Chords for Natalie Merchant | Through the Music Documentary - 10,000 Maniacs, R.E.M, Going solo

_ [G] Come [A] on now, [D] time on [A] your stand
The [G] way I feel on the open [D] land
[G] Take my hand as the sun goes [A] down
[C] Thinkin' of you now, [B] thinkin' of you [F#] now
Thinkin' of you now _
_ _ _ [Bm] We got [G] the night, belongs [A] to our [Bm] hearts
We got the night, belongs to us
We got the night, belongs [A] to [Bm] us
We [G] got the night, [A] belongs to [Bm] us
[G] _ _ [A] _ _
_ _ [Bm] _ _ _ _ _ _
_ [G] _ _ _ _ _ [D] _ _
_ _ _ [F#] _ _ [C#] _ _ _
_ [D#] _ _ _ _ _ _
[B] My parents divorced when I was [G#] relatively young,
so being the child of a [F#] single working mother,
_ [C#] there [D#m] were always issues of [C#] financial security.
_ [F#]
Growing up with _ the [B] threat of poverty
[C#] _ [F#] was _ [C#] something that, you know, we always drove a [D#m] used car
and my [C#] mother supplemented her income by [F#] painting houses in [B] the summer,
_ _ _ [Fm] which I didn't see [G#m] many other kids that I went to school with.
I [F#] didn't see their mothers [D#]
up on ladders all [A#m] summer, you know,
painting houses to [F#]
be [B] able to buy our winter coats. _ _ _
We didn't have many luxury items.
[C#] So _ even when I was _ in the band, [F#] up until about the sixth year,
[G#] I really didn't think it was going to provide any security for me,
and my [B] family didn't either.
I was constantly [A#m] encouraged to, oh, [B] well, this was a good thing to do,
and you got to travel [F#] a bit, and it was fun.
Now go back to school [B] and, you know,
become [F#] something _ that [B] will provide you security.
[A#] _
_ _ _ _ _ _ We got the night, [D#] _ belongs to our [F] hearts
We got _ [A#] _ _ _
_ [D#] _ the night, _ _ belongs to us _ _ _ _ _ _
[A#] We [Cm] got the night, belongs to us
We got the night, _ [A#] belongs [D#] to us _
_ _ _ _ Who do you [A#] want to be?
_ _ _ _ _ I _ [Gm] don't _ _ _ _ _
_ _ _ [D#] care
_ I don't care
It's been a bloody [A#] hell _ _
_ Lost and hated, [Gm] the candy
_ _ It's blood and you owe it [D#] _
_ [B] _ _ _ [C#] to me
Well, the decision to leave the Minix was made two years [A#m] before it was made public.
[F#] So I [B] feel that even though we had two successful records in that time,
the [A#m] Unplugged record and Our [F#] Time in Eden,
_ [B] _ [C#] my mind was really set [F#] on leaving,
and I think the [F#] success of the last two [G#] records was just,
[G#m] just made me feel better about the decision
because I [D#] was leaving people with a [E] bit of security.
_ _ [F#] I'd been [C#] doing the same thing for 12 years,
probably [D#] like anyone who had the same job for 12 years.
It [G#] just felt like a [B] time to change.
I [C#] felt like _ [F#] it'd be interesting to [C#] collaborate with some different musicians,
but I didn't [A#m] want to do it as a side [C#] project.
I just wanted to make a [B] break.
_ _ [G#] The thing that I was most nervous about was [G#m] finding the right musicians to play [F#] with
[C#] because that was the most important thing to me.
It's hard enough to find someone you can have a conversation with
and feel a [B] connection with,
let alone someone that you can _ [C#] live with for [D#] long periods of time,
as you do [G#m] when you're making a record and touring, _ _
_ and [F#] still be able to create something with them.
_ [B] Making music with someone is [C#] _ really difficult
if you don't [F#] feel a [G#m] sympathetic _ relationship there.
[F#] I think it's universally [G#] proven that bands are very similar in structure to families.
[B] _
_ [C#] It's really probably intangible if you've never been in a [A#m] band.
[F#] Your [B] destiny seems very [C#] collective
until you wake up one morning [F#] and say,
no, no, no, I'm an individual and I can _ [G#]
move freely about the world
without [F#] five other people attached.
