Chords for Matthew Mayfield - IRONS IN THE FIRE - trailer
Tempo:
100.25 bpm
Chords used:
G
C
D
Am
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[E] It's nice to be able to do that sometimes in a song.
You know, say something directly that it's hard to say [Bm] in person.
And it's hard to find the right time or the right spot [D] or the right place
or to be calculated [Bm] about it, but with a song.
[Am]
[Bm]
[Am] [D] [Am]
[B] My favorite song on this record is a song called Miles and [D] Miles.
And the concept of it is just sort of the idea of the relationship of
two people who have sort of split [G] and parted ways.
[D] The heart
The further that they get away from each other,
the more their love [G] for each other increases.
[D] Yes, the sound Your voice
Gets further [G] [D] away
Comes from miles and [Bm] miles [D] and miles and [G] miles
[A] Stone [G] face but your heart belongs with me
I ain't gonna [A] tell no one I cut [G] your garden and your gun
Your bitters and [A] your sweets [Bm] Breathe me out, [G] breathe me in
I ain't [A] gonna let you down
[F#m] I
[G] write a lot of songs that are hypothetical.
Or maybe I've wished for something similar,
[C] and you can make that wish into a song.
With Follow You Down, I'd been given two lines of a movie script,
sort of like a synopsis of a scene, [Am] something to write for.
And I [C] ended up [F] sitting down at a piano,
and Follow You Down is what came [C] out.
What if you believed me and you were mine
[F] What if we could make it [C] our whole lives
[Am] Despite the ones that doubt [C] us
This is home, this is right
If you're gone, I'm [G] here
[C] I just need to meet you
Just the sort of bare-bones quality [G] of the vocal
and the way that we [C] recorded it, it felt like a moment.
[F] I just remember stepping up to the mic to sing that song,
and it just spilling out and it happening.
It sounds lame, but it's real, very real.
[C] I wanted to make a record that felt like the songs
and felt dynamic and as dynamic as we wanted it to be.
I did four of the songs with my friend Paul Moak,
a place called The Smokestack in Nashville.
[F] And then there's a remix on [C] there with this girl, Katherine Marks.
Did a really great job [Dm] with a song called Fire Escape.
No matter how my [C] heart tries
To slip my [G] real life
[Dm] When I'm free
The [C] remix with Katherine, it was just the idea
was [G] to do something left field
and to sort of [Dm] feature John Paul a little more.
[G] There's this really cool, haunting [Am] quality to his voice
that complements the [F] lead so well, and I wanted that to come out.
I had to [C] wait and I was here
[G] Shining
[Am] Always been told [F] this
You're a force [C] to be reckoned with
But I was here
[G] Shining
I think one [Dm] thing that gets lost [C] these days in a lot of music
is the idea of it taking you somewhere
and the idea of it sort of making you feel things
and maybe taking you to a specific place or a specific time in your life.
And I feel like with this record, more than anything [Gm] else I've done,
I feel like there's something that can do that,
[B] and I hope that comes through and that people get that.
You know, say something directly that it's hard to say [Bm] in person.
And it's hard to find the right time or the right spot [D] or the right place
or to be calculated [Bm] about it, but with a song.
[Am]
[Bm]
[Am] [D] [Am]
[B] My favorite song on this record is a song called Miles and [D] Miles.
And the concept of it is just sort of the idea of the relationship of
two people who have sort of split [G] and parted ways.
[D] The heart
The further that they get away from each other,
the more their love [G] for each other increases.
[D] Yes, the sound Your voice
Gets further [G] [D] away
Comes from miles and [Bm] miles [D] and miles and [G] miles
[A] Stone [G] face but your heart belongs with me
I ain't gonna [A] tell no one I cut [G] your garden and your gun
Your bitters and [A] your sweets [Bm] Breathe me out, [G] breathe me in
I ain't [A] gonna let you down
[F#m] I
[G] write a lot of songs that are hypothetical.
Or maybe I've wished for something similar,
[C] and you can make that wish into a song.
With Follow You Down, I'd been given two lines of a movie script,
sort of like a synopsis of a scene, [Am] something to write for.
