Chords for Edward Sharpe and the Magnetic Zeros Interview 2013: Alex Ebert on New Album 'Here,' Band Evolution
Tempo:
90.125 bpm
Chords used:
B
E
G
G#m
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G] [A] [D#] [A] [Bm]
[D]
[G] [Bm] [D]
[G]
[C#] We are Edward Sharp and the Magnetic Zeros.
[B] [D]
[G] [Bm] The first album was based [D] on almost all demos, you know, that [G] I had made.
We would get called [B] in, we would call [D] people in, we need bass, we need this, we need that.
We weren't really a band in the first album.
[G]
[D] Can't be Jesus Christ, ain't [G] nothing, please be more than you.
[B] No, [D] let me go to hell, [G] I hate you.
[D] The ensemble was [F] formed [B] through the process of making the first record.
[Fm] Whereas [G] the second record, [G#m] we had all, you know, [E] come together to make that first [B] record.
It was time to go out on the road.
[Em] All getting [G#m] to know each other better and better through the process.
I guess however many years later, three [E] years later, [B] I don't know how long it was between [E] making the first record and the [G#m] second record, I guess three years about.
[G] You know, we had a lot [E] of experiences and [B] the [E] collaboration was on a different [B] level [E] going into the second record.
Here, it [Em] wasn't based [E] on a bunch of demos or anything.
[B] This was more like everyone brought [E] ideas, [G#m] more or less.
And sometimes full songs, but they weren't like we [F#m] were [B] imitating [E] demos or anything.
In fact, when [B] there was a demo situation, which was Man on Fire, we just [E] went, we just used that and built on that [B] instead of trying [F#] to recreate [B] that.
[E] So it was a much more collaborative [B] effort and we all really sat there and worked out [E] arrangements and took the time to [F#] be present.
[E] [B]
[F#]
[B]
[E] [F#]
[E] [B] [G#m] I think here represents a lot of what we came [Em] to as a band after becoming a [B] band over the last bunch of years
and playing these side things, these acoustic sort of things and playing in the bus or whatever it was.
[E] And so I think here represents some of that experience and some of that longing to have songs speak [B] as opposed to be riddled with [N] mouths.
[G#m] Love is my all, love is my forever, love is my home.
I don't think it was [B] the easiest decision after three years of touring [G#m] and all that to be like,
okay, [B] now we're going to not be home [G] again and go make [Fm] an album [B] together and do this all together.
[G#m] And yet finding that power within all of ourselves to do that, to me, that's the [A] most gratifying part of it [D] is that we did it together.
[F#m]
[A] I've been sleeping [D] for [F#m]
40 days, [A] yeah I know I'm sleeping [D] cause this dream is [F#m] too amazing.
[C#m] The communal [Bm] sensibility, you know, which [F#m] seems to just [C#] emanate from [F#m] big sound and all of us jumping around on [G#] stage.
No matter where you come [F#] from or what demographic [C#] you [Bm] fall into, the sense of community is [C#] something that we all want.
It feels a little less like an actual show to me [B] where [N] you're going to a show and having a bunch of people perform [Bm] for you or [A#] perform.
[F#]
There's a lot of [B] sharing in something [Em] that's almost like a party [B] that everybody's [F#] invited to.
[G] Oh, love, [A] how you done.
[G#m] You can see it when you go see a band and cross your [C#] arms and by the end of the show they're like loose now.
[A] They're [G#m] dancing [Em] around.
That's like the best.
[N] That means you've actually connected with them.
[B]
Oh, [C#] Nathaniel, this amazing fiddler, [F#] [B] what is it, he like stage dived or something?
No, people [C] carried him up [G#m] to the stage.
He floated up.
And [Em] he just started ripping and then he [B] came and played a couple songs.
[E] Yeah, it's hard to know exactly [C#m] why it happens.
You see these older people [G] in the audience and you know they've been [Em] to hundreds [E] of shows and [B] they've witnessed amazing [E] music.
And there they are [B] having a really good [E] time and watching your show and [F#] watching you play music and listening.
[E] [B] And you do wonder, like I wonder [G#m] why they're there [B] while I'm singing to them.
Like, why are you here?
[F#] And it's so cool that [E] you're here.
[B] [F#] [B]
[N]
[D]
[G] [Bm] [D]
[G]
[C#] We are Edward Sharp and the Magnetic Zeros.
[B] [D]
[G] [Bm] The first album was based [D] on almost all demos, you know, that [G] I had made.
