Chords for Nanci Griffith- Loving Kind- EPK
Tempo:
135.5 bpm
Chords used:
C
E
F
A
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[A] [E] [D]
[E] I never had a choice.
[A] Music was it [Dbm] for me.
[D] You know, no matter what had [E] happened, [D] even if I'd ended up in a [E] cover band [A] playing in
a Holiday Inn, I'd [D] still be doing it.
[E] Music is [A] something that you develop a passion for [D] early in [E] life and it doesn't matter how
successful [A] you are, you're going to do it.
[Bm] I think it's been probably five or six [E] years since I've put out a record of all new [D] material.
[E] [Dbm]
[Gbm] [Bm] Yeah, [F]
[Cm] we're at [Fm] Tom Yutz's house.
[C] Way out in Mount Juliet [F] in the middle of the country and it's so peaceful [Bb] and the studio
is just [C] so wonderful.
It's just a really comfortable [F] place to record.
[Am] I mean, I love the [Bb] way this record sounds.
It's something that [C] I would want to listen to.
I love the songs, I love the singing, I love the grooves.
It's just such a
[F] You know, [Cm] it's something I'd buy [Db] and I don't [C] buy nothing.
[Gm] [C]
[Em] And we wanted to play some, you know, [D]
[G] up-tempo, more country style.
Just get back to that.
Just have fun after the eight years of doom and gloom.
I think the little concept we had was we wanted to go back to a more older, less of a jugglery
for instrumentation, but with a modern, direct sound.
You know, the voice in the middle of everything.
Imagine his voice and guitar in the start of the track.
And do a little bit, you know, recreate what we do on stage where it's just four-piece,
you know, little rock and roll, country rock band.
[Am] [G] We [D] [G]
[Eb] decided we wanted Dave Ferguson to engineer.
He's a fantastic [Ab] engineer.
He's worked on all of the Johnny Cash stuff, back from the Jack [Eb] Clement.
And he was the [Ab] engineer on Once in a [Ebm] Very Blue Moon.
He was, that's right.
Once for the True Believers. Yeah.
It sort of brought a circle around that we wanted to [Eb] make music that reflected that period,
but at the same [Ab] time, recognized that it's, you know, 20 years [Eb] [F] ahead.
And [Ebm] so we wanted to recapture that, [Eb] to an extent.
[Bb]
[Db] It changes [Ab] everything.
It [Eb] changes everything.
I remember when [B] Pat called me one day and said,
Hey, I think Nancy wants you and Charles to go over and help her [Gm] write some songs.
And I was like, alright.
[Ab] And I got on [C] the phone, you know.
And I think a couple [Gm] days later, we started, and we wrote six songs in four days.
Yeah, I started [D] writing Not Innocent enough, [Gm] you know, several years ago.
[Em] And there just was [C] no
[Em] clear path for [C] the song [Em] until after he was executed.
And then [D]
it [Gm] came to pass.
[G] This [C] has a beginning and an end.
And [G] it's still my favorite song.
Because I feel like [C] it makes a difference, you know.
Because I'm a total [G] abolitionist for the death penalty.
And I feel like [C] this song expresses the injustice [D] of the death penalty better than [G] anything I've ever heard.
[C]
I [D]
[G] was
[E] reading the newspaper in March last [B] year,
and came across this obituary for [E] a woman named Mildred Loving.
And I just got so intrigued by her story.
[A] She was black, and her husband, Richard, was [B] white.
And in Virginia in 1958, it was illegal for interracial couples to [E] marry.
And they did it anyway.
[B] And [E] the case, and [A] it's such an irony that their last name was Loving.
I mean, you know, of all [B] people, they shouldn't have picked on them.
Because the case went through the [E] courts and all the way to the Supreme Court.
And they won.
[A]
[E]
She [B] said she hoped that Loving v.
Virginia would one [E] day be the landmark decision for same-sex marriage.
[A] Because she saw no [E] difference.
[Gbm] [Abm] [A]
[D] Dee Muller was my hero in Texas.
And man, [E] she could take a bar room full of [A] good old boys drinking beer and throwing [E] up on one another
and make them [A] feel like they'd come [Gbm] in there [A] specifically to hear Dee Muller's [D] music.
That was kind of the genesis of where this record came from.
It was [E] the beginning.
You just wanted Dee Muller's music to get heard [Dbm] again.
It was fun to listen [Gb] to Party Girl.
[B] You [Gbm] know, it was tequila [E] after midnight.
I mean, you know, what do you say?
[A] It's the perfect [Gb] honky-tonk.
[E] And [Gbm] it is what it is.
[A] It's just the truth, [E] and nothing but the truth.
[Gbm]
[A] I had [F] a mentor when I was [Bb] a young girl [Fm] by the name of Philip Bobbitt,
who just happens to be [C] Lyndon Johnson's nephew.
And [F] so I knew the Johnsons.
I just [Dm] always felt like [Am] his greatest [F] goal in life was social change and civil [C] rights.
[G] You know, he never got [F] credit for it because of the Vietnam War, which he inherited.
But he [C] also gave us Voter Rights Act.
He [Bb] took us to the moon.
[F] He did so many good social [Dm] things [C] in his life.
And [Gm] I [Bb] always wanted to write something about [F] it and just say,
you [C] know, let's champion [F] this man for [Bb] some of the things that he did.
I hope it may be said 100 years from now that by working together,
we helped to make [D] our country more just for all of its people.
[Eb]
I believe, at least, it will be said
[Bb] that we tried.
I'm [F] fed up with the negativity, and I'm fed up with fear-mongering.
You know, I don't want to be told every day that [Bb] this country is on the verge [C] of collapse.
Because it's not.
[F] The American people are not going to let this country collapse.
It's just [Bb] not going to happen.
[C]
[F]
[Bb] Go on until [C] you've looked them in the [Dm] eye.
[Bb] That gave me a purpose.
And every reason [C] why.
[D] I [Bb] drove myself across [C] America.
[F] Sea to shining [Dm] sea.
[Bb] From the rocky coast [C] of Maine.
[F] To the mighty [Dm] redwood trees.
[Bb] From the plains of North [C] Dakota.
[F] To the Gulf [C] of [Dm] Mexico, [C] it's good [Gm] to know [F] that hope's alive [Bb] again.
[E] I never had a choice.
[A] Music was it [Dbm] for me.
[D] You know, no matter what had [E] happened, [D] even if I'd ended up in a [E] cover band [A] playing in
a Holiday Inn, I'd [D] still be doing it.
[E] Music is [A] something that you develop a passion for [D] early in [E] life and it doesn't matter how
successful [A] you are, you're going to do it.
[Bm] I think it's been probably five or six [E] years since I've put out a record of all new [D] material.
[E] [Dbm]
[Gbm] [Bm] Yeah, [F]
[Cm] we're at [Fm] Tom Yutz's house.
[C] Way out in Mount Juliet [F] in the middle of the country and it's so peaceful [Bb] and the studio
is just [C] so wonderful.
It's just a really comfortable [F] place to record.
[Am] I mean, I love the [Bb] way this record sounds.
It's something that [C] I would want to listen to.
I love the songs, I love the singing, I love the grooves.
It's just such a
[F] You know, [Cm] it's something I'd buy [Db] and I don't [C] buy nothing.
[Gm] [C]
[Em] And we wanted to play some, you know, [D]
[G] up-tempo, more country style.
Just get back to that.
Just have fun after the eight years of doom and gloom.
I think the little concept we had was we wanted to go back to a more older, less of a jugglery
for instrumentation, but with a modern, direct sound.
You know, the voice in the middle of everything.
Imagine his voice and guitar in the start of the track.
And do a little bit, you know, recreate what we do on stage where it's just four-piece,
you know, little rock and roll, country rock band.
[Am] [G] We [D] [G]
[Eb] decided we wanted Dave Ferguson to engineer.
He's a fantastic [Ab] engineer.
He's worked on all of the Johnny Cash stuff, back from the Jack [Eb] Clement.
And he was the [Ab] engineer on Once in a [Ebm] Very Blue Moon.
He was, that's right.
Once for the True Believers. Yeah.
It sort of brought a circle around that we wanted to [Eb] make music that reflected that period,
but at the same [Ab] time, recognized that it's, you know, 20 years [Eb] [F] ahead.
And [Ebm] so we wanted to recapture that, [Eb] to an extent.
[Bb]
[Db] It changes [Ab] everything.
It [Eb] changes everything.
I remember when [B] Pat called me one day and said,
Hey, I think Nancy wants you and Charles to go over and help her [Gm] write some songs.
And I was like, alright.
[Ab] And I got on [C] the phone, you know.
And I think a couple [Gm] days later, we started, and we wrote six songs in four days.
Yeah, I started [D] writing Not Innocent enough, [Gm] you know, several years ago.
[Em] And there just was [C] no
[Em] clear path for [C] the song [Em] until after he was executed.
And then [D]
it [Gm] came to pass.
[G] This [C] has a beginning and an end.
And [G] it's still my favorite song.
Because I feel like [C] it makes a difference, you know.
Because I'm a total [G] abolitionist for the death penalty.
And I feel like [C] this song expresses the injustice [D] of the death penalty better than [G] anything I've ever heard.
[C]
I [D]
[G] was
[E] reading the newspaper in March last [B] year,
and came across this obituary for [E] a woman named Mildred Loving.
And I just got so intrigued by her story.
[A] She was black, and her husband, Richard, was [B] white.
And in Virginia in 1958, it was illegal for interracial couples to [E] marry.
And they did it anyway.
[B] And [E] the case, and [A] it's such an irony that their last name was Loving.
I mean, you know, of all [B] people, they shouldn't have picked on them.
Because the case went through the [E] courts and all the way to the Supreme Court.
And they won.
[A]
[E]
She [B] said she hoped that Loving v.
Virginia would one [E] day be the landmark decision for same-sex marriage.
[A] Because she saw no [E] difference.
[Gbm] [Abm] [A]
[D] Dee Muller was my hero in Texas.
And man, [E] she could take a bar room full of [A] good old boys drinking beer and throwing [E] up on one another
and make them [A] feel like they'd come [Gbm] in there [A] specifically to hear Dee Muller's [D] music.
That was kind of the genesis of where this record came from.
It was [E] the beginning.
You just wanted Dee Muller's music to get heard [Dbm] again.
It was fun to listen [Gb] to Party Girl.
[B] You [Gbm] know, it was tequila [E] after midnight.
I mean, you know, what do you say?
[A] It's the perfect [Gb] honky-tonk.
[E] And [Gbm] it is what it is.
[A] It's just the truth, [E] and nothing but the truth.
[Gbm]
[A] I had [F] a mentor when I was [Bb] a young girl [Fm] by the name of Philip Bobbitt,
who just happens to be [C] Lyndon Johnson's nephew.
And [F] so I knew the Johnsons.
I just [Dm] always felt like [Am] his greatest [F] goal in life was social change and civil [C] rights.
[G] You know, he never got [F] credit for it because of the Vietnam War, which he inherited.
But he [C] also gave us Voter Rights Act.
He [Bb] took us to the moon.
[F] He did so many good social [Dm] things [C] in his life.
And [Gm] I [Bb] always wanted to write something about [F] it and just say,
you [C] know, let's champion [F] this man for [Bb] some of the things that he did.
I hope it may be said 100 years from now that by working together,
we helped to make [D] our country more just for all of its people.
[Eb]
I believe, at least, it will be said
[Bb] that we tried.
I'm [F] fed up with the negativity, and I'm fed up with fear-mongering.
You know, I don't want to be told every day that [Bb] this country is on the verge [C] of collapse.
Because it's not.
[F] The American people are not going to let this country collapse.
It's just [Bb] not going to happen.
[C]
[F]
[Bb] Go on until [C] you've looked them in the [Dm] eye.
[Bb] That gave me a purpose.
And every reason [C] why.
[D] I [Bb] drove myself across [C] America.
[F] Sea to shining [Dm] sea.
[Bb] From the rocky coast [C] of Maine.
[F] To the mighty [Dm] redwood trees.
[Bb] From the plains of North [C] Dakota.
[F] To the Gulf [C] of [Dm] Mexico, [C] it's good [Gm] to know [F] that hope's alive [Bb] again.
Key:
C
E
F
A
D
C
E
F
[A] _ _ _ [E] _ _ [D] _ _
[E] I never had a choice.
[A] Music was it [Dbm] for me.
[D] You know, no matter what had [E] happened, [D] even if I'd ended up in a [E] cover band [A] playing in
a Holiday Inn, I'd [D] still be doing it.
[E] Music is [A] something that you develop a passion for [D] early in [E] life and it doesn't matter how
successful [A] you are, you're going to do it.
[Bm] I think it's been probably five or six [E] years since I've put out a record of all new [D] material.
_ [E] _ _ [Dbm] _ _ _
[Gbm] _ _ _ [Bm] _ _ Yeah, [F] _
[Cm] we're at [Fm] Tom Yutz's house.
