Chords for James Taylor & Joni Mitchell - For Free (John Peel Session)

I'm ready when you are, James.
I know.
_ _ _ _ _ _
_ _ _ _ _ _
[D] _ _ [C] _ _ _ _
_ _ [G] _ _ _ _
[A] _ _ [C] _ _ _ _
[F] _ _ [C] _ _ _ _
_ I slept _ [Bb]
last night [A] in a good hotel. _
_ [Dm] I went shopping [F]
today _ [Bb] for [F] you.
Well, _ _ _ _
_ _ _ [C] _ I've been [Bb] rushed around [A] in the dirty town.
_ _ [Dm] And the children [F] let out [Bb]
the school.
_ [F] _ _ _
_ _ _ _ _ _
_ [D] I was [Dm] standing [D] on a _ _ [C] noisy corner, _
_ _ [F] waiting for the [C] _ [Bb] walkin' _ [Am] green.
_ _ [G] _ _ _ _
_ _ [C] _ Across the [Bb] street he stood, and [A] he played real good [Dm] on his _ _ [F] clarinet.
I was a little bit [Bb] _ _ free.
[F] _ _ _ _ _ _
[Am] _ _ _ [A] _ _ [G] _
_ _ _ _ _ _
_ _ _ [A] _ [C] Now me, [Bb] I play [A] for fortune _ in [Dm] those _ [C] billed [F] _ [Bb] curtain _ calls.
[F] I _ got _ _ _ _ _ _ [C] a black [Bb]
limousine [A] and two _ [Am] gentlemen _ [Dm] _ escorting [C] me [F] to [Bb] the hall. _
[F] _ _ _ _ _ _
_ _ _ _ [Dm] And I play if you [D] have _ _ [C]
the money, _ _ [F] or if you're [C] a friend [Bb] to me.
[Am] _ _ _ [G] _
_ _ But [C] the one [Bb] man then, [A] by the quick lunch stand, [Am] _ [Dm] he was playing [F] real _ [Bb] _
free.
_ [F] _ _ _
_ _ [Am] _ _ _ _
[A] _ _ [G] _ _ _ _
_ _ _ _ _ _
_ _ [C] _ _ [Bb] Nobody stopped [A] to hear him, _ [Dm] though he played [F]
so [Bb] sweet. _ _
[F] They _ _ _ _ _
_ _ _ _ _ [C] _
knew [Bb] he had never [A] been on the _ _ TV, [Dm] so they passed [D] [F] his [Bb] moves _ by.
[F] _ _ _
_ _ _ _ _ _
_ [Dm] I meant to go [D] over [C] and ask for a song, [F] maybe put on a [C] _ _ [Bb] harmony.
_ [Am] _
_ _ [G] _ _ _ _
_ _ [C] But I heard [Bb] his refrain through [A] _ _ James.
_ [Dm] He was playing [D]
[F] real [Bb] good _ [F] free.
He _ _ _ [D] _ _ [Am] _
_ was [A] _ _ _
_ [Am] _ _ [A] _ _ [G] _
_ _ _ _ _ _
_ _ _ _ _ _
[C] _ _ _ [Am] _ _ _
[F] _ _ _ _ _ [C] _
_ _ _ _ _ [N] _
_ _ _ _ _ _
_ _ _ playing _ _ _ _ _ real good free.
_ _ [B] _ _
[Gb] _ _ In 1965 I [B] was up in Canada and there was a friend of mine up there
who had just left a rock and roll band in Winnipeg, Manitoba,
near where I come from on the prairies,
[Gb] to become a folk singer, [E] a la Bob Dylan, who was his [Em] hero at that time.
And [B] at the same time that there were breaks in his life
and he was going in a new and exciting direction,
he had just newly turned 21, and [E] that meant that in Winnipeg
he was no longer allowed into his favorite [B] haunt,
which was kind of a teeny bop club.
And once you're over 21, you couldn't get back [Gb] in there anymore,
so he was really feeling terrible because his girlfriends
and everybody that he wanted to hang out with his band
could still go there, you know.
But it's one of the things that drove him to become a folk singer
was that he couldn't play in this club anymore, you [B] know,
because he was over the hill. _ _
That was about the same time that Esquire magazine
was doing pictures of girls in trash bins.
Like once you were over 21, you'd had it and everything, you know.
There was strange philosophy going around at that time.
So he wrote [E] this song.
It was called,
Oh, To Live On Sugar Mountain, and it was a [B] lament for his lost youth.
And it [Gb] went, Oh, to live on Sugar Mountain,
with the barkers and the colored balloons,
you can't be 20 on Sugar Mountain,
though you're thinking that you're leaving there too soon,
you're leaving there too soon.
And I thought, [B] God, you know, if we get to [Gb] 21
and there's nothing after that, you know,
that's a pretty bleak future.
So I wrote a song for [B] him and for myself