Chords for Chuck Berry - Nadine - Praised by Rock Stars - Best Audio
Tempo:
75.35 bpm
Chords used:
Bb
Eb
F
C
Cm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
He's the first songwriter-singer that I know of.
There were others, but not with that much rhythm and that much
the way the lyrics rolled off the tongue, the way they were stabbed, the way they cut, and the way they
they sort of seemed to lay there with the drums, all the lyric.
It's just a free-form expression.
And he [Eb] did the same thing with the [Ab] guitar that he did with his voice and [Eb] with his writing.
[Cm] You couldn't find an earlier example [Bb] of a singer-songwriter [Eb] guitarist.
I saw her on the corner, she turned and doubled back, started walking to a coffee-colored Cadillac,
you know?
It was like, [Gm] I've never seen a coffee-colored Cadillac, but I know exactly what one looks like.
[Bb]
Let me off the bus.
Nadine, honey, is that you?
Whoa, [Eb] Nadine, honey, is [Bb] that you?
[F] Every time I [Bb] see you, you got something else to do.
I saw her from the corner when she turned and doubled back,
and started walking toward a coffee-colored Cadillac.
Pushing through the crowd,
she's got the wishes that beat, shout like a Southern diplomat.
Nadine, is that you?
[Eb] Whoa, whoa, whoa, whoa, Nadine, [Bb] is that you?
[Gm] [Bb]
[F] Every time I see [Bb] you, you got something else to do.
[F]
[Bb]
[Eb] [Bbm] [Bb]
[F] [Bbm] [Eb] [Bb]
[B] [Bb]
[Eb] [Bb] [Eb]
[F] [Cm] [Bb] [F]
[Bb] You know, she moves around like a wave of summer breeze.
Go, driver, go, go ahead, let her for me, please.
Move me through the traffic like a mounted cavalier.
I'm leaning out the taxi window trying to make her hear.
Nadine, is that you?
[Eb]
Whoa, Nadine, [Bb] is that you?
[Cm] Every [C] time I see you, honey, you [Bb] up to something new.
[Fm]
[Bb] [F] [N] And for rock and roll, you know, obvious, it's Chuck,
Chuck Berry.
[G] You know, you want a bit of Chuck?
I'll do my best.
[A] [D] [A]
[C] [A] [Eb] [N] And then you get that Chuck, Chuck thing, and that was probably, I think, for rock and roll, and especially at the time, it was probably, you know,
everyone's, you know, the bulk of people's idols, you know, you would watch Chuck.
When I would watch somebody like Chuck Berry [Db] or something, you know, he would always,
you know, especially if [E] he was singing, you know, he always had little raps that he had going with
[N] an audience, you know, he'd go, Ole, and the audience would go, Ole, and then he'd go, Ole, and then he'd go, Ole, you know, and he had all of that.
You know, he'd just go like this, and the audience would respond.
So I would try and do, I thought, well, with Chuck and then maybe I can do it with the guitar, so I go,
you know, and if the audience went, yeah, you know, and you sort [G] of build it up, [A] so you get like,
[Em]
[Db] and I'll [B] just, you know, I went, Chuck Berry, [Cm] my hero, it just came out, you know.
Group in the world, [C] not one of us from Beatles to Stones, [Bb] you name any top group, they've all [F] been
influenced by him.
[C] His lyrics that were very intelligent lyrics in the [Bb] 50s when people were
just singing virtually about [C] nothing, he was writing social comment songs, he's writing all
kinds [N] of songs with incredible meter to the lyrics, which influenced Dylan and me and many other people.
The meter of his lyrics was tremendous.
He's the greatest rock and roll poet, and I really admire him.
There were others, but not with that much rhythm and that much
the way the lyrics rolled off the tongue, the way they were stabbed, the way they cut, and the way they
they sort of seemed to lay there with the drums, all the lyric.
It's just a free-form expression.
And he [Eb] did the same thing with the [Ab] guitar that he did with his voice and [Eb] with his writing.
[Cm] You couldn't find an earlier example [Bb] of a singer-songwriter [Eb] guitarist.
I saw her on the corner, she turned and doubled back, started walking to a coffee-colored Cadillac,
you know?
It was like, [Gm] I've never seen a coffee-colored Cadillac, but I know exactly what one looks like.
[Bb]
Let me off the bus.
Nadine, honey, is that you?
Whoa, [Eb] Nadine, honey, is [Bb] that you?
[F] Every time I [Bb] see you, you got something else to do.
I saw her from the corner when she turned and doubled back,
and started walking toward a coffee-colored Cadillac.
Pushing through the crowd,
she's got the wishes that beat, shout like a Southern diplomat.
Nadine, is that you?
[Eb] Whoa, whoa, whoa, whoa, Nadine, [Bb] is that you?
[Gm] [Bb]
[F] Every time I see [Bb] you, you got something else to do.
[F]
[Bb]
[Eb] [Bbm] [Bb]
[F] [Bbm] [Eb] [Bb]
[B] [Bb]
[Eb] [Bb] [Eb]
[F] [Cm] [Bb] [F]
[Bb] You know, she moves around like a wave of summer breeze.
Go, driver, go, go ahead, let her for me, please.
Move me through the traffic like a mounted cavalier.
I'm leaning out the taxi window trying to make her hear.
Nadine, is that you?
[Eb]
Whoa, Nadine, [Bb] is that you?
[Cm] Every [C] time I see you, honey, you [Bb] up to something new.
[Fm]
[Bb] [F] [N] And for rock and roll, you know, obvious, it's Chuck,
Chuck Berry.
[G] You know, you want a bit of Chuck?
I'll do my best.
[A] [D] [A]
[C] [A] [Eb] [N] And then you get that Chuck, Chuck thing, and that was probably, I think, for rock and roll, and especially at the time, it was probably, you know,
everyone's, you know, the bulk of people's idols, you know, you would watch Chuck.
When I would watch somebody like Chuck Berry [Db] or something, you know, he would always,
you know, especially if [E] he was singing, you know, he always had little raps that he had going with
[N] an audience, you know, he'd go, Ole, and the audience would go, Ole, and then he'd go, Ole, and then he'd go, Ole, you know, and he had all of that.
You know, he'd just go like this, and the audience would respond.
So I would try and do, I thought, well, with Chuck and then maybe I can do it with the guitar, so I go,
you know, and if the audience went, yeah, you know, and you sort [G] of build it up, [A] so you get like,
[Em]
[Db] and I'll [B] just, you know, I went, Chuck Berry, [Cm] my hero, it just came out, you know.
Group in the world, [C] not one of us from Beatles to Stones, [Bb] you name any top group, they've all [F] been
influenced by him.
[C] His lyrics that were very intelligent lyrics in the [Bb] 50s when people were
just singing virtually about [C] nothing, he was writing social comment songs, he's writing all
kinds [N] of songs with incredible meter to the lyrics, which influenced Dylan and me and many other people.
The meter of his lyrics was tremendous.
He's the greatest rock and roll poet, and I really admire him.
Key:
Bb
Eb
F
C
Cm
Bb
Eb
F
He's the first songwriter-singer that I know of.
There were others, but not with that much rhythm and that much_
the way the lyrics rolled off the tongue, the way they were stabbed, the way they cut, and the way they
they sort of seemed to lay there with the drums, all the lyric.
It's just a free-form expression.
And he [Eb] did the same thing with the [Ab] guitar that he did with his voice and [Eb] with his writing.
[Cm] You couldn't find an earlier example [Bb] of a singer-songwriter [Eb] guitarist.
I saw her on the corner, she turned and doubled back, started walking to a coffee-colored Cadillac,
you know?
It was like, [Gm] I've never seen a coffee-colored Cadillac, but I know exactly what one looks like. _
_ [Bb] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ Let me off the bus.
Nadine, honey, is that you? _
Whoa, [Eb] Nadine, _ honey, is [Bb] that you? _ _
[F] Every time I [Bb] see you, you got something else to do. _ _
I saw her from the corner when she turned and doubled back,
and started walking toward a coffee-colored Cadillac.
Pushing through the crowd,
she's got the wishes that beat, shout like a Southern diplomat.
Nadine, is that you? _
[Eb] Whoa, whoa, whoa, whoa, Nadine, _ [Bb] is that you?
[Gm] _ [Bb] _
[F] Every time I see [Bb] you, you got something else to do.
[F] _
_ [Bb] _ _ _ _ _ _ _
_ [Eb] _ _ [Bbm] _ _ [Bb] _ _ _
_ [F] _ _ [Bbm] _ [Eb] _ [Bb] _ _ _
_ _ [B] _ [Bb] _ _ _ _ _
_ [Eb] _ _ _ _ [Bb] _ [Eb] _ _
[F] _ _ _ _ [Cm] _ [Bb] _ _ [F]
[Bb] You know, she moves around like a wave of summer breeze.
Go, driver, go, go ahead, let her for me, please.
Move me through the traffic like a mounted cavalier.
I'm leaning out the taxi window trying to make her hear.
Nadine, _ is that you?
_ [Eb]
Whoa, Nadine, _ [Bb] is that you? _
[Cm] Every [C] time I see you, honey, you [Bb] up to something new. _ _
_ _ _ _ _ _ [Fm] _ _
_ _ [Bb] _ _ _ [F] [N] And for rock and roll, you know, obvious, it's Chuck,
Chuck Berry.
[G] You know, you want a bit of Chuck?
I'll do my best.
[A] _ _ [D] _ [A] _ _ _ _
_ [C] _ [A] _ _ _ [Eb] _ [N] And then you get that Chuck, Chuck thing, and that was probably, I think, for rock and roll, and especially at the time, it was probably, you know,
everyone's, you know, the bulk of people's idols, you know, you would watch Chuck.
When I would watch somebody like Chuck Berry [Db] or something, you know, he would always,
you know, especially if [E] he was singing, you know, he always had little raps that he had going with
[N] an audience, you know, he'd go, Ole, and the audience would go, Ole, and then he'd go, Ole, and then he'd go, Ole, you know, and he had all of that.
You know, he'd just go like this, and the audience would respond. _
_ So _ I would try and do, I thought, well, with Chuck and then maybe I can do it with the guitar, so I go,
you know, and if the audience went, yeah, you know, and you sort [G] of build it up, [A] so you get like,
_ _ [Em] _
_ _ [Db] _ and I'll [B] just, you know, I went, Chuck Berry, [Cm] my hero, it just came out, you know.
Group _ _ _ in the world, _ _ _ _ _ [C] not one of us from Beatles to Stones, [Bb] you name any top group, they've all [F] been
influenced by him.
[C] His lyrics that were very intelligent lyrics in the [Bb] 50s when people were
just singing virtually about [C] nothing, he was writing social comment songs, he's writing all
kinds [N] of songs with incredible meter to the lyrics, which influenced Dylan and me and many other people.
The meter of his lyrics was tremendous.
He's the greatest rock and roll poet, and I really admire him. _ _ _ _ _
_ _ _ _ _ _ _ _
There were others, but not with that much rhythm and that much_
the way the lyrics rolled off the tongue, the way they were stabbed, the way they cut, and the way they
they sort of seemed to lay there with the drums, all the lyric.
It's just a free-form expression.
And he [Eb] did the same thing with the [Ab] guitar that he did with his voice and [Eb] with his writing.
[Cm] You couldn't find an earlier example [Bb] of a singer-songwriter [Eb] guitarist.
I saw her on the corner, she turned and doubled back, started walking to a coffee-colored Cadillac,
you know?
It was like, [Gm] I've never seen a coffee-colored Cadillac, but I know exactly what one looks like. _
_ [Bb] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ Let me off the bus.
Nadine, honey, is that you? _
Whoa, [Eb] Nadine, _ honey, is [Bb] that you? _ _
[F] Every time I [Bb] see you, you got something else to do. _ _
I saw her from the corner when she turned and doubled back,
and started walking toward a coffee-colored Cadillac.
Pushing through the crowd,
she's got the wishes that beat, shout like a Southern diplomat.
Nadine, is that you? _
[Eb] Whoa, whoa, whoa, whoa, Nadine, _ [Bb] is that you?
[Gm] _ [Bb] _
[F] Every time I see [Bb] you, you got something else to do.
[F] _
_ [Bb] _ _ _ _ _ _ _
_ [Eb] _ _ [Bbm] _ _ [Bb] _ _ _
_ [F] _ _ [Bbm] _ [Eb] _ [Bb] _ _ _
_ _ [B] _ [Bb] _ _ _ _ _
_ [Eb] _ _ _ _ [Bb] _ [Eb] _ _
[F] _ _ _ _ [Cm] _ [Bb] _ _ [F]
[Bb] You know, she moves around like a wave of summer breeze.
Go, driver, go, go ahead, let her for me, please.
Move me through the traffic like a mounted cavalier.
I'm leaning out the taxi window trying to make her hear.
Nadine, _ is that you?
_ [Eb]
Whoa, Nadine, _ [Bb] is that you? _
[Cm] Every [C] time I see you, honey, you [Bb] up to something new. _ _
_ _ _ _ _ _ [Fm] _ _
_ _ [Bb] _ _ _ [F] [N] And for rock and roll, you know, obvious, it's Chuck,
Chuck Berry.
[G] You know, you want a bit of Chuck?
I'll do my best.
[A] _ _ [D] _ [A] _ _ _ _
_ [C] _ [A] _ _ _ [Eb] _ [N] And then you get that Chuck, Chuck thing, and that was probably, I think, for rock and roll, and especially at the time, it was probably, you know,
everyone's, you know, the bulk of people's idols, you know, you would watch Chuck.
When I would watch somebody like Chuck Berry [Db] or something, you know, he would always,
you know, especially if [E] he was singing, you know, he always had little raps that he had going with
[N] an audience, you know, he'd go, Ole, and the audience would go, Ole, and then he'd go, Ole, and then he'd go, Ole, you know, and he had all of that.
You know, he'd just go like this, and the audience would respond. _
_ So _ I would try and do, I thought, well, with Chuck and then maybe I can do it with the guitar, so I go,
you know, and if the audience went, yeah, you know, and you sort [G] of build it up, [A] so you get like,
_ _ [Em] _
_ _ [Db] _ and I'll [B] just, you know, I went, Chuck Berry, [Cm] my hero, it just came out, you know.
Group _ _ _ in the world, _ _ _ _ _ [C] not one of us from Beatles to Stones, [Bb] you name any top group, they've all [F] been
influenced by him.
[C] His lyrics that were very intelligent lyrics in the [Bb] 50s when people were
just singing virtually about [C] nothing, he was writing social comment songs, he's writing all
kinds [N] of songs with incredible meter to the lyrics, which influenced Dylan and me and many other people.
The meter of his lyrics was tremendous.
He's the greatest rock and roll poet, and I really admire him. _ _ _ _ _
_ _ _ _ _ _ _ _