Chords for Linda Ronstadt Full Interview Wonderland 1977 (RARE)
Tempo:
68.45 bpm
Chords used:
C
G
Am
A
Eb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[A] Wisdom
[Bm] [A] Solace
[B] [Abm] Wisdom
[A] [Gbm] Reason
[B] [Abm] Wisdom
[A] [Gbm] Solace
[B] I haven't met [G] any of my neighbors.
I'm sort of a recluse, actually.
It's, um, a lot of show business people live down here, you know.
It's not my style exactly, but I like the fresh air.
So, here I am.
[A] Where did you live before?
[G] Nowhere, really.
I was on the road, you know, for about ten [A] years and I didn't exactly have a home.
[C] [G] [C]
You got a cake?
[Am] [Am] [C]
[Am] [C] [G]
What kind of hammers do you use and stuff like that, you know?
[C] There's some good fishing out there.
If we had a pole, we could catch some [Eb] fish.
[Cm] [Eb] [Cm]
[Fm] [Cm]
[Eb] [Eb]
[Abm] [Eb] [Abm]
Women on the road, I think, they [G] don't
Women don't tend to [Cm] take up the slack with whoever wanders through the dressing [Am] room.
Like men will, you know.
[C] Men are less discriminating than we are.
[Em] I [Gm] don't know.
It's, uh, [A] it's strange.
The [Ab] rock and roll culture is so male [C] dominated and, uh,
[G] it also seems to be [C] dominated by, by sort of a hostility [Am] against women, you know.
That this sort [C] of, um, [Am] this sort of sexual [C] identity that is [Am] sort of used as a weapon against the [C] populace, you know.
And women in particular, and then everyone [G] identifies with it.
And it's sort of sad to me because what [C] happens is that, is that rock and roll stars tend to end up isolating themselves more and [F] more and more, you know.
Thereby increasing their own feelings of alienation and anxiety.
[Fm] And they wonder why they're so miserable, you know.
[C] That's when they turn to drugs and destroy themselves, you know.
And it's just very silly.
It just seems very silly.
They lose, they lose, um, [F] the ability to focus on themselves as a [D] person, you know, rather than as a, as an image, you know.
And that's [D] very dangerous, I think.
And there are always a lot of people around them, managers and, um, [C] scene makers, you know, groupies and whatever,
that are willing to indulge them in anything [Db] they want, you know.
And they, [Cm] uh, it weakens them, you know.
It weakens [Dm] them as people and it eventually weakens [E] them as musicians.
And I think it's sad.
[Dbm] [Gbm]
[A] [E] Tom, did you stop that hammering?
[Am] Okay, go ahead.
But, uh, [Eb] musically spoken, what's the, what's [G] the big interest here?
[Db]
Musically.
Has it something to do [A] with, uh, that the Beach Boys started surfing here or more?
Well, [Em] it's a lifestyle more than anything, you know.
I've been thinking about that a lot lately because, uh, [G] because I, there have been a lot of articles and things that, that [Bm] identify me with the L.A. [Am] sound.
It's sort of like me and Jackson Brown and the Eagles and, um, Warren Zeevon, most recently, and John David Souther.
And, um, [Em] [Am] and recently I've come into contact with a lot of English musicians, you know.
And I was trying to decide what it was that made us different [Gb] from them, you know.
And there seems to be a little bit more,
[A] uh, now let's see.
[N] The English and the East Coast attitudes seem to be kind of cynical and at the extreme very snide.
And the attitude in [Am] music here seems to be very, uh, um, [G] serious and earnest and kind of despairing, you know.
I mean, it's at, at its most self-indulgent.
It's very kind [Em] of too serious, you know.
Like, what have we all turned [Db] into?
We all started out so innocently and now we're, uh, uh, now we've all been, um, we've all been turned into cynical rock and roll stars.
Which it gets a little silly, you know, at its extreme.
But actually I'm glad [B] there's some English people coming in.
We need some new blood in this town, [Gbm] you know.
We're starting to get stale.
[C] We're having reruns.
Isn't it getting dangerous when all the people here work together?
I mean, [Ab] could not that, uh, come out in a sort of universal sound?
I mean, that everybody's going to sound the same as, [G] uh
It's only dangerous if you don't realize that that's happening.
You know, all of us are reaching out for other musical influences all the time.
Jackson, um, Jackson is brilliant, I think.
And I think that his writing continues to improve.
If I saw some leveling off process, I would worry about it.
The Eagles have just gotten Joe Walsh into their band.
