at the time, like I said,
there was really nothing over here.
It was just sort of a blank canvas to work on,
both as people who lived in the neighborhood
and just to make music.
[A#]
[B] Standing on the edge of the Hoover Dam, yeah
How far along in the [F#] process did Hoover Dam come?
[Bm]
Hoover Dam was probably just upon moving into here.
And [B] Hoover Dam's a weird song because [A#] the music for it,
I think I had been carrying around
in my dreams for many years.
I don't know why I started with
Standing on the Edge of the Hoover Dam.
It's very, as [D#] all good songs,
as soon as you set the stage so quickly in a [E] song,
you know, lyrically, it's [Em] very easy to get,
[G#] very easy to build [F#] out allegory from there
because it's [F#] giving people this reference [B] point.
Now if the [F#]
Mississippi [B] should wash me away, [F#] yeah
[B] Down the middle of the [F#] lanes,
maybe someday in my [B] dreams I'll lie [E] awake
Feeling [G] the sweat [F#] from the gulp [B] in my mouth
[A]
Somebody asked me about it,
and it's [Bm] like, oh, it's a suicide song, right?
And that [F#] never occurred to me.
And what is that song about?
It could be if [Am] you wanted it to be.
But it's got a lot of different images, [N] you know,
just the, you know, because in the second verse
it goes away from the Hoover Dam and it does that whole
If the Mississippi should wash me away
down the New [E] Orleans.
[F#] So, you know, maybe it is.
[F#m] Oh yeah, I'm [B] spinning down the [C#m] hole
[B] Losing all control
I'm down to [A] lose and pop [B] me Oh!
[F#] It switches location.
Yeah, it does switch location.
So is that, was that just kind of part of the dream imagery of it?
I just felt like getting off of it by the [Bm] second verse.
You know, there's carousels and there's altitudes
[D] and there's all, you know, it's just one [F#] of those
it's a great travelogue song.
[D] But it definitely started with [B] that first line
and when it, you know, when it came time to find [A] a chorus
to get out on, [F#] it was just take the first line and keep going.
When [B] I'm standing [E] on the edge of the [B] Hoover Dam
I am my, [E] am my, [B] am
[F#] Oh, I love you
Have you ever [C#] had like a similarly creative period
like that's been comparable to when you wrote it?
Yeah, up on the farm in 1988 for Workbook.
I mean, those are the two that I always think of
that I was just like, wow, you know,
environment was so important to, to
you know, just where I was in my life
is so important to the records, you know, making them very unique.
[F#] You know, I felt maybe like I had something to prove
and it was nice to get back to just like very simple
have a lot of space to make work and
[Bm] it [E] sort of worked out, there was no big plan.
[F#] Oh no, [B] I'm standing [C#m] on the edge [B] of the Hoover Dam
I [A] am [B] now
Oh, am I
[E]
No!
I mean, why [E] do you think it's stayed [B] around?
People go nuts when I play it.
It's easy to play.
It's in my vocal range [Gm] still.
[G#] It's just, it's like one of those [F#] super, super easy,
fun, everybody loves it songs.
Why would you not [B] play those?
Standing on [E] the edge of the moon
[F#]
Well I'm [B] almost terrified
[F#] Of life it seems to be so [B] fine
If the wind [G] from the south
Makes your [F#] glow meet [E] your way
So Bob, why don't you tell us where we are?
We are at 70 [A] Richardson Street,
Brooklyn, New York, 11211.
I think it's still 11211.
And this is where Copper Blue was written.
This is where a good chunk of Copper Blue was written,
and Beester, and all kinds of stuff happened in this space.
These two windows here were my bedroom,
and if you go straight back about 40 feet
past a [G] big open area with a freight elevator,
I had a little room that was maybe whatever that is [D#] wide,
I'm guessing 12 wide by maybe 14 deep,
and the windows looked out on the BQE,
and there was tons of [F#] dust that would come in,
and there was like lead floors and brick walls.
