Chords for John Prine & Bill Murray Discuss Their Early Days Of Music, Comedy & More
Tempo:
118 bpm
Chords used:
D
G
A
B
F#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
This is called Linda Goes to Mars.
[D]
I just found out yesterday [F#] that [G] Linda goes to Mars.
[A] Every time I sit and look at pictures of used [D] cars.
When you were at the Earl [A] of Old Town, you'd sometimes go out in search of comedy, I guess, after the show.
I didn't have to go far.
Directly across the street was Second City.
Goodman and I were lucky enough to see some early stuff over there.
Early stuff by who?
[N] By Belushi, John Belushi, the stranger here.
And I don't know who else was in that class.
It was really good.
Do you remember, Bill, who was around then?
Harold Ramis, my brother Brian Doyle Murray, John Belushi.
It's real foggy.
It was a hard, difficult time for me.
But these guys were across the street all the time.
I never held a job as long as I held that job.
That was very exciting for me.
There was one show that ran for seven months.
I remember walking into work and saying,
my God, that guy John Pryne is still working.
They would put your name in the front window.
His name would be in the window.
Whoever was playing.
We worked the same sort of hours.
You'd just think, I wonder what's going on over there.
Sometimes when you guys would go late, we'd get to stumble in there.
You'd be playing a little bit longer.
You'd see them after they had manipulated the crowd completely.
There were men that were crying and smoking and drinking.
Then there were women that were just adoring.
You'd go, musicians.
They worked their ways on people.
That was a great period in Chicago.
Really nice period in Chicago.
How did you learn to be on stage? I didn't.
I got up on stage.
Normally I was kind of a shy person.
As soon as that one light hit me, I just talked my ass off.
I just told stories.
Up the top of my head.
Mainly I found out I told stories because I was nervous about my singing and playing.
I didn't think it was up to par at all.
Also, I could not tune a guitar.
I'd stand there on stage [F#m] going, I can [F#] do that.
I'm talking sometimes 15 [G] minutes.
[N] I had to come up with something.
Leo Kaki opened for me once.
This was early on.
Everything Leo plays, when he tunes it sounds like a song.
[Em] Then I came out.
I'm doing that in between every song.
I couldn't afford a guitar tech.
They're expensive.
Bill, did you take [N] naturally to the stage?
Or was it something you had to study at and work up to?
I remember the first time I went to an improvisation class at Second City.
I was so bad that I walked out on the street and just kept walking.
I walked for hours until it got dark.
I'd really walked the wrong direction.
I'm a cake eater from the north side.
I ended up like 63rd and Loomis, where I should not have been probably.
I was so despondent about how bad I was that I didn't go back to it for a long time.
I instead decided to hitchhike around.
When I returned, I had stories, and I could tell stories.
All of a sudden, I could do it.
I don't know how it happened, but until you can tell a story, you can't act or play music either.
I had to go out and live some and have something to say
in order to be able to stand in my own shoes and feel confident enough to tell anybody anything.
Through what I consider to be one of the all-time greatest acts of friendship
that I've ever heard about in the music industry.
Stevie Goodman was opening multiple nights for Chris Christopherson, who was taking off.
The hottest new thing.
Christopherson, because he's a sweet guy and because he recognized talent,
kept saying, Stevie, you're great.
You're fantastic.
Goodman kept saying to him, you think I'm good.
You've got to hear my friend.
Finally, at the last night of the stint, Goodman gets Christopherson to come down to see you at the Earl, right?
Yeah.
With Paul Anka.
And Samantha Eggers.
And Samantha Eggers, who was not as happy to be there, as the story goes.
You were done with your set.
You had to pull the chairs off the tables.
And in this empty club, you got Chris Christopherson looking at you like, yeah, show me something.
There was nobody at the time I would have rather sang my songs for than Chris.
And between him and Steve Goodman, probably the most two unselfish people I ever met,
let alone people in music or show business.
I mean, both of them were.
Goodman, it was his big shining moment.
Chris and his band were all telling Steve how much they thought of his songs
and he had to go to Nashville and make a record.
And Goodman's going, no, you need to go across town and hear my buddy.
At one in the morning on a Sunday.
And he dragged him over there.
And Chris, after I sang my songs, Chris asked me to get back up on stage again
and sing those same songs and anything else I had.
So it was a big moment.
But like I say, at the time, I was a happy cat.
And through Christopherson, you soon got a record deal.
Goodman and I went to New York City.
Goodman had been there before.
I'd never been to New York.
I got off the plane at 7.30 at night and picked up a Village Voice at LaGuardia.
We didn't know Chris was in town, but Chris was playing in the Village.
We went straight down.
We got in a cab with our guitars and our suitcase
and got off right in front of the Bitter End.
And here's Chris and Donnie Fritz and Billy Swan.
They're all walking back over for the second show.
And Chris looks at us and he says,
you guys are going to get up and sing three songs apiece.
And the whole room was packed with record executives.
And Jerry Wexler came up to me after I sang my three songs
and asked me if I'd come over to Atlantic next morning at 10 a.m.
And I did, and he had a record contract waiting under the desk for me.
I hadn't been in New York 24 hours.
And as great a city as Chicago is for music,
nobody got signed at that time.
Nobody could get a record contract without leaving town.
Me and Goodman left town for three [B] days and came back with record [C] contracts.
We were like returning astronauts.
We [G] almost did a parade.
[N]
It was really kind of goofy.
And I didn't know at the time that that was not the way it went.
I wondered why for years my peers treated me so,
like kind of kept a distance from me.
You know, it was because I was this Cinderella kid.
Yeah, if you weren't the most lovable man in America,
you'd be pretty easy to hate over things like that.
But that was an incredible, I mean, to me it's such an incredible thing.
Most of us, if Chris Christopherson said,
hey, you're fantastic, you're going to go somewhere and I'm going to help you,
we would say thank you very much.
May I [B] have another?
[A] And instead he said, you've got [D] to hear John.
Or if there's life out there somewhere [G] beyond this life on Earth,
[A] then Linda must have gone out there and got her [D] money's worth.
And oh [E] my stars, [G] my Vend is gone to Mars.
[A] Well, I wish she wouldn't leave me [D] here alone.
And [G] oh my [D] stars, my Vend is gone to Mars.
[A] Well, I wonder will she bring me something [D] home.
[A] Yeah, I wonder will she bring me [D] something home.
[G] Maybe an Ernest F.
[D] Flash lighter.
[B]
[D]
I just found out yesterday [F#] that [G] Linda goes to Mars.
[A] Every time I sit and look at pictures of used [D] cars.
When you were at the Earl [A] of Old Town, you'd sometimes go out in search of comedy, I guess, after the show.
I didn't have to go far.
Directly across the street was Second City.
Goodman and I were lucky enough to see some early stuff over there.
Early stuff by who?
[N] By Belushi, John Belushi, the stranger here.
And I don't know who else was in that class.
It was really good.
Do you remember, Bill, who was around then?
Harold Ramis, my brother Brian Doyle Murray, John Belushi.
It's real foggy.
It was a hard, difficult time for me.
But these guys were across the street all the time.
I never held a job as long as I held that job.
That was very exciting for me.
There was one show that ran for seven months.
I remember walking into work and saying,
my God, that guy John Pryne is still working.
They would put your name in the front window.
His name would be in the window.
Whoever was playing.
We worked the same sort of hours.
You'd just think, I wonder what's going on over there.
Sometimes when you guys would go late, we'd get to stumble in there.
You'd be playing a little bit longer.
You'd see them after they had manipulated the crowd completely.
There were men that were crying and smoking and drinking.
Then there were women that were just adoring.
You'd go, musicians.
They worked their ways on people.
That was a great period in Chicago.
Really nice period in Chicago.
How did you learn to be on stage? I didn't.
I got up on stage.
Normally I was kind of a shy person.
As soon as that one light hit me, I just talked my ass off.
I just told stories.
Up the top of my head.
Mainly I found out I told stories because I was nervous about my singing and playing.
I didn't think it was up to par at all.
Also, I could not tune a guitar.
I'd stand there on stage [F#m] going, I can [F#] do that.
I'm talking sometimes 15 [G] minutes.
[N] I had to come up with something.
Leo Kaki opened for me once.
This was early on.
Everything Leo plays, when he tunes it sounds like a song.
[Em] Then I came out.
I'm doing that in between every song.
I couldn't afford a guitar tech.
They're expensive.
Bill, did you take [N] naturally to the stage?
Or was it something you had to study at and work up to?
I remember the first time I went to an improvisation class at Second City.
I was so bad that I walked out on the street and just kept walking.
I walked for hours until it got dark.
I'd really walked the wrong direction.
I'm a cake eater from the north side.
I ended up like 63rd and Loomis, where I should not have been probably.
I was so despondent about how bad I was that I didn't go back to it for a long time.
I instead decided to hitchhike around.
When I returned, I had stories, and I could tell stories.
All of a sudden, I could do it.
I don't know how it happened, but until you can tell a story, you can't act or play music either.
I had to go out and live some and have something to say
in order to be able to stand in my own shoes and feel confident enough to tell anybody anything.
Through what I consider to be one of the all-time greatest acts of friendship
that I've ever heard about in the music industry.
Stevie Goodman was opening multiple nights for Chris Christopherson, who was taking off.
The hottest new thing.
Christopherson, because he's a sweet guy and because he recognized talent,
kept saying, Stevie, you're great.
You're fantastic.
Goodman kept saying to him, you think I'm good.
You've got to hear my friend.
Finally, at the last night of the stint, Goodman gets Christopherson to come down to see you at the Earl, right?
Yeah.
With Paul Anka.
And Samantha Eggers.
And Samantha Eggers, who was not as happy to be there, as the story goes.
You were done with your set.
You had to pull the chairs off the tables.
And in this empty club, you got Chris Christopherson looking at you like, yeah, show me something.
There was nobody at the time I would have rather sang my songs for than Chris.
And between him and Steve Goodman, probably the most two unselfish people I ever met,
let alone people in music or show business.
I mean, both of them were.
Goodman, it was his big shining moment.
Chris and his band were all telling Steve how much they thought of his songs
and he had to go to Nashville and make a record.
And Goodman's going, no, you need to go across town and hear my buddy.
At one in the morning on a Sunday.
And he dragged him over there.
And Chris, after I sang my songs, Chris asked me to get back up on stage again
and sing those same songs and anything else I had.
So it was a big moment.
But like I say, at the time, I was a happy cat.
And through Christopherson, you soon got a record deal.
Goodman and I went to New York City.
Goodman had been there before.
I'd never been to New York.
I got off the plane at 7.30 at night and picked up a Village Voice at LaGuardia.
We didn't know Chris was in town, but Chris was playing in the Village.
We went straight down.
We got in a cab with our guitars and our suitcase
and got off right in front of the Bitter End.
And here's Chris and Donnie Fritz and Billy Swan.
They're all walking back over for the second show.
And Chris looks at us and he says,
you guys are going to get up and sing three songs apiece.
And the whole room was packed with record executives.
And Jerry Wexler came up to me after I sang my three songs
and asked me if I'd come over to Atlantic next morning at 10 a.m.
And I did, and he had a record contract waiting under the desk for me.
I hadn't been in New York 24 hours.
And as great a city as Chicago is for music,
nobody got signed at that time.
Nobody could get a record contract without leaving town.
Me and Goodman left town for three [B] days and came back with record [C] contracts.
We were like returning astronauts.
We [G] almost did a parade.
[N]
It was really kind of goofy.
And I didn't know at the time that that was not the way it went.
I wondered why for years my peers treated me so,
like kind of kept a distance from me.
You know, it was because I was this Cinderella kid.
Yeah, if you weren't the most lovable man in America,
you'd be pretty easy to hate over things like that.
But that was an incredible, I mean, to me it's such an incredible thing.
Most of us, if Chris Christopherson said,
hey, you're fantastic, you're going to go somewhere and I'm going to help you,
we would say thank you very much.
May I [B] have another?
[A] And instead he said, you've got [D] to hear John.
Or if there's life out there somewhere [G] beyond this life on Earth,
[A] then Linda must have gone out there and got her [D] money's worth.
And oh [E] my stars, [G] my Vend is gone to Mars.
[A] Well, I wish she wouldn't leave me [D] here alone.
And [G] oh my [D] stars, my Vend is gone to Mars.
[A] Well, I wonder will she bring me something [D] home.
[A] Yeah, I wonder will she bring me [D] something home.
[G] Maybe an Ernest F.
[D] Flash lighter.
[B]
Key:
D
G
A
B
F#
D
G
A
_ This is called Linda Goes to Mars.
_ _ _ [D] _ _ _ _ _
_ _ _ _ _ I just found out yesterday [F#] that [G] Linda goes to Mars.
_ [A] Every time I sit and look at pictures of used [D] cars.
When you were at the Earl [A] of Old Town, you'd sometimes go out in _ search of comedy, I guess, after the show.
I didn't have to go far.
_ Directly across the street was Second City.
_ _ Goodman and I were lucky enough to see some early stuff over there.
Early stuff by who?
_ [N] _ By Belushi, John Belushi, _ _ the stranger here. _
_ _ _ And I don't know who else was in that class.
It was really good.
Do you remember, Bill, who was around then?
Harold _ _ Ramis, my brother Brian Doyle Murray, _ _ John Belushi. _
_ _ _ _ _ _ It's real foggy.
It was a hard, difficult time for me.
But these guys were across the street all the time. _
I never _ _ held a job as long as I held that job.
That was very exciting for me.
There was one show that ran for seven months.
I remember walking into work and saying,
my God, that guy John Pryne is still working. _ _
They would put your name in the front window.
His name would be in the window.
Whoever was playing.
_ _ _ _ We worked the same sort of hours.
You'd just think, I wonder what's going on over there.
Sometimes when you guys would go late, we'd get to stumble in there.
You'd be playing a little bit longer.
You'd see them after they had manipulated the crowd completely.
There were men that were crying and smoking and drinking.
Then there were women that were just adoring. _
You'd go, _ musicians. _ _ _ _
_ _ _ _ They worked their ways on people.
_ That was a great period in Chicago.
Really nice period in Chicago.
How did you learn to be on stage? I didn't.
I got up on stage. _ _
Normally I was kind of a shy person. _
As soon as that one light hit me, I just talked my ass off.
I just told stories.
_ Up the top of my head.
_ Mainly I found out I told stories because I was nervous about my singing and playing.
I didn't think it was up to par at all.
_ Also, I could not tune a guitar.
_ I'd stand there on stage [F#m] going, _ _ _ _ _ I can [F#] do that.
I'm talking sometimes 15 [G] minutes.
_ [N] I had to come up with something. _ _ _ _ _
_ _ Leo Kaki opened for me once.
This was early on.
Everything Leo plays, when he tunes it sounds like a song.
[Em] _ Then I came out.
I'm doing that in between every song.
I couldn't afford a guitar tech.
_ _ They're expensive.
_ _ _ Bill, did you take [N] naturally to the stage?
Or was it something you had to study at and work up to?
_ _ _ _ _ I remember the first time I went to an improvisation class at Second City.
I _ _ _ was so bad that I walked out on the street and just kept walking.
I walked for hours until it got dark.
I'd really walked the wrong direction.
I'm a cake eater from the north side.
I ended up like 63rd and Loomis, where I should not have been probably.
_ I was so despondent about how bad I was that I didn't go back to it for a long time.
_ I instead decided to hitchhike around.
_ When I returned, I had stories, and I could tell stories.
All of a sudden, I could do it.
I don't know how it happened, but until you can tell a story, you can't act or play music either.
I had to go out and live some and have something to say
in order to be able to _ stand in my own shoes and feel confident enough to tell anybody anything.
Through what I consider to be one of the all-time greatest acts of friendship
that I've ever heard about in the music industry.
Stevie Goodman was opening multiple nights for Chris Christopherson, who was taking off.
_ The hottest new thing.
_ _ Christopherson, because he's a sweet guy and because he recognized talent,
kept saying, Stevie, you're great.
You're fantastic.
_ Goodman kept saying to him, you think I'm good.
You've got to hear my friend. _ _ _
Finally, at the last night of the stint, _ Goodman gets Christopherson to come down to see you at the Earl, right?
Yeah.
With Paul Anka.
_ And Samantha Eggers.
And Samantha Eggers, who was not as happy to be there, as the story goes.
You were done with your set.
You had to pull _ the chairs off the tables.
_ And in this empty club, you got Chris Christopherson looking at you like, yeah, show me something.
There was nobody at the time I would have rather sang my songs for than Chris.
_ And between him and Steve Goodman, _ _ probably the most two unselfish people I ever met,
let alone _ people in _ music or show business.
I mean, both of them were.
Goodman, it was his big shining moment.
Chris and his band were all telling Steve how much they thought of his songs
and he had to go to Nashville and make a record.
And Goodman's going, no, you need to go across town and hear my buddy.
At one in the morning on a Sunday.
_ And he dragged him over there.
And Chris, after I sang my songs, Chris asked me to get back up on stage again
and sing those same songs and anything else I had.
_ _ _ So it was a big moment.
_ But like I say, at the time, I was a happy _ _ cat. _
_ _ _ _ And through Christopherson, you soon got a record deal. _ _ _
Goodman and I went to New York City.
Goodman had been there before.
I'd never been to New York.
I got off the plane at 7.30 at night and picked up a Village Voice at LaGuardia.
_ We didn't know Chris was in town, but Chris was playing in the Village.
We went straight down.
We got in a cab with our guitars and our suitcase _
and got off right in front of the Bitter End.
And here's Chris and Donnie Fritz and Billy Swan.
They're all walking back over for the second show.
_ _ And Chris looks at us and he says,
you guys are going to get up and sing three songs apiece.
And the whole room was packed with record executives.
And Jerry Wexler came up to me after I sang my three songs
and asked me if I'd come over to Atlantic next morning at 10 a.m.
And I did, and he had a record contract waiting under the desk for me.
I hadn't been in New York 24 hours. _
_ _ _ _ _ _ And as _ great a city as Chicago is for music, _
nobody got signed at that time.
Nobody could get a record contract without leaving town.
_ Me and Goodman left town for three [B] days and came back with record [C] contracts.
_ We were like returning astronauts.
We [G] almost did a parade.
_ _ [N] _
_ _ It was really kind of goofy.
And I didn't know at the time that that was not the way _ it went.
I wondered why _ for years my peers treated me so,
_ like kind of kept a distance from me.
You know, it was because I was this Cinderella kid.
Yeah, if you weren't the most lovable man in America,
you'd be pretty easy to hate over things like that.
But that was an incredible, I mean, to me it's such an incredible thing.
Most of us, if Chris Christopherson said,
hey, you're fantastic, you're going to go somewhere and I'm going to help you,
we would say thank you very much.
May I [B] have another?
_ [A] And instead he said, you've got [D] to hear John.
Or if there's life out there somewhere [G] beyond this life on Earth,
[A] then Linda must have gone out there and got her [D] money's worth.
_ _ _ And oh [E] my stars, [G] my Vend is gone to Mars.
[A] Well, I wish she wouldn't leave me [D] here alone. _ _
_ And [G] oh my [D] stars, my Vend is gone to Mars.
[A] Well, I wonder will she bring me something [D] home. _ _ _
[A] Yeah, I wonder will she bring me [D] something home.
[G] Maybe an Ernest F.
[D] Flash lighter. _ _ _ _
_ _ [B] _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [D] _ _ _ _ _
_ _ _ _ _ I just found out yesterday [F#] that [G] Linda goes to Mars.
_ [A] Every time I sit and look at pictures of used [D] cars.
When you were at the Earl [A] of Old Town, you'd sometimes go out in _ search of comedy, I guess, after the show.
I didn't have to go far.
_ Directly across the street was Second City.
_ _ Goodman and I were lucky enough to see some early stuff over there.
Early stuff by who?
_ [N] _ By Belushi, John Belushi, _ _ the stranger here. _
_ _ _ And I don't know who else was in that class.
It was really good.
Do you remember, Bill, who was around then?
Harold _ _ Ramis, my brother Brian Doyle Murray, _ _ John Belushi. _
_ _ _ _ _ _ It's real foggy.
It was a hard, difficult time for me.
But these guys were across the street all the time. _
I never _ _ held a job as long as I held that job.
That was very exciting for me.
There was one show that ran for seven months.
I remember walking into work and saying,
my God, that guy John Pryne is still working. _ _
They would put your name in the front window.
His name would be in the window.
Whoever was playing.
_ _ _ _ We worked the same sort of hours.
You'd just think, I wonder what's going on over there.
Sometimes when you guys would go late, we'd get to stumble in there.
You'd be playing a little bit longer.
You'd see them after they had manipulated the crowd completely.
There were men that were crying and smoking and drinking.
Then there were women that were just adoring. _
You'd go, _ musicians. _ _ _ _
_ _ _ _ They worked their ways on people.
_ That was a great period in Chicago.
Really nice period in Chicago.
How did you learn to be on stage? I didn't.
I got up on stage. _ _
Normally I was kind of a shy person. _
As soon as that one light hit me, I just talked my ass off.
I just told stories.
_ Up the top of my head.
_ Mainly I found out I told stories because I was nervous about my singing and playing.
I didn't think it was up to par at all.
_ Also, I could not tune a guitar.
_ I'd stand there on stage [F#m] going, _ _ _ _ _ I can [F#] do that.
I'm talking sometimes 15 [G] minutes.
_ [N] I had to come up with something. _ _ _ _ _
_ _ Leo Kaki opened for me once.
This was early on.
Everything Leo plays, when he tunes it sounds like a song.
[Em] _ Then I came out.
I'm doing that in between every song.
I couldn't afford a guitar tech.
_ _ They're expensive.
_ _ _ Bill, did you take [N] naturally to the stage?
Or was it something you had to study at and work up to?
_ _ _ _ _ I remember the first time I went to an improvisation class at Second City.
I _ _ _ was so bad that I walked out on the street and just kept walking.
I walked for hours until it got dark.
I'd really walked the wrong direction.
I'm a cake eater from the north side.
I ended up like 63rd and Loomis, where I should not have been probably.
_ I was so despondent about how bad I was that I didn't go back to it for a long time.
_ I instead decided to hitchhike around.
_ When I returned, I had stories, and I could tell stories.
All of a sudden, I could do it.
I don't know how it happened, but until you can tell a story, you can't act or play music either.
I had to go out and live some and have something to say
in order to be able to _ stand in my own shoes and feel confident enough to tell anybody anything.
Through what I consider to be one of the all-time greatest acts of friendship
that I've ever heard about in the music industry.
Stevie Goodman was opening multiple nights for Chris Christopherson, who was taking off.
_ The hottest new thing.
_ _ Christopherson, because he's a sweet guy and because he recognized talent,
kept saying, Stevie, you're great.
You're fantastic.
_ Goodman kept saying to him, you think I'm good.
You've got to hear my friend. _ _ _
Finally, at the last night of the stint, _ Goodman gets Christopherson to come down to see you at the Earl, right?
Yeah.
With Paul Anka.
_ And Samantha Eggers.
And Samantha Eggers, who was not as happy to be there, as the story goes.
You were done with your set.
You had to pull _ the chairs off the tables.
_ And in this empty club, you got Chris Christopherson looking at you like, yeah, show me something.
There was nobody at the time I would have rather sang my songs for than Chris.
_ And between him and Steve Goodman, _ _ probably the most two unselfish people I ever met,
let alone _ people in _ music or show business.
I mean, both of them were.
Goodman, it was his big shining moment.
Chris and his band were all telling Steve how much they thought of his songs
and he had to go to Nashville and make a record.
And Goodman's going, no, you need to go across town and hear my buddy.
At one in the morning on a Sunday.
_ And he dragged him over there.
And Chris, after I sang my songs, Chris asked me to get back up on stage again
and sing those same songs and anything else I had.
_ _ _ So it was a big moment.
_ But like I say, at the time, I was a happy _ _ cat. _
_ _ _ _ And through Christopherson, you soon got a record deal. _ _ _
Goodman and I went to New York City.
Goodman had been there before.
I'd never been to New York.
I got off the plane at 7.30 at night and picked up a Village Voice at LaGuardia.
_ We didn't know Chris was in town, but Chris was playing in the Village.
We went straight down.
We got in a cab with our guitars and our suitcase _
and got off right in front of the Bitter End.
And here's Chris and Donnie Fritz and Billy Swan.
They're all walking back over for the second show.
_ _ And Chris looks at us and he says,
you guys are going to get up and sing three songs apiece.
And the whole room was packed with record executives.
And Jerry Wexler came up to me after I sang my three songs
and asked me if I'd come over to Atlantic next morning at 10 a.m.
And I did, and he had a record contract waiting under the desk for me.
I hadn't been in New York 24 hours. _
_ _ _ _ _ _ And as _ great a city as Chicago is for music, _
nobody got signed at that time.
Nobody could get a record contract without leaving town.
_ Me and Goodman left town for three [B] days and came back with record [C] contracts.
_ We were like returning astronauts.
We [G] almost did a parade.
_ _ [N] _
_ _ It was really kind of goofy.
And I didn't know at the time that that was not the way _ it went.
I wondered why _ for years my peers treated me so,
_ like kind of kept a distance from me.
You know, it was because I was this Cinderella kid.
Yeah, if you weren't the most lovable man in America,
you'd be pretty easy to hate over things like that.
But that was an incredible, I mean, to me it's such an incredible thing.
Most of us, if Chris Christopherson said,
hey, you're fantastic, you're going to go somewhere and I'm going to help you,
we would say thank you very much.
May I [B] have another?
_ [A] And instead he said, you've got [D] to hear John.
Or if there's life out there somewhere [G] beyond this life on Earth,
[A] then Linda must have gone out there and got her [D] money's worth.
_ _ _ And oh [E] my stars, [G] my Vend is gone to Mars.
[A] Well, I wish she wouldn't leave me [D] here alone. _ _
_ And [G] oh my [D] stars, my Vend is gone to Mars.
[A] Well, I wonder will she bring me something [D] home. _ _ _
[A] Yeah, I wonder will she bring me [D] something home.
[G] Maybe an Ernest F.
[D] Flash lighter. _ _ _ _
_ _ [B] _ _ _ _ _ _
_ _ _ _ _ _ _ _