Chords for Donna Jean Godchaux on joining the Grateful Dead and meeting Keith Godchaux
Tempo:
76.95 bpm
Chords used:
B
E
G
F#
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[B] [E] [B]
After many years of doing the recording sessions, [G] I had to tell Jerry Wexler that I was leaving
the voice group and this and that.
It was a hard decision, but it was one that I knew that I had to make and one that had
been in my heart for a while.
Much to my mother's chagrin, I packed my bags and her not speaking to me for a week.
I made the trek out to San Francisco.
I went out there and I told my mother that I would be back and I didn't ever.
I never went back.
I got to San Francisco and I thought I was so hip.
I had my headband on.
I was so hip.
I got out there and everybody was a hippie and everybody had long hair and everybody
was into that scene.
I was like, I was literally scared to death.
Somehow or other, I made it through.
I ended up working at Union Oil in San Francisco with a whole bunch of other friends.
Some of those friends were a friend of Keith Godshaw.
That's how I met Keith.
The rest is history.
Keith and I got together and we actually decided to get married before I had ever heard him
play the piano.
After I heard him play the piano, he was like, I made so the right decision.
When I was at Union Oil, everybody was into The Grateful Dead.
I would listen to some of the records and I would go, you guys are nuts.
You're on drugs or something because these guys don't know how to play music.
I'm not belittling that.
It was fantastic.
I just couldn't relate.
They kept trying to get me to go see The Grateful Dead and I said, I'm not going to go see them.
Finally, my friends at Union Oil convinced me to go see The Grateful Dead.
I said, I'm going to prove to you guys that [E] you're just on drugs and I'm not going to take anything.
I'll go, but I'm not going to take anything.
So I didn't.
The Grateful Dead came on and they were on.
It was like the magical Grateful Dead on.
Who knows what I'm talking about?
I sat there and my little pea brain was blasted all over Winterland.
I went, my God, how do they do that?
That was the beginning of my transition from expanding my musical consciousness into something else.
When I sat up there in the balcony of Winterland, I said to whoever was sitting next to me,
when I sing again, it's going to be with that band.
I came home from Union Oil one day and I said, let's listen to some Grateful Dead.
Keith said, I don't want to listen to it anymore.
I want to play it.
I said, okay, let's go get in the band.
We took out the San Francisco Chronicle and saw that Garcia's band, his band was playing
at the Keystone Corner in San Francisco.
When Jerry came off the stage, I tapped him on the arm and I said, my husband and I have
something we want to talk to you about.
He looked at me and he said, okay, you want to come backstage?
I said, all right.
Keith and I were so scared.
We were just like, oh.
We didn't go backstage.
We were just too afraid.
It was just too much.
Garcia saw something and he came from backstage and came and sat down at our table.
Keith turned around and he looked at Jerry [G] and he looked back at me and he looked at
Jerry again and he said, you'll have to talk to my old lady.
I can't talk to you right now.
He [F#] put his head down on the table.
I said, okay, well, here it is.
I need your home phone number so that we can call you because Keith is your next piano player.
[B] [E] [B]
After many years of doing the recording sessions, [G] I had to tell Jerry Wexler that I was leaving
the voice group and this and that.
It was a hard decision, but it was one that I knew that I had to make and one that had
been in my heart for a while.
Much to my mother's chagrin, I packed my bags and her not speaking to me for a week.
I made the trek out to San Francisco.
I went out there and I told my mother that I would be back and I didn't ever.
I never went back.
I got to San Francisco and I thought I was so hip.
I had my headband on.
I was so hip.
I got out there and everybody was a hippie and everybody had long hair and everybody
was into that scene.
I was like, I was literally scared to death.
Somehow or other, I made it through.
I ended up working at Union Oil in San Francisco with a whole bunch of other friends.
Some of those friends were a friend of Keith Godshaw.
That's how I met Keith.
The rest is history.
Keith and I got together and we actually decided to get married before I had ever heard him
play the piano.
After I heard him play the piano, he was like, I made so the right decision.
When I was at Union Oil, everybody was into The Grateful Dead.
I would listen to some of the records and I would go, you guys are nuts.
You're on drugs or something because these guys don't know how to play music.
I'm not belittling that.
It was fantastic.
I just couldn't relate.
They kept trying to get me to go see The Grateful Dead and I said, I'm not going to go see them.
Finally, my friends at Union Oil convinced me to go see The Grateful Dead.
I said, I'm going to prove to you guys that [E] you're just on drugs and I'm not going to take anything.
I'll go, but I'm not going to take anything.
So I didn't.
The Grateful Dead came on and they were on.
It was like the magical Grateful Dead on.
Who knows what I'm talking about?
I sat there and my little pea brain was blasted all over Winterland.
I went, my God, how do they do that?
That was the beginning of my transition from expanding my musical consciousness into something else.
When I sat up there in the balcony of Winterland, I said to whoever was sitting next to me,
when I sing again, it's going to be with that band.
I came home from Union Oil one day and I said, let's listen to some Grateful Dead.
Keith said, I don't want to listen to it anymore.
I want to play it.
I said, okay, let's go get in the band.
We took out the San Francisco Chronicle and saw that Garcia's band, his band was playing
at the Keystone Corner in San Francisco.
When Jerry came off the stage, I tapped him on the arm and I said, my husband and I have
something we want to talk to you about.
He looked at me and he said, okay, you want to come backstage?
I said, all right.
Keith and I were so scared.
We were just like, oh.
We didn't go backstage.
We were just too afraid.
It was just too much.
Garcia saw something and he came from backstage and came and sat down at our table.
Keith turned around and he looked at Jerry [G] and he looked back at me and he looked at
Jerry again and he said, you'll have to talk to my old lady.
I can't talk to you right now.
He [F#] put his head down on the table.
I said, okay, well, here it is.
I need your home phone number so that we can call you because Keith is your next piano player.
[B] [E] [B]
Key:
B
E
G
F#
A
B
E
G
[B] _ _ [E] _ _ _ _ [B] _ _
_ After many years of doing the recording sessions, [G] I had to tell Jerry Wexler that I was leaving
the voice group and this and that.
It was a hard decision, but it was one that I knew that I had to make and one that had
been in my heart for a while.
Much to my mother's chagrin, I packed my bags and her not speaking to me for a week.
I made the trek out to San Francisco.
I went out there and I told my mother that I would be back and I didn't ever.
I never went back.
I got to San Francisco and I thought I was so hip.
_ I had my headband on.
I was so hip.
I got out there and everybody was a hippie and everybody had long hair and everybody
was into that scene.
I was like, I was literally scared to death. _ _
Somehow or other, I made it through.
I ended up working at Union Oil in San Francisco with a whole bunch of other friends. _ _ _
Some of those friends were a friend of Keith Godshaw.
_ That's how I met Keith.
The rest is history.
Keith and I got together and we actually decided to get married before I had ever heard him
play the piano.
_ _ After I heard him play the piano, he was like, I made so the right decision.
When I was at Union Oil, everybody was into The Grateful Dead.
_ I would listen to some of the records and I would go, you guys are nuts.
You're on drugs or something because these guys don't know how to play music.
I'm not belittling that.
It was fantastic.
_ _ _ _ I just couldn't relate.
They kept trying to get me to go see The Grateful Dead and I said, I'm not going to go see them.
Finally, _ my friends at Union Oil _ convinced me to go see The Grateful Dead.
I said, I'm going to prove to you guys that [E] you're just on drugs and I'm not going to take anything.
I'll go, but I'm not going to take anything.
So I didn't.
The Grateful Dead came on and they were on.
It was like the magical Grateful Dead on.
Who knows what I'm talking about?
_ _ I sat there and my little pea brain was blasted all over Winterland.
I went, _ my God, how do they do that?
That was the beginning of my transition from expanding my musical consciousness _ into something else.
When I sat up there in the balcony of Winterland, I said to whoever was sitting next to me,
when I sing again, it's going to be with that band.
I came home from Union Oil one day and I said, let's listen to some Grateful Dead.
Keith said, I don't want to listen to it anymore.
I want to play it.
