Chords for Foster & Lloyd are back with a great new CD
Tempo:
113 bpm
Chords used:
E
A
B
D
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
There's so much love about [E] Texas.
That's why Texas is home for me.
[A] Can't find any place on earth like Texas [G] and you can't spell Texas [A] without H-E [E]-B.
[G]
[G#m] Foster and Lloyd reunited [A#m] in December of 2010 with their first recording session in 20 years for the project It's Already Tomorrow.
It's a really good one, folks.
Well, here's the story behind the reunion.
It [E] [B]
[C#] [E]
[D] [Bm] [E]
[A] [C] [B]
[E] [D]
[G#] [C#m] [E] feels great to be Foster and Lloyd [B] again.
Yeah.
There's a delight and [G#] a [B] punk edge that [E] we've always had that [D#] was just about having a really great time on stage and we've been able to do that.
[B] Well, you never seem to [C#m] notice that no matter what I do, [E] everybody in town knows I'm crazy over you.
You know, the first reason that we [A] really, I think, started thinking about making a record again was back to [E] songwriting, which was how we got started as a pair of writers who ended up in [A] a band.
We could sense [D] that there was and other people were cutting our songs.
You know, there was sort of some magic there.
And so we [B] were [A] [D] doing a benefit for the Americana Music Association.
[F] And we ended up putting [A] together a band because Bill had been out with [D#] Cheap Trick [G] whenever they do their [D] Sergeant Pepper thing.
[A] And so Tom Peterson from Cheap Trick said, oh, my gosh, I want to play [G] bass [D] that night.
And [Em] my drummer is really good friends with him.
And so it made sense to just those guys could [Bm] be the combo.
And we'd written a couple of songs specifically for that [E] night, too.
Yeah.
[Em] Just to do that.
And it came off so swimmingly that we really [D] started going, well, let's write some more.
And
[G] at the [D] end of about a month, we knew that, you know, we were going to go in and make a record.
We kind of overwrote.
You know, we had about 20 songs and [E] whittled that down to about 13 [A] for the record.
And we cut in two different sections, [E] one last spring and [B] one in the wintertime later in [E] December.
We thought we were going to make a 10 sided [A] record.
So we cut 13 songs and we played them for our managers.
You can't leave those [B] things off of there.
They're too good.
[Bm] Love is not [F#m] some word.
It's just [B] so round.
[A] It's already [E] tomorrow.
How did it get here [B] so fast?
[F#m] Your heart ticks to right in [E] the blink of an eye.
She was in partisan [B] plan.
Oh, it's right.
[A]
[B] It's already [E] tomorrow.
[A] [E] It's already tomorrow is one of the last songs [B] we wrote for the project.
Probably.
Right.
I mean, it was [E] probably in that second batch that we [Em] did.
And I remember [A] bringing the title in,
having kind of a vague idea [B] what we wanted to write about.
And then we worked it [E] out together,
how each verse was going to be [A] the same person, different points in their lives.
And we [B] also rewrote it a couple of times.
Yeah, actually, [F#] we did.
The moment [F#m] we cut it, we knew it was going to be [B] the title of the record.
The whole sentiment of, you know, [A] 20 years later, you're doing it again.
It [E] [A] made a lot of sense.
I had this little Everly [Em] Brothers melody kind of thing that I brought to Radney and said,
what [D] what can we go with this?
It's like [Em] just some chord changes and a little bit of melody, not the [C] complete thing.
[G] And we just started singing with this and we came up with the one that Radney came up with the line,
When I finally let you go.
[Am] And [G] that's the song on the record.
And we were trying to figure out what that [D] meant.
And [Gm] we kind of hemmed and hawed around it for a while.
[D] It took a while to figure out where it went.
[C] And in the end, it ended up being a [G] song about a father giving his daughter away.
When I finally [Bm] let you go.
It was the last [B] song we cut for the record.
And our friend Gary [C] Talent from Bruce Springsteen's E Street Band came and played [G] nylon string bass on it.
And [F] it's really stripped down.
And I think it really shows, you [E] know, sort of some of the magic that happens when we [Am] sing harmony [Em] together.
