Chords for Joy Williams Plots A New Chapter | GRAMMYs
Tempo:
116.4 bpm
Chords used:
B
Eb
G
C
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Music was always percolating in my house, so my interest was mostly [G] peaked just because
it was all around me.
So whether it was like gospel [N] albums that my mom was listening to or songs that we were singing.
I grew up sort of in the sticks of Michigan, that's where I was born, and we didn't have
a whole lot of money, so we sang a lot, because that's completely free and really entertaining,
especially when you're that little.
I learned how to harmonize from my mom and learned about the Beach Boys from my dad,
[Eb] so that's kind of where it first got sparked.
I remember singing Hauntel's Messiah [C] for Young Voices when I [B] was ten, and [G] I was like a few
weeks away from getting braces and I had this really awful haircut, and I remember just
feeling really self-conscious as a little kid all the time, especially [N] in that age.
I didn't want to do solos, so I enjoyed choir, but my choir teacher sort of shoved me to
the front for the Christmas special.
And I remember singing and feeling this tingling sensation all [E] over my body, like [A]
goosebumps,
and the absolute petrified thrill that happened singing, and then at the end people didn't
boo, they [N] clapped, and I thought I could maybe get used to this.
My process of writing songs.
I don't know, I mean, I feel like it varies.
It just varies, whether it's a lyric that comes first, an idea that sort of pops in
my head, or something that sparks my interest that I'll make a note on my iPhone about.
Strangely too, when I go to song write, when I'm setting aside time to go write a song,
I have to [B]
organize other parts of my life before [D] I feel like I can be completely free
to do what it is I [Dbm] want to do.
So I end up [Gm] scrubbing the bathroom or [Dm] [Cm] organizing my closet, and [N] that's just a little bit of
how neurotic I am.
I don't know if it's like ordering the inside, that has to happen, the outside has to be
a little bit more in order before I can feel like I can get on the inside for the order
to unleash the chaos known as songwriting.
But it's a very visceral thing to create, so I think that's maybe my way of sort of
calming myself, like taking a deep breath before I sort of dive in.
For live shows prep, definitely.
I used to be like, ah, don't worry about it, no big deal.
It was almost like I was kind of raging against the actual butterflies that just naturally
happen, and so [Eb] over time I've just realized to kind of embrace those, that it reminds
me how much I care about what I do and that I really love what I do.
And also that human instinct of, I hope people like what is about [N] to happen, and I hope I
can pull off that high note, you know, 30 shows into a 40-city tour.
I used to be riddled with this idea that I had to perform perfectly, but I don't know,
these days I'm not as compelled about perfection or people that perform perfectly.
I'm really drawn to the imperfection [B] sometimes and the rawness of [Eb] what happens live on [N] stage.
That's why I think the energy of what's going to happen next that you feel from the crowd,
I also feel that whenever I sing, too.
So there's that on-your [B]-toes feeling that I just have learned to go along with and kind of [N] embrace.
So, yeah, scales, tea, and try to chill out just one minute before and take a deep breath
and just enjoy it.
it was all around me.
So whether it was like gospel [N] albums that my mom was listening to or songs that we were singing.
I grew up sort of in the sticks of Michigan, that's where I was born, and we didn't have
a whole lot of money, so we sang a lot, because that's completely free and really entertaining,
especially when you're that little.
I learned how to harmonize from my mom and learned about the Beach Boys from my dad,
[Eb] so that's kind of where it first got sparked.
I remember singing Hauntel's Messiah [C] for Young Voices when I [B] was ten, and [G] I was like a few
weeks away from getting braces and I had this really awful haircut, and I remember just
feeling really self-conscious as a little kid all the time, especially [N] in that age.
I didn't want to do solos, so I enjoyed choir, but my choir teacher sort of shoved me to
the front for the Christmas special.
And I remember singing and feeling this tingling sensation all [E] over my body, like [A]
goosebumps,
and the absolute petrified thrill that happened singing, and then at the end people didn't
boo, they [N] clapped, and I thought I could maybe get used to this.