_ I said, okay, let's go get in the band. _ _ _ _
We took out the San Francisco Chronicle and saw that Garcia's band, his band was playing
at the Keystone Corner in San Francisco.
When Jerry came off the stage, I tapped him on the arm and I said, my husband and I have
something we want to talk to you about.
_ _ _ _ He looked at me _ and he said, _ _ okay, _ _ you want to come backstage?
I said, all right.
Keith and I were so scared.
We were just like, oh. _ _
We didn't go backstage.
We were just too afraid.
It was just too much.
Garcia saw something and he came from backstage and came and sat down at our table.
Keith turned around and he looked at Jerry [G] and he looked back at me and he looked at
Jerry again and he said, you'll have to talk to my old lady.
I can't talk to you right now.
He _ _ [F#] put his head down on the table. _
I said, _ okay, well, here it is.
I need your home phone number so that we can call you because Keith is your next piano player.
_ [B] _ _ _ _ [E] _ _ _ _ [B] _ _
_ After many years of doing the recording sessions, [G] I had to tell Jerry Wexler that I was leaving
the voice group and this and that.
It was a hard decision, but it was one that I knew that I had to make and one that had
been in my heart for a while.
Much to my mother's chagrin, I packed my bags and her not speaking to me for a week.
I made the trek out to San Francisco.
I went out there and I told my mother that I would be back and I didn't ever.
I never went back.
I got to San Francisco and I thought I was so hip.
_ I had my headband on.
I was so hip.
I got out there and everybody was a hippie and everybody had long hair and everybody
was into that scene.
I was like, I was literally scared to death. _ _
Somehow or other, I made it through.
I ended up working at Union Oil in San Francisco with a whole bunch of other friends. _ _ _
Some of those friends were a friend of Keith Godshaw.
_ That's how I met Keith.
The rest is history.
Keith and I got together and we actually decided to get married before I had ever heard him
play the piano.
_ _ After I heard him play the piano, he was like, I made so the right decision.
When I was at Union Oil, everybody was into The Grateful Dead.
_ I would listen to some of the records and I would go, you guys are nuts.
You're on drugs or something because these guys don't know how to play music.
I'm not belittling that.
It was fantastic.
_ _ _ _ I just couldn't relate.
They kept trying to get me to go see The Grateful Dead and I said, I'm not going to go see them.
Finally, _ my friends at Union Oil _ convinced me to go see The Grateful Dead.
I said, I'm going to prove to you guys that [E] you're just on drugs and I'm not going to take anything.
I'll go, but I'm not going to take anything.
So I didn't.
The Grateful Dead came on and they were on.
It was like the magical Grateful Dead on.
Who knows what I'm talking about?
_ _ I sat there and my little pea brain was blasted all over Winterland.
I went, _ my God, how do they do that?
That was the beginning of my transition from expanding my musical consciousness _ into something else.
When I sat up there in the balcony of Winterland, I said to whoever was sitting next to me,
when I sing again, it's going to be with that band.
I came home from Union Oil one day and I said, let's listen to some Grateful Dead.
Keith said, I don't want to listen to it anymore.
I want to play it.
_ I said, okay, let's go get in the band. _ _ _ _
We took out the San Francisco Chronicle and saw that Garcia's band, his band was playing
at the Keystone Corner in San Francisco.
When Jerry came off the stage, I tapped him on the arm and I said, my husband and I have
something we want to talk to you about.
_ _ _ _ He looked at me _ and he said, _ _ okay, _ _ you want to come backstage?
I said, all right.
Keith and I were so scared.
We were just like, oh. _ _
We didn't go backstage.
We were just too afraid.
It was just too much.
Garcia saw something and he came from backstage and came and sat down at our table.
Keith turned around and he looked at Jerry [G] and he looked back at me and he looked at
Jerry again and he said, you'll have to talk to my old lady.
I can't talk to you right now.
He _ _ [F#] put his head down on the table. _
I said, _ okay, well, here it is.
I need your home phone number so that we can call you because Keith is your next piano player.
_ [B] _ _ _ _ [E] _ _ _ _ [B] _ _