[G] _ _ [D] _ _ _ _ _
[Bm] _ _ [G] _ _ _ [D] _ _ _
_ [Bm] _ _ _ _ [D] _ _ _
_ [Bm] _ _ _ [G] _ _ [D] _ _
_ _ [G] _ _ _ _ _ [D] _
_ _ _ [Em] _ _ _ _ [A] _
_ _ _ [G] _ _ [A] _ _ _
[D] _ _ [Bm] _ _ _ _ [G] _ _
_ [A] _ _ [Bm] _ _ _ _ [D] _
_ _ _ [Bm] _ _ _ _ [D] _
_ _ _ [Bm] _ _ _ _ _
[C#] _ _ _ _ _ [G#] _ _ [A#m] _
_ _ _ [G#] _ _ [F#] When I sing my own music,
that it's something that I invented and [C#] created
and something that I'm giving [A#] to people, _ _
[G#] there's [F#] something really powerful in that. _ _ _
_ _ _ _ _ [C#] _ _ _
[G#] _ _ [A#m] _ _ _ [G#] _ _ _
_ [F#] _ No explanation
And _ _
_ [F#] as [C#] far as [G#] they see [A#m] they can offer
_ [G#] No [F#] _ explanation
_ _ _ _ _ _ _ [D#] _
_ [C#] _ _ [G#] Newspapers [A#m] ask [G#] such intimate _ [F#] questions
They want confession
It's _ [C#] like a raw _ sense of [B] honestly understanding
who I am at that moment through the music.
_ _ The dancing [F#] is completely [C#] improvised.
The [D#m] thing that [C#] I wanted to do is make a record very quickly
because I [F#] didn't want to deliberate about it
and let it [B] become too heavy.
The [F#] weight of it being, this is my [C#] first solo record
and this is [D#m] the [C#] defining record of my career.
I wanted to get away from [B] the trap that that could create.
What I [G#m] wanted to do was just put out a record of all the songs I wrote
[F#] that I felt [C#] best about [A#m] in the year period after [F#] I left the band.
_ [B] _ _
[B] As far as sound, I wanted it to be very pure and very simple _
[F#] because the Unplugged [C#] record taught me that
you can just go on stage [F#] and perform live
[G#] with a well-rehearsed group of people and a strong set of [B] songs
and you can make a record. _
[A#m] _ _ [G#m] _ _ _ _ _ _
_ _ [F#] _ _ _ [C#] _ _ _
[C#] Pop bands with a spiritual side [Bm] to them, _
I'm drawn to that and REM had that.
They have it still.
[F#] That's the thing that attracted me to them.
I think the record Murmur,
I [C#] probably listened to that 40 times the first two weeks that I had it.
There was something about [D#] it that just touched me.
_ [F#] _ _ [C#] I think it's good for [F#] an artist to [C#] _ metamorphosize
and I [B] think that's what they've been able to do with every record.
_ [G] _ And [G#m] it's exciting, _ [F#] _ _ [C#] but I don't know if I'm being [A#m] nostalgic
or _ if _ [B]
just for personal reasons or _ what,
but when they do a song like South Central Rain [G#] or [C#] Fall on Me,
I get a feeling that I don't [A#] get with a lot of the newer material.
[N] _
_ This may well be my favorite song in the REM catalog and [F#] here it is.
_ _ [A] _ _
_ [C] _ _ _ _ _ _ _
_ _ [Dm] _ There's a flower, [F]
feathers high [Dm] and
Barking buildings, [F] weeds and buildings
_ [Dm] Feathers hit the [Am] ground and fall
[Dm] Wake and leave the [Am] _ air
_ By the [G] sky and [C] sell the [Dm] sky _
Tell the sky, [G] tell the sky
Don't [C] fall [Dm] on _ _ me
_ [C] Fall [D] on me
_ _ [C] _
[D#] I think of myself as a [G#] singer and a songwriter.
I always felt as a songwriter that I was really concerned about [A#] delivering a message.
I try not to get too involved in anything [G#] beyond that.
_ _ My theory [D#] is always if I please myself, then people will be pleased.
[F] _ _ _ _ _ _ _ _ _ _ [G#] _ _ _
_ _ _ [D#] _ _ _ _ _