My process of writing songs.
I don't know, I mean, I feel like it varies.
It just varies, whether it's a lyric that comes first, an idea that sort of pops in
my head, or something that sparks my interest that I'll make a note on my iPhone about.
Strangely too, when I go to song write, when I'm setting aside time to go write a song,
I have to [B]
organize other parts of my life before [D] I feel like I can be completely free
to do what it is I [Dbm] want to do.
So I end up [Gm] scrubbing the bathroom or [Dm] [Cm] organizing my closet, and [N] that's just a little bit of
how neurotic I am.
I don't know if it's like ordering the inside, that has to happen, the outside has to be
a little bit more in order before I can feel like I can get on the inside for the order
to unleash the chaos known as songwriting.
But it's a very visceral thing to create, so I think that's maybe my way of sort of
calming myself, like taking a deep breath before I sort of dive in.
For live shows prep, definitely.
I used to be like, ah, don't worry about it, no big deal.
It was almost like I was kind of raging against the actual butterflies that just naturally
happen, and so [Eb] over time I've just realized to kind of embrace those, that it reminds
me how much I care about what I do and that I really love what I do.
And also that human instinct of, I hope people like what is about [N] to happen, and I hope I
can pull off that high note, you know, 30 shows into a 40-city tour.
I used to be riddled with this idea that I had to perform perfectly, but I don't know,
these days I'm not as compelled about perfection or people that perform perfectly.
I'm really drawn to the imperfection [B] sometimes and the rawness of [Eb] what happens live on [N] stage.
That's why I think the energy of what's going to happen next that you feel from the crowd,
I also feel that whenever I sing, too.
So there's that on-your [B]-toes feeling that I just have learned to go along with and kind of [N] embrace.
So, yeah, scales, tea, and try to chill out just one minute before and take a deep breath
and just enjoy it.
Key:
B
Eb
G
C
E
B
Eb
G
_ _ _ _ _ _ _ _
_ Music was always percolating in my house, so my interest was mostly [G] peaked just because
it was all around me.
So whether it was like gospel [N] albums that my mom was listening to or songs that we were singing.
I grew up _ _ sort of in the sticks of Michigan, that's where I was born, and we didn't have
a whole lot of money, so we sang a lot, because that's completely free and really entertaining,
especially when you're that little.
I learned how to harmonize from my mom and learned about the Beach Boys from my dad,
[Eb] so that's kind of where it first got sparked.
I remember singing _ Hauntel's Messiah [C] for Young Voices when I [B] was ten, and [G] I was like a few
weeks away from getting braces and I had this really awful haircut, and I remember just
feeling really self-conscious as a little kid all the time, especially [N] in that age.
_ I didn't want to do solos, so I enjoyed choir, but my choir teacher sort of shoved me to
the front for the Christmas special.
And I remember singing and feeling this _ _ tingling sensation all [E] over my body, like [A]
goosebumps,
and the absolute _ petrified thrill that happened singing, and then at the end people didn't
boo, they [N] clapped, and I thought I could maybe get used to this. _ _
My process of writing songs. _ _
I _ _ _ _ _ _ don't know, I mean, I feel like it varies.
It just varies, whether it's a lyric that comes first, an idea that sort of pops in
my head, or _ _ something that sparks my interest that I'll make a note on my iPhone about.
Strangely too, when I go to song write, when I'm setting aside time to go write a song,
I have to [B] _ _
_ organize other parts of my life before [D] I feel like I can be completely free
to do what it is I [Dbm] want to do.
So I end up [Gm] scrubbing the bathroom or [Dm] [Cm] organizing my closet, and [N] that's just a little bit of
how neurotic I am.
I don't know if it's like ordering the inside, _ that has to happen, the outside has to be
a little bit more in order before I can feel like I can get on the inside for the order
to unleash the chaos known as songwriting.
But it's a very visceral thing to create, _ so I think that's maybe my way of sort of
calming myself, like taking a deep breath before I sort of dive in.
For live shows prep, definitely.