And
[Bm] [A] Solace
[B] [Abm] Wisdom
[A] [Gbm] Reason
[B] [Abm] Wisdom
[A] [Gbm] Solace
[B] I haven't met [G] any of my neighbors.
I'm sort of a recluse, actually.
It's, um, a lot of show business people live down here, you know.
It's not my style exactly, but I like the fresh air.
So, here I am.
[A] Where did you live before?
[G] Nowhere, really.
I was on the road, you know, for about ten [A] years and I didn't exactly have a home.
[C] [G] [C]
You got a cake?
[Am] [Am] [C]
[Am] [C] [G]
What kind of hammers do you use and stuff like that, you know?
[C] There's some good fishing out there.
If we had a pole, we could catch some [Eb] fish.
[Cm] [Eb] [Cm]
[Fm] [Cm]
[Eb] [Eb]
[Abm] [Eb] [Abm]
Women on the road, I think, they [G] don't
Women don't tend to [Cm] take up the slack with whoever wanders through the dressing [Am] room.
Like men will, you know.
[C] Men are less discriminating than we are.
[Em] I [Gm] don't know.
It's, uh, [A] it's strange.
The [Ab] rock and roll culture is so male [C] dominated and, uh,
[G] it also seems to be [C] dominated by, by sort of a hostility [Am] against women, you know.
That this sort [C] of, um, [Am] this sort of sexual [C] identity that is [Am] sort of used as a weapon against the [C] populace, you know.
And women in particular, and then everyone [G] identifies with it.
And it's sort of sad to me because what [C] happens is that, is that rock and roll stars tend to end up isolating themselves more and [F] more and more, you know.
Thereby increasing their own feelings of alienation and anxiety.
[Fm] And they wonder why they're so miserable, you know.
[C] That's when they turn to drugs and destroy themselves, you know.
And it's just very silly.
It just seems very silly.
They lose, they lose, um, [F] the ability to focus on themselves as a [D] person, you know, rather than as a, as an image, you know.
And that's [D] very dangerous, I think.
And there are always a lot of people around them, managers and, um, [C] scene makers, you know, groupies and whatever,
that are willing to indulge them in anything [Db] they want, you know.
And they, [Cm] uh, it weakens them, you know.
It weakens [Dm] them as people and it eventually weakens [E] them as musicians.
And I think it's sad.
[Dbm] [Gbm]
[A] [E] Tom, did you stop that hammering?
[Am] Okay, go ahead.
But, uh, [Eb] musically spoken, what's the, what's [G] the big interest here?
[Db]
Musically.
Has it something to do [A] with, uh, that the Beach Boys started surfing here or more?
Well, [Em] it's a lifestyle more than anything, you know.
I've been thinking about that a lot lately because, uh, [G] because I, there have been a lot of articles and things that, that [Bm] identify me with the L.A. [Am] sound.
It's sort of like me and Jackson Brown and the Eagles and, um, Warren Zeevon, most recently, and John David Souther.
And, um, [Em] [Am] and recently I've come into contact with a lot of English musicians, you know.
And I was trying to decide what it was that made us different [Gb] from them, you know.
And there seems to be a little bit more,
[A] uh, now let's see.
[N] The English and the East Coast attitudes seem to be kind of cynical and at the extreme very snide.
And the attitude in [Am] music here seems to be very, uh, um, [G] serious and earnest and kind of despairing, you know.
I mean, it's at, at its most self-indulgent.
It's very kind [Em] of too serious, you know.
Like, what have we all turned [Db] into?
We all started out so innocently and now we're, uh, uh, now we've all been, um, we've all been turned into cynical rock and roll stars.
Which it gets a little silly, you know, at its extreme.
But actually I'm glad [B] there's some English people coming in.
We need some new blood in this town, [Gbm] you know.
We're starting to get stale.
[C] We're having reruns.
Isn't it getting dangerous when all the people here work together?
I mean, [Ab] could not that, uh, come out in a sort of universal sound?
I mean, that everybody's going to sound the same as, [G] uh
It's only dangerous if you don't realize that that's happening.
You know, all of us are reaching out for other musical influences all the time.
Jackson, um, Jackson is brilliant, I think.
And I think that his writing continues to improve.
If I saw some leveling off process, I would worry about it.
The Eagles have just gotten Joe Walsh into their band.
And
Key:
C
G
Am
A
Eb
C
G
Am
_ [A] Wisdom
[Bm] _ _ [A] _ Solace
[B] _ _ [Abm] Wisdom
[A] _ [Gbm] Reason _
[B] _ [Abm] Wisdom
[A] _ [Gbm] Solace _ _
[B] I haven't met [G] any of my neighbors.