And I [C] ended up [F] sitting down at a piano,
and Follow You Down is what came [C] out.
What if you believed me and you were mine
[F] What if we could make it [C] our whole lives
[Am] Despite the ones that doubt [C] us
This is home, this is right
If you're gone, I'm [G] here
[C] I just need to meet you
Just the sort of bare-bones quality [G] of the vocal
and the way that we [C] recorded it, it felt like a moment.
[F] I just remember stepping up to the mic to sing that song,
and it just spilling out and it happening.
It sounds lame, but it's real, very real.
[C] I wanted to make a record that felt like the songs
and felt dynamic and as dynamic as we wanted it to be.
I did four of the songs with my friend Paul Moak,
a place called The Smokestack in Nashville.
[F] And then there's a remix on [C] there with this girl, Katherine Marks.
Did a really great job [Dm] with a song called Fire Escape.
No matter how my [C] heart tries
To slip my [G] real life
[Dm] When I'm free
The [C] remix with Katherine, it was just the idea
was [G] to do something left field
and to sort of [Dm] feature John Paul a little more.
[G] There's this really cool, haunting [Am] quality to his voice
that complements the [F] lead so well, and I wanted that to come out.
I had to [C] wait and I was here
[G] Shining
[Am] Always been told [F] this
You're a force [C] to be reckoned with
But I was here
[G] Shining
I think one [Dm] thing that gets lost [C] these days in a lot of music
is the idea of it taking you somewhere
and the idea of it sort of making you feel things
and maybe taking you to a specific place or a specific time in your life.
And I feel like with this record, more than anything [Gm] else I've done,
I feel like there's something that can do that,
[B] and I hope that comes through and that people get that.
Key:
G
C
D
Am
F
G
C
D
[E] It's nice to be able to do that sometimes in a song.
You know, say something directly that it's hard to say [Bm] in person.
And it's hard to find the right time or the right spot [D] or the right place
or to be calculated [Bm] about it, but with a song.
_ _ _ _ [Am] _
_ _ _ _ _ _ [Bm] _ _
_ [Am] _ _ [D] _ _ [Am] _ _ _
[B] _ My favorite song on this record is a song called Miles and [D] Miles.
_ _ And the concept of it is just sort of the idea of the relationship of
two people _ who have sort of split [G] and parted ways.
[D] The heart
_ The further that they get away from each other,
the more their love [G] for each other increases.
[D] Yes, the sound _ Your voice
Gets _ further _ [G] [D] away
Comes from _ miles and [Bm] miles _ [D] and _ miles and _ [G] miles
_ [A] Stone [G] face but your heart belongs with me
I ain't gonna [A] tell no one I cut [G] your garden and your gun
Your bitters and [A] your sweets [Bm] Breathe me out, [G] breathe me in
I ain't [A] gonna let you down
[F#m] I _ _
[G] _ _ write _ _ _ a lot of songs that are hypothetical.
Or maybe I've wished for something similar,
[C] and you can make that wish into a song.
With Follow You Down, I'd been given two lines of a movie script,
sort of like a synopsis of a scene, [Am] something to write for.
And I [C] ended up [F] sitting down at a piano,
and Follow You Down is what came [C] out.
What if you believed me and you were mine
[F] What if we could make it [C] our whole lives
[Am] Despite the ones that doubt [C] us
This is home, this is right
_ _ _ _ If you're gone, _ I'm [G] here
_ [C] I just need to meet you
Just the sort of bare-bones quality [G] of the vocal
and the way that we [C] recorded it, it felt like a moment.
[F] I just remember stepping up to the mic to sing that song,
and it just spilling out and it happening.
It sounds lame, but it's real, very real. _
_ [C] _ _ _ I _ _ _ _ _ _ _ _ wanted to make a record that felt like the songs
and felt dynamic and as dynamic as we wanted it to be.
I did four of the songs with my friend Paul Moak,
a place called The Smokestack in Nashville.
[F] And then there's a remix on [C] there with this girl, Katherine Marks.
_ Did a really great job [Dm] with a song called Fire Escape.