I used to be like, ah, don't worry about it, no big deal.
It was almost like I was kind of raging against the actual butterflies that just naturally
happen, and so [Eb] over time I've just realized to kind of embrace those, that it reminds
me how much I care about what I do and that I really love what I do.
And also that human instinct of, I hope people like what is about [N] to happen, and I hope I
can pull off that high note, you know, 30 shows into a 40-city tour.
I used to be riddled with this idea that I had to perform perfectly, but I don't know,
these days I'm not as compelled about _ perfection or people that perform perfectly.
I'm really drawn to the imperfection [B] sometimes and the rawness of [Eb] what happens live on [N] stage.
That's why I think the energy of what's going to happen next that you feel from the crowd,
I also feel that whenever I sing, too.
So there's that on-your [B]-toes feeling that I just have learned to go along with and kind of [N] embrace.
So, yeah, scales, tea, _ and try to chill out just one minute before and take a deep breath
and just enjoy it.
_ _ _ _ _ _ _ _
_ Music was always percolating in my house, so my interest was mostly [G] peaked just because
it was all around me.
So whether it was like gospel [N] albums that my mom was listening to or songs that we were singing.
I grew up _ _ sort of in the sticks of Michigan, that's where I was born, and we didn't have
a whole lot of money, so we sang a lot, because that's completely free and really entertaining,
especially when you're that little.
I learned how to harmonize from my mom and learned about the Beach Boys from my dad,
[Eb] so that's kind of where it first got sparked.
I remember singing _ Hauntel's Messiah [C] for Young Voices when I [B] was ten, and [G] I was like a few
weeks away from getting braces and I had this really awful haircut, and I remember just
feeling really self-conscious as a little kid all the time, especially [N] in that age.
_ I didn't want to do solos, so I enjoyed choir, but my choir teacher sort of shoved me to
the front for the Christmas special.
And I remember singing and feeling this _ _ tingling sensation all [E] over my body, like [A]
goosebumps,
and the absolute _ petrified thrill that happened singing, and then at the end people didn't
boo, they [N] clapped, and I thought I could maybe get used to this. _ _
My process of writing songs. _ _
I _ _ _ _ _ _ don't know, I mean, I feel like it varies.
It just varies, whether it's a lyric that comes first, an idea that sort of pops in
my head, or _ _ something that sparks my interest that I'll make a note on my iPhone about.
Strangely too, when I go to song write, when I'm setting aside time to go write a song,
I have to [B] _ _
_ organize other parts of my life before [D] I feel like I can be completely free
to do what it is I [Dbm] want to do.
So I end up [Gm] scrubbing the bathroom or [Dm] [Cm] organizing my closet, and [N] that's just a little bit of
how neurotic I am.
I don't know if it's like ordering the inside, _ that has to happen, the outside has to be
a little bit more in order before I can feel like I can get on the inside for the order
to unleash the chaos known as songwriting.
But it's a very visceral thing to create, _ so I think that's maybe my way of sort of
calming myself, like taking a deep breath before I sort of dive in.
For live shows prep, definitely.
I used to be like, ah, don't worry about it, no big deal.
It was almost like I was kind of raging against the actual butterflies that just naturally
happen, and so [Eb] over time I've just realized to kind of embrace those, that it reminds
me how much I care about what I do and that I really love what I do.
And also that human instinct of, I hope people like what is about [N] to happen, and I hope I
can pull off that high note, you know, 30 shows into a 40-city tour.
I used to be riddled with this idea that I had to perform perfectly, but I don't know,
these days I'm not as compelled about _ perfection or people that perform perfectly.
I'm really drawn to the imperfection [B] sometimes and the rawness of [Eb] what happens live on [N] stage.
That's why I think the energy of what's going to happen next that you feel from the crowd,
I also feel that whenever I sing, too.
So there's that on-your [B]-toes feeling that I just have learned to go along with and kind of [N] embrace.
So, yeah, scales, tea, _ and try to chill out just one minute before and take a deep breath
and just enjoy it.
_ _ _ _ _ _ _ _