I'm sort of a recluse, actually.
It's, um, _ a lot of show business people live down here, you know.
It's not my style exactly, but I like the fresh air.
So, here I am.
[A] Where did you live before?
[G] Nowhere, really.
I was on the road, you know, for about ten [A] years and I didn't exactly have a home. _ _
[C] _ _ _ [G] _ _ [C] _ _
You got a cake?
[Am] _ _ _ _ [Am] _ _ [C] _
_ _ [Am] _ _ [C] _ _ _ [G]
What kind of hammers do you use and stuff like that, you know?
[C] _ There's some good fishing out there.
If we had a pole, we could catch some [Eb] fish.
_ [Cm] _ _ [Eb] _ _ [Cm] _ _
[Fm] _ _ _ _ [Cm] _ _ _ _
_ _ [Eb] _ _ _ [Eb] _ _ _
_ [Abm] _ _ [Eb] _ _ [Abm] _ _
Women on the road, I think, they [G] don't_
Women don't tend to [Cm] take up the slack with whoever wanders through the dressing [Am] room.
Like men will, you know.
[C] Men are less discriminating than we are. _
[Em] I [Gm] don't know.
It's, uh, [A] it's strange.
The [Ab] rock and roll culture is so male [C] dominated and, uh,
[G] it also seems to be [C] dominated by, by sort of a hostility [Am] against women, you know.
That this sort [C] of, um, _ [Am] this sort of sexual [C] identity that is [Am] sort of used as a weapon against the [C] populace, you know.
And women in particular, and then everyone [G] identifies with it.
And it's sort of sad to me because what [C] happens is that, _ is that rock and roll stars tend to end up isolating themselves more and [F] more and more, you know.
Thereby increasing their own feelings of alienation and anxiety.
[Fm] And they wonder why they're so miserable, you know.
[C] That's when they turn to drugs and destroy themselves, you know.
And it's just very silly.
It just seems very silly.
They lose, they lose, um, [F] the ability to focus on themselves as a [D] person, you know, rather than as a, as an image, you know.
And that's [D] very dangerous, I think.
And there are always a lot of people around them, managers and, um, [C] scene makers, you know, groupies and whatever,
that are willing to indulge them in anything [Db] they want, you know.
And they, [Cm] uh, it weakens them, you know.
It weakens [Dm] them as people and it eventually weakens [E] them as musicians.
And I think it's sad.
[Dbm] _ _ [Gbm] _ _ _
[A] _ _ [E] Tom, did you stop that hammering?
[Am] Okay, go ahead.
But, uh, [Eb] musically spoken, what's the, what's [G] the big interest here?
_ _ [Db]
Musically.
Has it something to do [A] with, uh, that the Beach Boys started surfing here or more?
Well, [Em] it's a lifestyle more than anything, you know.
I've been thinking about that a lot lately because, uh, _ [G] because I, there have been a lot of articles and things that, that [Bm] identify me with the L.A. [Am] sound.
It's sort of like me and Jackson Brown and the Eagles and, um, Warren Zeevon, most recently, and John David Souther.
And, um, [Em] [Am] and recently I've come into contact with a lot of English musicians, you know.
And I was trying to decide what it was that made us different [Gb] from them, you know.
And there seems to be a little bit more, _
[A] _ uh, now let's see.
[N] The English and the East Coast attitudes seem to be kind of cynical and at the extreme very snide.
And the attitude in [Am] music here seems to be very, uh, um, _ _ [G] serious and earnest and kind of despairing, you know.
I mean, it's at, at its most self-indulgent.
It's very kind [Em] of too serious, you know.
Like, what have we all turned [Db] into?
We all started out so innocently and now we're, uh, uh, now we've all been, um, we've all been turned into cynical rock and roll stars.
Which it gets a little silly, you know, at its extreme.
But actually I'm glad [B] there's some English people coming in.
We need some new blood in this town, [Gbm] you know.
We're starting to get stale.
[C] We're having reruns.
Isn't it getting dangerous when all the people here work together?
I mean, [Ab] could not that, uh, come out in a sort of universal sound?
I mean, that everybody's going to sound the same as, [G] uh_
It's only dangerous if you don't realize that that's happening.
You know, all of us are reaching out for other musical influences all the time.
Jackson, um, Jackson is brilliant, I think.
And I think that his writing continues to improve.
If I saw some leveling off process, I would worry about it.
The Eagles have just gotten Joe Walsh into their band.