No matter how my [C] heart tries
To slip my [G] real life _ _ _ _ _
_ _ _ [Dm] When I'm free
The [C] remix with Katherine, it was just the idea
was [G] to do something left field
and to sort of [Dm] feature John Paul a little more.
[G] _ _ There's this really cool, haunting [Am] quality to his voice
that complements the [F] lead so well, and I wanted that to come out.
I had to [C] wait and I was here
[G] _ _ Shining
_ _ [Am] Always been told [F] this
_ You're a force [C] to be reckoned with
But I was here
_ [G] _ Shining _
I think one [Dm] thing that gets lost [C] these days in a lot of music
is the idea of it taking you somewhere
and the idea of it sort of making you feel things
and maybe taking you to a specific place or a specific time in your life.
And I feel like with this record, _ more than anything [Gm] else I've done,
I feel like there's something that can do that,
[B] and I hope that comes through and that people get that. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
You know, say something directly that it's hard to say [Bm] in person.
And it's hard to find the right time or the right spot [D] or the right place
or to be calculated [Bm] about it, but with a song.
_ _ _ _ [Am] _
_ _ _ _ _ _ [Bm] _ _
_ [Am] _ _ [D] _ _ [Am] _ _ _
[B] _ My favorite song on this record is a song called Miles and [D] Miles.
_ _ And the concept of it is just sort of the idea of the relationship of
two people _ who have sort of split [G] and parted ways.
[D] The heart
_ The further that they get away from each other,
the more their love [G] for each other increases.
[D] Yes, the sound _ Your voice
Gets _ further _ [G] [D] away
Comes from _ miles and [Bm] miles _ [D] and _ miles and _ [G] miles
_ [A] Stone [G] face but your heart belongs with me
I ain't gonna [A] tell no one I cut [G] your garden and your gun
Your bitters and [A] your sweets [Bm] Breathe me out, [G] breathe me in
I ain't [A] gonna let you down
[F#m] I _ _
[G] _ _ write _ _ _ a lot of songs that are hypothetical.
Or maybe I've wished for something similar,
[C] and you can make that wish into a song.
With Follow You Down, I'd been given two lines of a movie script,
sort of like a synopsis of a scene, [Am] something to write for.
And I [C] ended up [F] sitting down at a piano,
and Follow You Down is what came [C] out.
What if you believed me and you were mine
[F] What if we could make it [C] our whole lives
[Am] Despite the ones that doubt [C] us
This is home, this is right
_ _ _ _ If you're gone, _ I'm [G] here
_ [C] I just need to meet you
Just the sort of bare-bones quality [G] of the vocal
and the way that we [C] recorded it, it felt like a moment.
[F] I just remember stepping up to the mic to sing that song,
and it just spilling out and it happening.
It sounds lame, but it's real, very real. _
_ [C] _ _ _ I _ _ _ _ _ _ _ _ wanted to make a record that felt like the songs
and felt dynamic and as dynamic as we wanted it to be.
I did four of the songs with my friend Paul Moak,
a place called The Smokestack in Nashville.
[F] And then there's a remix on [C] there with this girl, Katherine Marks.
_ Did a really great job [Dm] with a song called Fire Escape.
No matter how my [C] heart tries
To slip my [G] real life _ _ _ _ _
_ _ _ [Dm] When I'm free
The [C] remix with Katherine, it was just the idea
was [G] to do something left field
and to sort of [Dm] feature John Paul a little more.
[G] _ _ There's this really cool, haunting [Am] quality to his voice
that complements the [F] lead so well, and I wanted that to come out.
I had to [C] wait and I was here
[G] _ _ Shining
_ _ [Am] Always been told [F] this
_ You're a force [C] to be reckoned with
But I was here
_ [G] _ Shining _
I think one [Dm] thing that gets lost [C] these days in a lot of music
is the idea of it taking you somewhere
and the idea of it sort of making you feel things
and maybe taking you to a specific place or a specific time in your life.
And I feel like with this record, _ more than anything [Gm] else I've done,
I feel like there's something that can do that,
[B] and I hope that comes through and that people get that. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _