Chords for Chris Whitley Interview w/ DJ Andy Anderson
Tempo:
130 bpm
Chords used:
C
Bb
F
G
Eb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Wild about the [Eb] white stripes, [Db] Gaga for goldfrap, [Ab] into Interpol, [E]
then you should be watching
[E] Rodeo, the [B] best music video show on the web.
[Ab] Tune into Rodeo at tbtonic.com and discover why Sub Pop Records calls us [Ab] an indie [Db] music lover's dream.
[Db]
[D] I met DJ Logic, I think a year or two years ago or something [Eb] like that.
I played on Mendesky, Martin and Woodward doing Five Nights Here and he was playing
[D] and we just got along and me and Jason and Vernon Reed just sat up in this rehearsal
studio just kind of jamming like blues [C] with DJ stuff and it was really fun.
To me it's wonderful because he just likes it and does it immediately.
He's not like the dogmatic hip hop only guy.
He's really like an artist.
On one side I completely related to old pragmatism, like [Fm] a poor boy [C] pragmatism of Delta Blues,
original country blues was.
It's not very technical [D] music, it was just [Bb] expressive as hell and [C] it still sounds vital
and important now.
[Ab] Someone else recorded it in the late [Bb] 20s, a [F] guy who's got [Bb] no [G] technique per se, no relation
to classical music [C] exactly.
I even tried to write rap in [Gm] 1980 [Bb]
and I actually [F] put out a record in Europe that there's raps on it.
Really bad.
[F] The lyrics aren't bad but I can't rap.
I got into [A] Prince and more [Eb] American R&B.
[G] I mean later, like Earth, Wind & Fire and Cameo and the [Bb] time and stuff like that that
was going on in the 80s.
I got more into it in Europe.
I worked as a DJ [A] there myself just [C] spinning dance music and [G] then I got into techno, yellow
and craft work and those [C] bands that were going on then.
My father's an art director, [G]
commercial advertising.
Did well with himself but I grew up with my mom, was a sculptor and she was always starving
and [Bbm] very purist.
[D] It's a Van Gogh [Db] thing, you know.
[A] [Gm] And I was always in between [Cm] trying to reconcile that and I've done it the most [F] on this record
in the way I wish something would sound and being accessible but also [G] mystery and you
know being, you'll have to listen to it a couple times also.
It's not just all face value but a lot of power.
This time I just tried to have some fun with it and to me the record sounds more inspired
than a lot of the [Eb] things I've [F] done where I was trying to control everything.
then you should be watching
[E] Rodeo, the [B] best music video show on the web.
[Ab] Tune into Rodeo at tbtonic.com and discover why Sub Pop Records calls us [Ab] an indie [Db] music lover's dream.
[Db]
[D] I met DJ Logic, I think a year or two years ago or something [Eb] like that.
I played on Mendesky, Martin and Woodward doing Five Nights Here and he was playing
[D] and we just got along and me and Jason and Vernon Reed just sat up in this rehearsal
studio just kind of jamming like blues [C] with DJ stuff and it was really fun.
To me it's wonderful because he just likes it and does it immediately.
He's not like the dogmatic hip hop only guy.
He's really like an artist.
On one side I completely related to old pragmatism, like [Fm] a poor boy [C] pragmatism of Delta Blues,
original country blues was.
It's not very technical [D] music, it was just [Bb] expressive as hell and [C] it still sounds vital
and important now.
[Ab] Someone else recorded it in the late [Bb] 20s, a [F] guy who's got [Bb] no [G] technique per se, no relation
to classical music [C] exactly.
I even tried to write rap in [Gm] 1980 [Bb]
and I actually [F] put out a record in Europe that there's raps on it.
Really bad.
[F] The lyrics aren't bad but I can't rap.
I got into [A] Prince and more [Eb] American R&B.
[G] I mean later, like Earth, Wind & Fire and Cameo and the [Bb] time and stuff like that that
was going on in the 80s.
I got more into it in Europe.
I worked as a DJ [A] there myself just [C] spinning dance music and [G] then I got into techno, yellow
and craft work and those [C] bands that were going on then.
My father's an art director, [G]
commercial advertising.
Did well with himself but I grew up with my mom, was a sculptor and she was always starving
and [Bbm] very purist.
[D] It's a Van Gogh [Db] thing, you know.
[A] [Gm] And I was always in between [Cm] trying to reconcile that and I've done it the most [F] on this record
in the way I wish something would sound and being accessible but also [G] mystery and you
know being, you'll have to listen to it a couple times also.
It's not just all face value but a lot of power.
This time I just tried to have some fun with it and to me the record sounds more inspired
than a lot of the [Eb] things I've [F] done where I was trying to control everything.