And it was really cool to [C] be able [D] to start [Am] writing regularly [G] together again [B] and kind of get inside each other's head
[E] and [F#] find that we could still do that [A] pretty, pretty easy and [E] come up with stuff that we felt [D] OK, you know, OK about.
I feel more than OK [E] about.
I
[C#m] promise you won't have [B] to wait another 20 years for another Foster and Lloyd record.
I think in the modern world, doing this independently, we're able to do whatever we [A] want to.
And there doesn't seem to be any reason to me that [D#] we can't do [C#m] Radney Foster records, [A] Bill Lloyd records and Foster and Lloyd records.
[F#m] When I'm saying I [B] love you, I'm saying something [E] about forever.
[A]
Now, keep it right [Em] here, y'all.
Our Texas [D] legend feature on rock and roll icon Buddy Holly [C] is up next.
[G] Stay with us.
[N]
That's why Texas is home for me.
[A] Can't find any place on earth like Texas [G] and you can't spell Texas [A] without H-E [E]-B.
[G]
[G#m] Foster and Lloyd reunited [A#m] in December of 2010 with their first recording session in 20 years for the project It's Already Tomorrow.
It's a really good one, folks.
Well, here's the story behind the reunion.
It [E] [B]
[C#] [E]
[D] [Bm] [E]
[A] [C] [B]
[E] [D]
[G#] [C#m] [E] feels great to be Foster and Lloyd [B] again.
Yeah.
There's a delight and [G#] a [B] punk edge that [E] we've always had that [D#] was just about having a really great time on stage and we've been able to do that.
[B] Well, you never seem to [C#m] notice that no matter what I do, [E] everybody in town knows I'm crazy over you.
You know, the first reason that we [A] really, I think, started thinking about making a record again was back to [E] songwriting, which was how we got started as a pair of writers who ended up in [A] a band.
We could sense [D] that there was and other people were cutting our songs.
You know, there was sort of some magic there.
And so we [B] were [A] [D] doing a benefit for the Americana Music Association.
[F] And we ended up putting [A] together a band because Bill had been out with [D#] Cheap Trick [G] whenever they do their [D] Sergeant Pepper thing.
[A] And so Tom Peterson from Cheap Trick said, oh, my gosh, I want to play [G] bass [D] that night.
And [Em] my drummer is really good friends with him.
And so it made sense to just those guys could [Bm] be the combo.
And we'd written a couple of songs specifically for that [E] night, too.
Yeah.
[Em] Just to do that.
And it came off so swimmingly that we really [D] started going, well, let's write some more.
And
[G] at the [D] end of about a month, we knew that, you know, we were going to go in and make a record.
We kind of overwrote.
You know, we had about 20 songs and [E] whittled that down to about 13 [A] for the record.
And we cut in two different sections, [E] one last spring and [B] one in the wintertime later in [E] December.
We thought we were going to make a 10 sided [A] record.
So we cut 13 songs and we played them for our managers.
You can't leave those [B] things off of there.
They're too good.
[Bm] Love is not [F#m] some word.
It's just [B] so round.
[A] It's already [E] tomorrow.
How did it get here [B] so fast?
[F#m] Your heart ticks to right in [E] the blink of an eye.
She was in partisan [B] plan.
Oh, it's right.
[A]
[B] It's already [E] tomorrow.
[A] [E] It's already tomorrow is one of the last songs [B] we wrote for the project.
Probably.
Right.
I mean, it was [E] probably in that second batch that we [Em] did.
And I remember [A] bringing the title in,
having kind of a vague idea [B] what we wanted to write about.
And then we worked it [E] out together,
how each verse was going to be [A] the same person, different points in their lives.
And we [B] also rewrote it a couple of times.
Yeah, actually, [F#] we did.
The moment [F#m] we cut it, we knew it was going to be [B] the title of the record.
The whole sentiment of, you know, [A] 20 years later, you're doing it again.
It [E] [A] made a lot of sense.
I had this little Everly [Em] Brothers melody kind of thing that I brought to Radney and said,
what [D] what can we go with this?
It's like [Em] just some chord changes and a little bit of melody, not the [C] complete thing.
[G] And we just started singing with this and we came up with the one that Radney came up with the line,
When I finally let you go.
[Am] And [G] that's the song on the record.
And we were trying to figure out what that [D] meant.
And [Gm] we kind of hemmed and hawed around it for a while.
[D] It took a while to figure out where it went.
[C] And in the end, it ended up being a [G] song about a father giving his daughter away.
When I finally [Bm] let you go.
It was the last [B] song we cut for the record.
And our friend Gary [C] Talent from Bruce Springsteen's E Street Band came and played [G] nylon string bass on it.
And [F] it's really stripped down.
And I think it really shows, you [E] know, sort of some of the magic that happens when we [Am] sing harmony [Em] together.
And it was really cool to [C] be able [D] to start [Am] writing regularly [G] together again [B] and kind of get inside each other's head
[E] and [F#] find that we could still do that [A] pretty, pretty easy and [E] come up with stuff that we felt [D] OK, you know, OK about.
I feel more than OK [E] about.
I
[C#m] promise you won't have [B] to wait another 20 years for another Foster and Lloyd record.
I think in the modern world, doing this independently, we're able to do whatever we [A] want to.
And there doesn't seem to be any reason to me that [D#] we can't do [C#m] Radney Foster records, [A] Bill Lloyd records and Foster and Lloyd records.
[F#m] When I'm saying I [B] love you, I'm saying something [E] about forever.
[A]
Now, keep it right [Em] here, y'all.
Our Texas [D] legend feature on rock and roll icon Buddy Holly [C] is up next.
[G] Stay with us.
[N]
Key:
E
A
B
D
G
E
A
B
_ There's so much love about [E] Texas.
That's why Texas is home for me.
[A] Can't find any place on earth like Texas [G] and you can't spell Texas [A] without H-E [E]-B. _ _ _ _ _
_ _ _ _ [G] _ _ _ _
[G#m] Foster and Lloyd reunited [A#m] in December of 2010 with their first recording session in 20 years for the project It's Already Tomorrow.
It's a really good one, folks.
Well, here's the story behind the reunion.
It _ [E] _ _ _ [B] _ _ _
_ _ _ _ _ [C#] _ [E] _ _
_ _ [D] _ _ _ [Bm] _ [E] _ _
_ _ _ _ _ _ _ _
[A] _ _ _ _ _ [C] _ [B] _ _
_ _ _ [E] _ _ _ _ [D] _
_ _ [G#] _ _ [C#m] _ [E] feels great to be Foster and Lloyd [B] again.
_ Yeah. _ _ _
There's a delight and [G#] a [B] punk edge _ that [E] we've always had that [D#] was just about having a really great time on stage and we've been able to do that. _
_ [B] Well, you never seem to [C#m] notice that no matter what I do, [E] everybody in town knows I'm crazy over you.
You know, the first reason that we [A] really, I think, started thinking about making a record again was back to [E] songwriting, which was how we got started as a pair of writers who ended up in [A] a band.
_ We could sense [D] that there was and other people were cutting our songs.
You know, there was sort of some magic there.
And so we [B] were _ [A] _ [D] doing a benefit for the Americana Music Association.
[F] And we ended up putting [A] together a band because Bill had been out with [D#] Cheap Trick [G] whenever they do their [D] _ Sergeant Pepper thing.
[A] And so Tom Peterson from Cheap Trick said, oh, my gosh, I want to play [G] bass [D] that night.
And [Em] my drummer is really good friends with him.
And so it made sense to just those guys could [Bm] be the combo.
And we'd written a couple of songs specifically for that [E] night, too.
Yeah.
[Em] Just to do that.
And it came off so swimmingly that we really [D] started going, well, let's write some more.
And _
[G] at the [D] end of about a month, we knew that, you know, we were going to go in and make a record.
We kind of overwrote.
You know, we had about 20 songs and [E] whittled that down to about 13 [A] for the record.
And we cut in two different sections, [E] one last spring and [B] one in the wintertime later in [E] December.
We thought we were going to make a 10 sided [A] record.
So we cut 13 songs and we played them for our managers.
You can't leave those [B] things off of there.
They're too good.
[Bm] Love is not [F#m] some word.
It's just [B] so _ round.
[A] It's already [E] tomorrow.
_ _ How did it get here [B] so fast?
[F#m] Your heart ticks to right in [E] the blink of an eye.
She was in partisan [B] plan.
Oh, it's right.
[A] _ _ _
_ [B] It's already [E] _ tomorrow. _
[A] _ _ _ [E] It's already tomorrow is one of the last songs [B] we wrote for the project.
Probably.
Right.
I mean, it was [E] probably in that second batch that we [Em] did.
And I remember [A] bringing the title in,
having kind of a vague idea [B] what we wanted to write about.
And then we worked it [E] out together,
how each verse was going to be [A] the same person, different points in their lives.
And we [B] also rewrote it a couple of times.
Yeah, actually, [F#] we did.
The moment [F#m] we cut it, we knew it was going to be [B] the title of the record.
The whole sentiment of, you know, [A] 20 years later, you're doing it again.
It [E] [A] made a lot of sense.
I had this little Everly [Em] Brothers melody kind of thing that I brought to Radney and said,
what [D] what can we go with this?
It's like [Em] just some chord changes and a little bit of melody, not the [C] complete thing.
[G] And we just started singing with this and we came up with the one that Radney came up with the line,
When I finally let you go.
[Am] And [G] that's the song on the record.
And we were trying to figure out what that [D] meant.
And [Gm] we kind of hemmed and hawed around it for a while.
[D] It took a while to figure out where it went.
[C] And in the end, it ended up being a [G] song about a father giving his daughter away.
When I finally [Bm] let you go.
It was the last [B] song we cut for the record.
And our friend Gary [C] Talent from Bruce Springsteen's E Street Band came and played [G] nylon string bass on it.
And [F] it's really stripped down.
And I think it really shows, you [E] know, sort of some of the magic that happens when we [Am] sing harmony [Em] together.
And it was really cool to [C] be able [D] to start [Am] writing regularly [G] together again [B] and kind of get inside each other's head
[E] and [F#] find that we could still do that [A] pretty, pretty easy and [E] come up with stuff that we felt [D] OK, you know, OK about.
I feel more than OK [E] about.
_ I _
[C#m] _ promise you won't have [B] to wait another 20 years for another Foster and Lloyd record.
I think in the modern world, doing this independently, we're able to do whatever we [A] want to.
And there doesn't seem to be any reason to me that [D#] we can't do [C#m] Radney Foster records, [A] Bill Lloyd records and Foster and Lloyd records.
[F#m] When I'm saying I [B] love you, I'm saying something [E] about _ forever.
[A] _ _
Now, keep it right [Em] here, y'all.
Our Texas [D] legend feature on rock and roll icon Buddy Holly [C] is up next.
[G] Stay with us. _ _
_ _ _ _ _ [N] _ _ _
That's why Texas is home for me.
[A] Can't find any place on earth like Texas [G] and you can't spell Texas [A] without H-E [E]-B. _ _ _ _ _
_ _ _ _ [G] _ _ _ _
[G#m] Foster and Lloyd reunited [A#m] in December of 2010 with their first recording session in 20 years for the project It's Already Tomorrow.
It's a really good one, folks.
Well, here's the story behind the reunion.
It _ [E] _ _ _ [B] _ _ _
_ _ _ _ _ [C#] _ [E] _ _
_ _ [D] _ _ _ [Bm] _ [E] _ _
_ _ _ _ _ _ _ _
[A] _ _ _ _ _ [C] _ [B] _ _
_ _ _ [E] _ _ _ _ [D] _
_ _ [G#] _ _ [C#m] _ [E] feels great to be Foster and Lloyd [B] again.
_ Yeah. _ _ _
There's a delight and [G#] a [B] punk edge _ that [E] we've always had that [D#] was just about having a really great time on stage and we've been able to do that. _
_ [B] Well, you never seem to [C#m] notice that no matter what I do, [E] everybody in town knows I'm crazy over you.