[N] I mean, I had no money.
And you said in the book that this was like
your most fertile creative [F#] period ever.
Did the space contribute to that [A] creative spurt you had?
Yeah, I mean it was really fun.
The neighborhood at the time, like I said,
there was really nothing over here.
It was just sort of a blank canvas to work on,
both as people who lived in the neighborhood
and just to make music.
[A#]
[B] Standing on the edge of the Hoover Dam, yeah
How far along in the [F#] process did Hoover Dam come?
[Bm]
Hoover Dam was probably just upon moving into here.
And [B] Hoover Dam's a weird song because [A#] the music for it,
I think I had been carrying around
in my dreams for many years.
I don't know why I started with
Standing on the Edge of the Hoover Dam.
It's very, as [D#] all good songs,
as soon as you set the stage so quickly in a [E] song,
you know, lyrically, it's [Em] very easy to get,
[G#] very easy to build [F#] out allegory from there
because it's [F#] giving people this reference [B] point.
Now if the [F#]
Mississippi [B] should wash me away, [F#] yeah
[B] Down the middle of the [F#] lanes,
maybe someday in my [B] dreams I'll lie [E] awake
Feeling [G] the sweat [F#] from the gulp [B] in my mouth
[A]
Somebody asked me about it,
and it's [Bm] like, oh, it's a suicide song, right?
And that [F#] never occurred to me.
And what is that song about?
It could be if [Am] you wanted it to be.
But it's got a lot of different images, [N] you know,
just the, you know, because in the second verse
it goes away from the Hoover Dam and it does that whole
If the Mississippi should wash me away
down the New [E] Orleans.
[F#] So, you know, maybe it is.
[F#m] Oh yeah, I'm [B] spinning down the [C#m] hole
[B] Losing all control
I'm down to [A] lose and pop [B] me Oh!
[F#] It switches location.
Yeah, it does switch location.
So is that, was that just kind of part of the dream imagery of it?
I just felt like getting off of it by the [Bm] second verse.
You know, there's carousels and there's altitudes
[D] and there's all, you know, it's just one [F#] of those
it's a great travelogue song.
[D] But it definitely started with [B] that first line
and when it, you know, when it came time to find [A] a chorus
to get out on, [F#] it was just take the first line and keep going.
When [B] I'm standing [E] on the edge of the [B] Hoover Dam
I am my, [E] am my, [B] am
[F#] Oh, I love you
Have you ever [C#] had like a similarly creative period
like that's been comparable to when you wrote it?
Yeah, up on the farm in 1988 for Workbook.
I mean, those are the two that I always think of
that I was just like, wow, you know,
environment was so important to, to
you know, just where I was in my life
is so important to the records, you know, making them very unique.
[F#] You know, I felt maybe like I had something to prove
and it was nice to get back to just like very simple
have a lot of space to make work and
[Bm] it [E] sort of worked out, there was no big plan.
[F#] Oh no, [B] I'm standing [C#m] on the edge [B] of the Hoover Dam
I [A] am [B] now
Oh, am I
[E]
Key:
B
F#
E
A
G
B
F#
E
_ _ [G] This song has [C#] never really left your [B] repertoire.
No!
I mean, why [E] do you think it's stayed [B] around?
People go nuts when I play it.
It's easy to play.
It's in my vocal range [Gm] still.
_ [G#] _ It's just, it's like one of those [F#] super, super easy,
fun, everybody loves it songs.
Why would you not [B] play those?
Standing on [E] the edge of the moon
_ [F#] _ _
Well I'm [B] almost terrified
[F#] Of life it seems to be so [B] fine
If the wind [G] from the south
Makes your [F#] glow meet [E] your way
So Bob, why don't you tell us where we are?
We are at 70 [A] Richardson Street,
Brooklyn, New York, _ 11211.
I think it's still 11211.
And this is where Copper Blue was written.
This is where a good chunk of Copper Blue was written,
and Beester, and all kinds of stuff happened in this space.
These two windows here were my bedroom,
and if you go straight back about 40 feet
past a [G] big open area with a freight elevator,
I had a little room that was maybe whatever that is [D#] wide,
I'm guessing 12 wide by maybe 14 deep,
and the windows looked out on the BQE,
and there was tons of [F#] dust that would come in,
and there was like lead floors and brick walls.
[N] I mean, I had no money.
And you said in the book that this was like
your most fertile creative [F#] period ever.
Did the space contribute to that [A] creative spurt you had?
Yeah, I mean it was really fun.
The neighborhood at the time, like I said,
there was really nothing over here.
It was just sort of a blank canvas to work on,
both as people who lived in the neighborhood
and just to make music.
_ [A#] _ _ _
_ [B] _ Standing on the edge of the Hoover Dam, yeah
How far along in the [F#] process did Hoover Dam come?
_ [Bm]
Hoover Dam was probably just upon moving into here.
And [B] Hoover Dam's a weird song because [A#] the music for it,
I think I had been carrying around
in my dreams for many years.
I don't know why I started with
Standing on the Edge of the Hoover Dam.
It's very, as [D#] all good songs,
as soon as you set the stage so quickly in a [E] song,
you know, lyrically, it's [Em] very easy to get,
[G#] very easy to build [F#] out allegory from there
because it's [F#] giving people this reference [B] point.
Now if the [F#]
Mississippi [B] should wash me away, [F#] yeah
[B] Down the middle of the [F#] lanes,
maybe someday in my [B] dreams I'll lie [E] awake
Feeling [G] the sweat [F#] from the gulp [B] in my mouth
[A]
Somebody asked me about it,
and it's [Bm] like, oh, it's a suicide song, right?
And that [F#] never occurred to me.
And what is that song about?
It could be if [Am] you wanted it to be.
But it's got a lot of different images, [N] you know,
just the, you know, because in the second verse
it goes away from the Hoover Dam and it does that whole
If the Mississippi should wash me away
down the New [E] Orleans.
[F#] So, you know, maybe it is.
[F#m] Oh yeah, I'm [B] spinning down the [C#m] hole
[B] Losing all control
I'm down to [A] lose and pop [B] me Oh!
[F#] It switches location.
Yeah, it does switch location.
So is that, was that just kind of part of the dream imagery of it?
I just felt like getting off of it by the [Bm] second verse.
You know, there's carousels and there's altitudes
[D] and there's all, you know, it's just one [F#] of those
it's a great travelogue song.
[D] But it definitely started with [B] that first line
and when it, you know, when it came time to find [A] a chorus
to get out on, [F#] it was just take the first line and keep going.
When [B] I'm standing [E] on the edge of the [B] Hoover Dam
I am my, [E] am my, [B] am
[F#] Oh, I love you
Have you ever [C#] had like a similarly creative period
like that's been comparable to when you wrote it?
Yeah, up on the farm in 1988 for Workbook.
_ I mean, those are the two that I always think of
that I was just like, wow, you know,
environment was so important to, to
you _ know, just where I was in my life
is so important to the records, you know, making them very unique.
[F#] You know, I felt maybe like I had something to prove
and it was nice to get back to just like very simple
have a lot of space to make work and
[Bm] it [E] sort of worked out, there was no big plan.
[F#] Oh no, [B] I'm standing [C#m] on the edge [B] of the Hoover Dam
I _ [A] am _ [B] now
Oh, am I _ _ _
_ _ _ [E] _ _ _
No!
I mean, why [E] do you think it's stayed [B] around?
People go nuts when I play it.
It's easy to play.
It's in my vocal range [Gm] still.
_ [G#] _ It's just, it's like one of those [F#] super, super easy,
fun, everybody loves it songs.
Why would you not [B] play those?