And
[Bm] _ _ [A] _ Solace
[B] _ _ [Abm] Wisdom
[A] _ [Gbm] Reason _
[B] _ [Abm] Wisdom
[A] _ [Gbm] Solace _ _
[B] I haven't met [G] any of my neighbors.
I'm sort of a recluse, actually.
It's, um, _ a lot of show business people live down here, you know.
It's not my style exactly, but I like the fresh air.
So, here I am.
[A] Where did you live before?
[G] Nowhere, really.
I was on the road, you know, for about ten [A] years and I didn't exactly have a home. _ _
[C] _ _ _ [G] _ _ [C] _ _
You got a cake?
[Am] _ _ _ _ [Am] _ _ [C] _
_ _ [Am] _ _ [C] _ _ _ [G]
What kind of hammers do you use and stuff like that, you know?
[C] _ There's some good fishing out there.
If we had a pole, we could catch some [Eb] fish.
_ [Cm] _ _ [Eb] _ _ [Cm] _ _
[Fm] _ _ _ _ [Cm] _ _ _ _
_ _ [Eb] _ _ _ [Eb] _ _ _
_ [Abm] _ _ [Eb] _ _ [Abm] _ _
Women on the road, I think, they [G] don't_
Women don't tend to [Cm] take up the slack with whoever wanders through the dressing [Am] room.
Like men will, you know.
[C] Men are less discriminating than we are. _
[Em] I [Gm] don't know.
It's, uh, [A] it's strange.
The [Ab] rock and roll culture is so male [C] dominated and, uh,
[G] it also seems to be [C] dominated by, by sort of a hostility [Am] against women, you know.
That this sort [C] of, um, _ [Am] this sort of sexual [C] identity that is [Am] sort of used as a weapon against the [C] populace, you know.
And women in particular, and then everyone [G] identifies with it.
And it's sort of sad to me because what [C] happens is that, _ is that rock and roll stars tend to end up isolating themselves more and [F] more and more, you know.
Thereby increasing their own feelings of alienation and anxiety.
[Fm] And they wonder why they're so miserable, you know.
[C] That's when they turn to drugs and destroy themselves, you know.
And it's just very silly.
It just seems very silly.
They lose, they lose, um, [F] the ability to focus on themselves as a [D] person, you know, rather than as a, as an image, you know.
And that's [D] very dangerous, I think.
And there are always a lot of people around them, managers and, um, [C] scene makers, you know, groupies and whatever,
that are willing to indulge them in anything [Db] they want, you know.
And they, [Cm] uh, it weakens them, you know.
It weakens [Dm] them as people and it eventually weakens [E] them as musicians.
And I think it's sad.
[Dbm] _ _ [Gbm] _ _ _
[A] _ _ [E] Tom, did you stop that hammering?
[Am] Okay, go ahead.
But, uh, [Eb] musically spoken, what's the, what's [G] the big interest here?
_ _ [Db]
Musically.
Has it something to do [A] with, uh, that the Beach Boys started surfing here or more?
Well, [Em] it's a lifestyle more than anything, you know.
I've been thinking about that a lot lately because, uh, _ [G] because I, there have been a lot of articles and things that, that [Bm] identify me with the L.A. [Am] sound.
It's sort of like me and Jackson Brown and the Eagles and, um, Warren Zeevon, most recently, and John David Souther.
And, um, [Em] [Am] and recently I've come into contact with a lot of English musicians, you know.
And I was trying to decide what it was that made us different [Gb] from them, you know.
And there seems to be a little bit more, _
[A] _ uh, now let's see.
[N] The English and the East Coast attitudes seem to be kind of cynical and at the extreme very snide.
And the attitude in [Am] music here seems to be very, uh, um, _ _ [G] serious and earnest and kind of despairing, you know.
I mean, it's at, at its most self-indulgent.
It's very kind [Em] of too serious, you know.
Like, what have we all turned [Db] into?
We all started out so innocently and now we're, uh, uh, now we've all been, um, we've all been turned into cynical rock and roll stars.
Which it gets a little silly, you know, at its extreme.
But actually I'm glad [B] there's some English people coming in.
We need some new blood in this town, [Gbm] you know.
We're starting to get stale.
[C] We're having reruns.
Isn't it getting dangerous when all the people here work together?
I mean, [Ab] could not that, uh, come out in a sort of universal sound?
I mean, that everybody's going to sound the same as, [G] uh_
It's only dangerous if you don't realize that that's happening.
You know, all of us are reaching out for other musical influences all the time.
Jackson, um, Jackson is brilliant, I think.
And I think that his writing continues to improve.
If I saw some leveling off process, I would worry about it.
The Eagles have just gotten Joe Walsh into their band.
And