You know, the first reason that we [A] really, I think, started thinking about making a record again was back to [E] songwriting, which was how we got started as a pair of writers who ended up in [A] a band.
_ We could sense [D] that there was and other people were cutting our songs.
You know, there was sort of some magic there.
And so we [B] were _ [A] _ [D] doing a benefit for the Americana Music Association.
[F] And we ended up putting [A] together a band because Bill had been out with [D#] Cheap Trick [G] whenever they do their [D] _ Sergeant Pepper thing.
[A] And so Tom Peterson from Cheap Trick said, oh, my gosh, I want to play [G] bass [D] that night.
And [Em] my drummer is really good friends with him.
And so it made sense to just those guys could [Bm] be the combo.
And we'd written a couple of songs specifically for that [E] night, too.
Yeah.
[Em] Just to do that.
And it came off so swimmingly that we really [D] started going, well, let's write some more.
And _
[G] at the [D] end of about a month, we knew that, you know, we were going to go in and make a record.
We kind of overwrote.
You know, we had about 20 songs and [E] whittled that down to about 13 [A] for the record.
And we cut in two different sections, [E] one last spring and [B] one in the wintertime later in [E] December.
We thought we were going to make a 10 sided [A] record.
So we cut 13 songs and we played them for our managers.
You can't leave those [B] things off of there.
They're too good.
[Bm] Love is not [F#m] some word.
It's just [B] so _ round.
[A] It's already [E] tomorrow.
_ _ How did it get here [B] so fast?
[F#m] Your heart ticks to right in [E] the blink of an eye.
She was in partisan [B] plan.
Oh, it's right.
[A] _ _ _
_ [B] It's already [E] _ tomorrow. _
[A] _ _ _ [E] It's already tomorrow is one of the last songs [B] we wrote for the project.
Probably.
Right.
I mean, it was [E] probably in that second batch that we [Em] did.
And I remember [A] bringing the title in,
having kind of a vague idea [B] what we wanted to write about.
And then we worked it [E] out together,
how each verse was going to be [A] the same person, different points in their lives.
And we [B] also rewrote it a couple of times.
Yeah, actually, [F#] we did.
The moment [F#m] we cut it, we knew it was going to be [B] the title of the record.
The whole sentiment of, you know, [A] 20 years later, you're doing it again.
It [E] [A] made a lot of sense.
I had this little Everly [Em] Brothers melody kind of thing that I brought to Radney and said,
what [D] what can we go with this?
It's like [Em] just some chord changes and a little bit of melody, not the [C] complete thing.
[G] And we just started singing with this and we came up with the one that Radney came up with the line,
When I finally let you go.
[Am] And [G] that's the song on the record.
And we were trying to figure out what that [D] meant.
And [Gm] we kind of hemmed and hawed around it for a while.
[D] It took a while to figure out where it went.
[C] And in the end, it ended up being a [G] song about a father giving his daughter away.
When I finally [Bm] let you go.
It was the last [B] song we cut for the record.
And our friend Gary [C] Talent from Bruce Springsteen's E Street Band came and played [G] nylon string bass on it.
And [F] it's really stripped down.
And I think it really shows, you [E] know, sort of some of the magic that happens when we [Am] sing harmony [Em] together.
And it was really cool to [C] be able [D] to start [Am] writing regularly [G] together again [B] and kind of get inside each other's head
[E] and [F#] find that we could still do that [A] pretty, pretty easy and [E] come up with stuff that we felt [D] OK, you know, OK about.
I feel more than OK [E] about.
_ I _
[C#m] _ promise you won't have [B] to wait another 20 years for another Foster and Lloyd record.
I think in the modern world, doing this independently, we're able to do whatever we [A] want to.
And there doesn't seem to be any reason to me that [D#] we can't do [C#m] Radney Foster records, [A] Bill Lloyd records and Foster and Lloyd records.
[F#m] When I'm saying I [B] love you, I'm saying something [E] about _ forever.
[A] _ _
Now, keep it right [Em] here, y'all.
Our Texas [D] legend feature on rock and roll icon Buddy Holly [C] is up next.
[G] Stay with us. _ _
_ _ _ _ _ [N] _ _ _