Standing on [E] the edge of the moon
_ [F#] _ _
Well I'm [B] almost terrified
[F#] Of life it seems to be so [B] fine
If the wind [G] from the south
Makes your [F#] glow meet [E] your way
So Bob, why don't you tell us where we are?
We are at 70 [A] Richardson Street,
Brooklyn, New York, _ 11211.
I think it's still 11211.
And this is where Copper Blue was written.
This is where a good chunk of Copper Blue was written,
and Beester, and all kinds of stuff happened in this space.
These two windows here were my bedroom,
and if you go straight back about 40 feet
past a [G] big open area with a freight elevator,
I had a little room that was maybe whatever that is [D#] wide,
I'm guessing 12 wide by maybe 14 deep,
and the windows looked out on the BQE,
and there was tons of [F#] dust that would come in,
and there was like lead floors and brick walls.
[N] I mean, I had no money.
And you said in the book that this was like
your most fertile creative [F#] period ever.
Did the space contribute to that [A] creative spurt you had?
Yeah, I mean it was really fun.
The neighborhood at the time, like I said,
there was really nothing over here.
It was just sort of a blank canvas to work on,
both as people who lived in the neighborhood
and just to make music.
_ [A#] _ _ _
_ [B] _ Standing on the edge of the Hoover Dam, yeah
How far along in the [F#] process did Hoover Dam come?
_ [Bm]
Hoover Dam was probably just upon moving into here.
And [B] Hoover Dam's a weird song because [A#] the music for it,
I think I had been carrying around
in my dreams for many years.
I don't know why I started with
Standing on the Edge of the Hoover Dam.
It's very, as [D#] all good songs,
as soon as you set the stage so quickly in a [E] song,
you know, lyrically, it's [Em] very easy to get,
[G#] very easy to build [F#] out allegory from there
because it's [F#] giving people this reference [B] point.
Now if the [F#]
Mississippi [B] should wash me away, [F#] yeah
[B] Down the middle of the [F#] lanes,
maybe someday in my [B] dreams I'll lie [E] awake
Feeling [G] the sweat [F#] from the gulp [B] in my mouth
[A]
Somebody asked me about it,
and it's [Bm] like, oh, it's a suicide song, right?
And that [F#] never occurred to me.
And what is that song about?
It could be if [Am] you wanted it to be.
But it's got a lot of different images, [N] you know,
just the, you know, because in the second verse
it goes away from the Hoover Dam and it does that whole
If the Mississippi should wash me away
down the New [E] Orleans.
[F#] So, you know, maybe it is.
[F#m] Oh yeah, I'm [B] spinning down the [C#m] hole
[B] Losing all control
I'm down to [A] lose and pop [B] me Oh!
[F#] It switches location.
Yeah, it does switch location.
So is that, was that just kind of part of the dream imagery of it?
I just felt like getting off of it by the [Bm] second verse.
You know, there's carousels and there's altitudes
[D] and there's all, you know, it's just one [F#] of those
it's a great travelogue song.
[D] But it definitely started with [B] that first line
and when it, you know, when it came time to find [A] a chorus
to get out on, [F#] it was just take the first line and keep going.
When [B] I'm standing [E] on the edge of the [B] Hoover Dam
I am my, [E] am my, [B] am
[F#] Oh, I love you
Have you ever [C#] had like a similarly creative period
like that's been comparable to when you wrote it?
Yeah, up on the farm in 1988 for Workbook.
_ I mean, those are the two that I always think of
that I was just like, wow, you know,
environment was so important to, to
you _ know, just where I was in my life
is so important to the records, you know, making them very unique.
[F#] You know, I felt maybe like I had something to prove
and it was nice to get back to just like very simple
have a lot of space to make work and
[Bm] it [E] sort of worked out, there was no big plan.
[F#] Oh no, [B] I'm standing [C#m] on the edge [B] of the Hoover Dam
I _ [A] am _ [B] now
Oh, am I _ _ _
_ _ _ [E] _ _ _