Key:
C
Bb
F
G
Eb
C
Bb
F
_ Wild about the [Eb] white stripes, [Db] Gaga for goldfrap, _ [Ab] into Interpol, [E]
then you should be watching
[E] Rodeo, the [B] best music video show on the web.
[Ab] Tune into Rodeo at tbtonic.com and discover why Sub Pop Records calls us [Ab] an indie [Db] music lover's dream. _
_ _ _ _ _ _ [Db] _ _
_ _ [D] I met DJ Logic, _ I think a year or two years ago or something [Eb] like that.
I played on _ Mendesky, Martin and Woodward doing Five Nights Here and he was playing
[D] and we just got along and me and Jason and Vernon Reed just sat up in this rehearsal
studio just kind of jamming like blues [C] with DJ stuff and it was really fun.
To me it's wonderful because he _ _ _ just likes it and does it immediately.
He's not like the dogmatic hip hop only guy.
_ He's really like an artist.
On one side I completely related to _ old _ pragmatism, like [Fm] a poor boy [C] pragmatism of Delta Blues,
original country blues was.
It's not very technical [D] music, it was just [Bb] expressive as hell and [C] it still sounds vital
and important now.
[Ab] Someone else recorded it in the late [Bb] 20s, a [F] guy who's got [Bb] no [G] technique per se, no relation
to classical music [C] exactly.
I even tried to write rap in [Gm] 1980 [Bb] _
and I actually [F] put out a record in Europe that there's raps on it.
Really bad.
[F] The lyrics aren't bad but I can't rap.
I got into _ [A] Prince and more [Eb] American R&B.
[G] I mean later, like Earth, Wind & Fire and Cameo and the [Bb] time and stuff like that that
was going on in the 80s.
I got more into it in Europe.
I worked as a DJ [A] there myself just [C] spinning dance music and [G] then I got into techno, yellow
and craft work and those [C] bands that were going on then.
My father's an art director, [G]
commercial advertising.
_ Did well with himself but I grew up with my mom, was a sculptor and she was always starving
and [Bbm] very purist.
[D] It's a Van Gogh [Db] thing, you know.
[A] _ [Gm] And I was always in between [Cm] trying to reconcile that and I've done it the most [F] on this record
in the way I wish something would sound and being accessible but also [G] mystery and you
know being, you'll have to listen to it a couple times also.
It's not just all face value but a lot of power.
This time I just tried to have some fun with it and to me the record sounds more inspired
than a lot of the [Eb] things I've [F] done where I was trying to control everything.
_ _ _ _ _ _ _ _
then you should be watching
[E] Rodeo, the [B] best music video show on the web.
[Ab] Tune into Rodeo at tbtonic.com and discover why Sub Pop Records calls us [Ab] an indie [Db] music lover's dream. _
_ _ _ _ _ _ [Db] _ _
_ _ [D] I met DJ Logic, _ I think a year or two years ago or something [Eb] like that.
I played on _ Mendesky, Martin and Woodward doing Five Nights Here and he was playing
[D] and we just got along and me and Jason and Vernon Reed just sat up in this rehearsal
studio just kind of jamming like blues [C] with DJ stuff and it was really fun.
To me it's wonderful because he _ _ _ just likes it and does it immediately.
He's not like the dogmatic hip hop only guy.
_ He's really like an artist.
On one side I completely related to _ old _ pragmatism, like [Fm] a poor boy [C] pragmatism of Delta Blues,
original country blues was.
It's not very technical [D] music, it was just [Bb] expressive as hell and [C] it still sounds vital
and important now.
[Ab] Someone else recorded it in the late [Bb] 20s, a [F] guy who's got [Bb] no [G] technique per se, no relation
to classical music [C] exactly.
I even tried to write rap in [Gm] 1980 [Bb] _
and I actually [F] put out a record in Europe that there's raps on it.
Really bad.
[F] The lyrics aren't bad but I can't rap.
I got into _ [A] Prince and more [Eb] American R&B.
[G] I mean later, like Earth, Wind & Fire and Cameo and the [Bb] time and stuff like that that
was going on in the 80s.
I got more into it in Europe.
I worked as a DJ [A] there myself just [C] spinning dance music and [G] then I got into techno, yellow
and craft work and those [C] bands that were going on then.
My father's an art director, [G]
commercial advertising.
_ Did well with himself but I grew up with my mom, was a sculptor and she was always starving
and [Bbm] very purist.
[D] It's a Van Gogh [Db] thing, you know.
[A] _ [Gm] And I was always in between [Cm] trying to reconcile that and I've done it the most [F] on this record
in the way I wish something would sound and being accessible but also [G] mystery and you
know being, you'll have to listen to it a couple times also.
It's not just all face value but a lot of power.
This time I just tried to have some fun with it and to me the record sounds more inspired
than a lot of the [Eb] things I've [F] done where I was trying to control everything.
_ _ _ _ _ _ _ _