_ [C] _ Way out in Mount Juliet [F] in the middle of the country and it's so peaceful [Bb] and the studio
is just [C] so wonderful.
It's just a really comfortable [F] place to record.
[Am] I mean, I love the [Bb] way this record sounds.
It's something that [C] I would want to listen to.
I love the songs, I love the singing, I love the grooves.
It's just such a_
[F] You know, [Cm] it's something I'd buy [Db] and I don't [C] buy nothing.
_ [Gm] _ _ _ [C] _
[Em] And we wanted to play some, you know, [D] _
[G] up-tempo, more country style.
Just get back to that.
Just have fun after the eight years of doom and gloom.
I think the little concept we had was we wanted to go back to a more older, less of a jugglery
for instrumentation, but with a modern, direct _ sound.
You know, the voice in the middle of everything.
Imagine his voice and guitar in the start of the track.
And do a little bit, you know, recreate what we do on stage where it's just four-piece,
you know, little rock and roll, country rock band.
_ [Am] _ _ _ _ [G] _ We _ _ _ [D] _ _ _ [G] _
[Eb] decided we wanted Dave Ferguson to engineer.
He's a fantastic [Ab] engineer.
He's worked on all of the Johnny Cash stuff, back from the Jack [Eb] Clement.
And he was the [Ab] engineer on Once in a [Ebm] Very Blue Moon.
He was, that's right.
Once for the True Believers. Yeah.
It sort of brought a circle around that we wanted to [Eb] make music that reflected that period,
but at the same [Ab] time, recognized that it's, you know, _ 20 years [Eb] _ [F] _ ahead.
And [Ebm] so we wanted to recapture that, [Eb] to an extent.
[Bb] _
_ _ _ _ [Db] _ It changes [Ab] everything.
_ _ It [Eb] changes everything. _ _
I remember when [B] Pat called me one day and said,
Hey, I think Nancy wants you and Charles to go over and help her [Gm] write some songs.
And I was like, alright.
[Ab] And I got on [C] the phone, you know.
And I think a couple [Gm] days later, we started, and we wrote six songs in four days.
Yeah, I started [D] writing Not Innocent enough, _ _ [Gm] _ you know, several years ago.
[Em] And there just was _ [C] no _
[Em] clear _ path for [C] the song [Em] until after he was executed.
And then [D] _ _
it [Gm] came to pass.
[G] This [C] has a beginning and an end.
And _ [G] it's still my favorite song.
_ Because I feel like _ [C] it makes a difference, you know.
Because I'm a total [G] _ abolitionist for the death penalty.
And I feel like [C] this song _ expresses the injustice [D] of the death penalty better than [G] anything I've ever heard.
_ _ [C] _ _
_ _ _ I _ [D] _ _
_ _ [G] _ _ _ was _
_ _ _ [E] reading the newspaper in March last [B] year,
and came across this obituary for [E] a woman named Mildred Loving.
_ And I just got so intrigued by her story.
_ _ [A] She was black, and her husband, Richard, was [B] white.
And in Virginia in 1958, it was illegal for interracial couples to [E] marry.
_ And they did it anyway.
_ [B] And [E] the case, and [A] it's such an irony that their last name was Loving.
I mean, you know, of all [B] people, they shouldn't have picked on them.
Because the case went through the [E] courts and all the way to the Supreme Court. _
And they won.
[A] _ _ _ _ _
_ _ _ [E] _ _ _ _ _
_ _ She [B] said she hoped that Loving v.
Virginia would one [E] day be the landmark decision for same-sex marriage.
[A] Because she saw no [E] difference.
[Gbm] _ [Abm] _ _ [A] _ _ _
_ _ _ _ _ [D] Dee Muller was my hero in Texas.
_ And man, [E] she could take a bar room full of [A] good old boys drinking beer and throwing [E] up on one another
and make them _ [A] feel like they'd come [Gbm] in there [A] specifically to hear Dee Muller's [D] music.
That was kind of the genesis of where this record came from.
It was [E] the beginning.
You just wanted Dee Muller's music to get heard [Dbm] again.
It was fun to listen [Gb] to Party Girl.
[B] You [Gbm] know, it was tequila [E] after midnight.
I mean, you know, what do you say?
[A] It's the perfect [Gb] honky-tonk.
[E] And [Gbm] it is what it is.
[A] It's just the truth, [E] and nothing but the truth.
_ _ [Gbm] _ _ _
_ _ _ _ _ [A] _ I had [F] a mentor when I was [Bb] a young girl [Fm] by the name of Philip Bobbitt,
who just happens to be [C] Lyndon Johnson's nephew.
And [F] so I knew the Johnsons.
I just [Dm] always felt like [Am] his greatest [F] goal in life was social change and civil [C] rights.
[G] You know, he never got [F] credit for it because of the Vietnam War, which he inherited.
But he [C] also gave us Voter Rights Act.
He [Bb] took us to the moon. _
[F] He did so many good social [Dm] things [C] in his life.
And [Gm] I [Bb] always wanted to write something about [F] it and just say,
you [C] know, let's champion [F] this man for [Bb] some of the things that he did.
_ I hope it may be said 100 years from now that by working together,
we helped to make [D] our country more just for all of its people.
[Eb] _ _
I believe, at least, it will be said _
_ [Bb] that we tried. _ _ _
_ _ _ _ I'm [F] fed up with the negativity, and I'm fed up with fear-mongering.
_ You know, I don't want to be told every day that [Bb] this country is on the verge [C] of collapse.
Because it's not.
[F] The American people are not going to let this country collapse.
It's just [Bb] not going to happen.
_ [C] _ _ _
_ [F] _ _ _ _ _ _ _
_ [Bb] Go on until [C] you've looked them in the [Dm] eye.
_ _ [Bb] That gave me a purpose.
_ And every reason [C] _ why.
[D] I [Bb] drove myself across [C] America.
_ _ [F] Sea to shining [Dm] sea.
_ [Bb] From the rocky coast [C] of Maine.
[F] To the mighty [Dm] redwood trees.
_ [Bb] From the plains of North [C] Dakota.
_ [F] To the Gulf [C] of [Dm] Mexico, [C] it's good [Gm] to know [F] that hope's alive [Bb] again. _
[E] I never had a choice.
[A] Music was it [Dbm] for me.
[D] You know, no matter what had [E] happened, [D] even if I'd ended up in a [E] cover band [A] playing in
a Holiday Inn, I'd [D] still be doing it.
[E] Music is [A] something that you develop a passion for [D] early in [E] life and it doesn't matter how
successful [A] you are, you're going to do it.
[Bm] I think it's been probably five or six [E] years since I've put out a record of all new [D] material.
_ [E] _ _ [Dbm] _ _ _
[Gbm] _ _ _ [Bm] _ _ Yeah, [F] _
[Cm] we're at [Fm] Tom Yutz's house.
_ [C] _ Way out in Mount Juliet [F] in the middle of the country and it's so peaceful [Bb] and the studio
is just [C] so wonderful.
It's just a really comfortable [F] place to record.
[Am] I mean, I love the [Bb] way this record sounds.
It's something that [C] I would want to listen to.
I love the songs, I love the singing, I love the grooves.
It's just such a_
[F] You know, [Cm] it's something I'd buy [Db] and I don't [C] buy nothing.
_ [Gm] _ _ _ [C] _
[Em] And we wanted to play some, you know, [D] _
[G] up-tempo, more country style.
Just get back to that.
Just have fun after the eight years of doom and gloom.
I think the little concept we had was we wanted to go back to a more older, less of a jugglery
for instrumentation, but with a modern, direct _ sound.
You know, the voice in the middle of everything.
Imagine his voice and guitar in the start of the track.
And do a little bit, you know, recreate what we do on stage where it's just four-piece,
you know, little rock and roll, country rock band.
_ [Am] _ _ _ _ [G] _ We _ _ _ [D] _ _ _ [G] _
[Eb] decided we wanted Dave Ferguson to engineer.
He's a fantastic [Ab] engineer.
He's worked on all of the Johnny Cash stuff, back from the Jack [Eb] Clement.
And he was the [Ab] engineer on Once in a [Ebm] Very Blue Moon.
He was, that's right.
Once for the True Believers. Yeah.
It sort of brought a circle around that we wanted to [Eb] make music that reflected that period,
but at the same [Ab] time, recognized that it's, you know, _ 20 years [Eb] _ [F] _ ahead.
And [Ebm] so we wanted to recapture that, [Eb] to an extent.
[Bb] _
_ _ _ _ [Db] _ It changes [Ab] everything.
_ _ It [Eb] changes everything. _ _
I remember when [B] Pat called me one day and said,
Hey, I think Nancy wants you and Charles to go over and help her [Gm] write some songs.