We would get called [B] in, we would call [D] people in, we need bass, we need this, we need that.
We weren't really a band in the first album.
[G]
[D] Can't be Jesus Christ, ain't [G] nothing, please be more than you.
[B] No, [D] let me go to hell, [G] I hate you.
[D] The ensemble was [F] formed [B] through the process of making the first record.
[Fm] Whereas [G] the second record, [G#m] we had all, you know, [E] come together to make that first [B] record.
It was time to go out on the road.
[Em] All getting [G#m] to know each other better and better through the process.
I guess however many years later, three [E] years later, [B] I don't know how long it was between [E] making the first record and the [G#m] second record, I guess three years about.
[G] You know, we had a lot [E] of experiences and [B] the [E] collaboration was on a different [B] level [E] going into the second record.
Here, it [Em] wasn't based [E] on a bunch of demos or anything.
[B] This was more like everyone brought [E] ideas, [G#m] more or less.
And sometimes full songs, but they weren't like we [F#m] were [B] imitating [E] demos or anything.
In fact, when [B] there was a demo situation, which was Man on Fire, we just [E] went, we just used that and built on that [B] instead of trying [F#] to recreate [B] that.
[E] So it was a much more collaborative [B] effort and we all really sat there and worked out [E] arrangements and took the time to [F#] be present.
[E] [B]
[F#]
[B]
[E] [F#]
[E] [B] [G#m] I think here represents a lot of what we came [Em] to as a band after becoming a [B] band over the last bunch of years
and playing these side things, these acoustic sort of things and playing in the bus or whatever it was.
[E] And so I think here represents some of that experience and some of that longing to have songs speak [B] as opposed to be riddled with [N] mouths.
[G#m] Love is my all, love is my forever, love is my home.
I don't think it was [B] the easiest decision after three years of touring [G#m] and all that to be like,
okay, [B] now we're going to not be home [G] again and go make [Fm] an album [B] together and do this all together.
[G#m] And yet finding that power within all of ourselves to do that, to me, that's the [A] most gratifying part of it [D] is that we did it together.
[F#m]
[A] I've been sleeping [D] for [F#m]
40 days, [A] yeah I know I'm sleeping [D] cause this dream is [F#m] too amazing.
[C#m] The communal [Bm] sensibility, you know, which [F#m] seems to just [C#] emanate from [F#m] big sound and all of us jumping around on [G#] stage.
No matter where you come [F#] from or what demographic [C#] you [Bm] fall into, the sense of community is [C#] something that we all want.
It feels a little less like an actual show to me [B] where [N] you're going to a show and having a bunch of people perform [Bm] for you or [A#] perform.
[F#]
There's a lot of [B] sharing in something [Em] that's almost like a party [B] that everybody's [F#] invited to.
[G] Oh, love, [A] how you done.
[G#m] You can see it when you go see a band and cross your [C#] arms and by the end of the show they're like loose now.
[A] They're [G#m] dancing [Em] around.
That's like the best.
[N] That means you've actually connected with them.
[B]
Oh, [C#] Nathaniel, this amazing fiddler, [F#] [B] what is it, he like stage dived or something?
No, people [C] carried him up [G#m] to the stage.
He floated up.
And [Em] he just started ripping and then he [B] came and played a couple songs.
[E] Yeah, it's hard to know exactly [C#m] why it happens.
You see these older people [G] in the audience and you know they've been [Em] to hundreds [E] of shows and [B] they've witnessed amazing [E] music.
And there they are [B] having a really good [E] time and watching your show and [F#] watching you play music and listening.
[E] [B] And you do wonder, like I wonder [G#m] why they're there [B] while I'm singing to them.
Like, why are you here?
[F#] And it's so cool that [E] you're here.
[B] [F#] [B]
[N]
Key:
B
E
G
G#m
D
B
E
G
_ [G] _ [A] _ [D#] _ [A] _ [Bm] _ _ _
_ _ [D] _ _ _ _ _ _
[G] _ _ _ _ [Bm] _ _ _ [D] _
_ _ _ _ _ [G] _ _ _
[C#] We are Edward Sharp and the Magnetic Zeros. _ _ _
_ _ [B] _ _ [D] _ _ _ _
_ _ _ [G] _ _ _ [Bm] The first album was based [D] on almost all demos, you know, that [G] I had made.
We would get called [B] in, we would call [D] people in, we need bass, we need this, we need that.
We weren't really a band in the first album.
[G] _ _ _
_ _ _ [D] _ Can't be Jesus Christ, ain't [G] nothing, please be more than you.
[B] No, _ [D] let me go to hell, _ _ _ [G] I hate you.
[D] The ensemble was [F] formed [B] through the process of making the first record.
[Fm] Whereas [G] the second record, [G#m] we had all, you know, [E] come together to make that first [B] record.
It was time to go out on the road.
[Em] All getting [G#m] to know each other better and better through the process.
I guess however many years later, three [E] years later, [B] I don't know how long it was between [E] making the first record and the [G#m] second record, I guess three years about.
[G] You know, we had a lot [E] of experiences and _ [B] the _ [E] collaboration was on a different [B] level [E] going into the second record.
Here, it [Em] wasn't based [E] on a bunch of demos or anything.
[B] This was more like everyone brought [E] ideas, [G#m] more or less.
And sometimes full songs, but they weren't like we [F#m] were [B] imitating [E] demos or anything.
In fact, when [B] there was a demo situation, which was Man on Fire, we just [E] went, we just used that and built on that [B] instead of trying [F#] to recreate [B] that.
[E] So it was a much more collaborative [B] effort and we all really sat there and worked out [E] arrangements and took the time to [F#] be present. _
_ _ _ _ _ [E] _ [B] _ _
_ _ _ _ _ _ _ [F#] _
_ _ [B] _ _ _ _ _ _
_ _ _ _ _ _ [E] _ [F#] _
_ _ [E] _ [B] _ _ _ [G#m] I think here represents a lot of what we came [Em] to as a band after becoming a [B] band over the last bunch of years
and playing these side things, these acoustic sort of things and playing in the bus or whatever it was.
[E] And so I think here represents some of that experience and some of that longing to have songs speak [B] as opposed to be riddled with [N] mouths. _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[G#m] Love is my all, love is my forever, love is my home.
I don't think it was [B] the easiest decision after three years of touring [G#m] and all that to be like,
okay, [B] now we're going to not be home [G] again and go make [Fm] an album [B] together and do this all together.
[G#m] And yet _ finding that power within all of ourselves to do that, to me, that's the [A] most gratifying part of it [D] is that we did it together.
_ [F#m] _
_ [A] I've been sleeping [D] for _ [F#m]
40 days, [A] yeah I know I'm sleeping [D] cause this dream is [F#m] too amazing.
[C#m] The communal [Bm] sensibility, you know, which [F#m] seems to just [C#] emanate from [F#m] big sound and all of us jumping around on [G#] stage.
No matter where you come [F#] from or what demographic [C#] you [Bm] fall into, _ the sense of community is [C#] something that we all want.
It feels a little less like an actual show to me [B] where [N] you're going to a show and having a bunch of people perform [Bm] for you or [A#] perform.
_ [F#] _
_ There's a lot of [B] sharing in something [Em] that's almost like a party [B] that everybody's [F#] invited to.
[G] Oh, love, [A] how you done.
_ [G#m] You can see it when you go see a band and cross your [C#] arms and by the end of the show they're like loose now.
[A] They're [G#m] dancing [Em] around.
That's like the best.
[N] That means you've actually connected with them. _
_ _ _ _ _ _ _ [B]
Oh, [C#] Nathaniel, this amazing fiddler, [F#] [B] what is it, he like stage dived or something?
No, people [C] carried him up [G#m] to the stage.
He floated up.
And [Em] he just started ripping and then he [B] came and played a couple songs.
_ [E] Yeah, it's hard to know exactly [C#m] why it happens.
You see these older people [G] in the audience and you know they've been [Em] to hundreds [E] of shows and [B] they've witnessed amazing [E] music.
And there they are _ [B] having a really good [E] time and watching your show and [F#] watching you play music and listening. _ _ _ _
[E] [B] And you do wonder, like I wonder [G#m] why they're there [B] while I'm singing to them.
Like, why are you here?
[F#] And it's so cool that [E] you're here.
[B] _ _ _ _ _ _ _ _ _ _
_ _ [F#] _ _ _ _ [B] _ _
_ _ _ _ _ _ _ [N] _
_ _ [D] _ _ _ _ _ _
[G] _ _ _ _ [Bm] _ _ _ [D] _
_ _ _ _ _ [G] _ _ _
[C#] We are Edward Sharp and the Magnetic Zeros. _ _ _
_ _ [B] _ _ [D] _ _ _ _
_ _ _ [G] _ _ _ [Bm] The first album was based [D] on almost all demos, you know, that [G] I had made.
We would get called [B] in, we would call [D] people in, we need bass, we need this, we need that.
We weren't really a band in the first album.
[G] _ _ _
_ _ _ [D] _ Can't be Jesus Christ, ain't [G] nothing, please be more than you.
[B] No, _ [D] let me go to hell, _ _ _ [G] I hate you.
[D] The ensemble was [F] formed [B] through the process of making the first record.
[Fm] Whereas [G] the second record, [G#m] we had all, you know, [E] come together to make that first [B] record.
It was time to go out on the road.
[Em] All getting [G#m] to know each other better and better through the process.
I guess however many years later, three [E] years later, [B] I don't know how long it was between [E] making the first record and the [G#m] second record, I guess three years about.
[G] You know, we had a lot [E] of experiences and _ [B] the _ [E] collaboration was on a different [B] level [E] going into the second record.
Here, it [Em] wasn't based [E] on a bunch of demos or anything.
[B] This was more like everyone brought [E] ideas, [G#m] more or less.
And sometimes full songs, but they weren't like we [F#m] were [B] imitating [E] demos or anything.
In fact, when [B] there was a demo situation, which was Man on Fire, we just [E] went, we just used that and built on that [B] instead of trying [F#] to recreate [B] that.
[E] So it was a much more collaborative [B] effort and we all really sat there and worked out [E] arrangements and took the time to [F#] be present. _
_ _ _ _ _ [E] _ [B] _ _
_ _ _ _ _ _ _ [F#] _
_ _ [B] _ _ _ _ _ _
_ _ _ _ _ _ [E] _ [F#] _
_ _ [E] _ [B] _ _ _ [G#m] I think here represents a lot of what we came [Em] to as a band after becoming a [B] band over the last bunch of years
and playing these side things, these acoustic sort of things and playing in the bus or whatever it was.
[E] And so I think here represents some of that experience and some of that longing to have songs speak [B] as opposed to be riddled with [N] mouths. _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[G#m] Love is my all, love is my forever, love is my home.
I don't think it was [B] the easiest decision after three years of touring [G#m] and all that to be like,
okay, [B] now we're going to not be home [G] again and go make [Fm] an album [B] together and do this all together.
[G#m] And yet _ finding that power within all of ourselves to do that, to me, that's the [A] most gratifying part of it [D] is that we did it together.
_ [F#m] _
_ [A] I've been sleeping [D] for _ [F#m]
40 days, [A] yeah I know I'm sleeping [D] cause this dream is [F#m] too amazing.
[C#m] The communal [Bm] sensibility, you know, which [F#m] seems to just [C#] emanate from [F#m] big sound and all of us jumping around on [G#] stage.
No matter where you come [F#] from or what demographic [C#] you [Bm] fall into, _ the sense of community is [C#] something that we all want.
It feels a little less like an actual show to me [B] where [N] you're going to a show and having a bunch of people perform [Bm] for you or [A#] perform.
_ [F#] _
_ There's a lot of [B] sharing in something [Em] that's almost like a party [B] that everybody's [F#] invited to.
[G] Oh, love, [A] how you done.
_ [G#m] You can see it when you go see a band and cross your [C#] arms and by the end of the show they're like loose now.
[A] They're [G#m] dancing [Em] around.
That's like the best.
[N] That means you've actually connected with them. _
_ _ _ _ _ _ _ [B]
Oh, [C#] Nathaniel, this amazing fiddler, [F#] [B] what is it, he like stage dived or something?
No, people [C] carried him up [G#m] to the stage.
He floated up.
And [Em] he just started ripping and then he [B] came and played a couple songs.
_ [E] Yeah, it's hard to know exactly [C#m] why it happens.
You see these older people [G] in the audience and you know they've been [Em] to hundreds [E] of shows and [B] they've witnessed amazing [E] music.
And there they are _ [B] having a really good [E] time and watching your show and [F#] watching you play music and listening. _ _ _ _
[E] [B] And you do wonder, like I wonder [G#m] why they're there [B] while I'm singing to them.
Like, why are you here?
[F#] And it's so cool that [E] you're here.
[B] _ _ _ _ _ _ _ _ _ _
_ _ [F#] _ _ _ _ [B] _ _
_ _ _ _ _ _ _ [N] _