And I was like, alright.
[Ab] And I got on [C] the phone, you know.
And I think a couple [Gm] days later, we started, and we wrote six songs in four days.
Yeah, I started [D] writing Not Innocent enough, _ _ [Gm] _ you know, several years ago.
[Em] And there just was _ [C] no _
[Em] clear _ path for [C] the song [Em] until after he was executed.
And then [D] _ _
it [Gm] came to pass.
[G] This [C] has a beginning and an end.
And _ [G] it's still my favorite song.
_ Because I feel like _ [C] it makes a difference, you know.
Because I'm a total [G] _ abolitionist for the death penalty.
And I feel like [C] this song _ expresses the injustice [D] of the death penalty better than [G] anything I've ever heard.
_ _ [C] _ _
_ _ _ I _ [D] _ _
_ _ [G] _ _ _ was _
_ _ _ [E] reading the newspaper in March last [B] year,
and came across this obituary for [E] a woman named Mildred Loving.
_ And I just got so intrigued by her story.
_ _ [A] She was black, and her husband, Richard, was [B] white.
And in Virginia in 1958, it was illegal for interracial couples to [E] marry.
_ And they did it anyway.
_ [B] And [E] the case, and [A] it's such an irony that their last name was Loving.
I mean, you know, of all [B] people, they shouldn't have picked on them.
Because the case went through the [E] courts and all the way to the Supreme Court. _
And they won.
[A] _ _ _ _ _
_ _ _ [E] _ _ _ _ _
_ _ She [B] said she hoped that Loving v.
Virginia would one [E] day be the landmark decision for same-sex marriage.
[A] Because she saw no [E] difference.
[Gbm] _ [Abm] _ _ [A] _ _ _
_ _ _ _ _ [D] Dee Muller was my hero in Texas.
_ And man, [E] she could take a bar room full of [A] good old boys drinking beer and throwing [E] up on one another
and make them _ [A] feel like they'd come [Gbm] in there [A] specifically to hear Dee Muller's [D] music.
That was kind of the genesis of where this record came from.
It was [E] the beginning.
You just wanted Dee Muller's music to get heard [Dbm] again.
It was fun to listen [Gb] to Party Girl.
[B] You [Gbm] know, it was tequila [E] after midnight.
I mean, you know, what do you say?
[A] It's the perfect [Gb] honky-tonk.
[E] And [Gbm] it is what it is.
[A] It's just the truth, [E] and nothing but the truth.
_ _ [Gbm] _ _ _
_ _ _ _ _ [A] _ I had [F] a mentor when I was [Bb] a young girl [Fm] by the name of Philip Bobbitt,
who just happens to be [C] Lyndon Johnson's nephew.
And [F] so I knew the Johnsons.
I just [Dm] always felt like [Am] his greatest [F] goal in life was social change and civil [C] rights.
[G] You know, he never got [F] credit for it because of the Vietnam War, which he inherited.
But he [C] also gave us Voter Rights Act.
He [Bb] took us to the moon. _
[F] He did so many good social [Dm] things [C] in his life.
And [Gm] I [Bb] always wanted to write something about [F] it and just say,
you [C] know, let's champion [F] this man for [Bb] some of the things that he did.
_ I hope it may be said 100 years from now that by working together,
we helped to make [D] our country more just for all of its people.
[Eb] _ _
I believe, at least, it will be said _
_ [Bb] that we tried. _ _ _
_ _ _ _ I'm [F] fed up with the negativity, and I'm fed up with fear-mongering.
_ You know, I don't want to be told every day that [Bb] this country is on the verge [C] of collapse.
Because it's not.
[F] The American people are not going to let this country collapse.
It's just [Bb] not going to happen.
_ [C] _ _ _
_ [F] _ _ _ _ _ _ _
_ [Bb] Go on until [C] you've looked them in the [Dm] eye.
_ _ [Bb] That gave me a purpose.
_ And every reason [C] _ why.
[D] I [Bb] drove myself across [C] America.
_ _ [F] Sea to shining [Dm] sea.
_ [Bb] From the rocky coast [C] of Maine.
[F] To the mighty [Dm] redwood trees.
_ [Bb] From the plains of North [C] Dakota.
_ [F] To the Gulf [C] of [Dm] Mexico, [C] it's good [Gm] to know [F] that hope's alive [Bb] again. _