Chords for Old Dominion - Asheville Sessions - Ep. 4
Tempo:
99.05 bpm
Chords used:
B
C#m
C#
F#
D#m
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
I heard you broke up with me, [B] you broke up with me for That's cool.
Yeah.
I [G#m] won't break it [E] up, I swear I'm over it, keep it [B] scored.
I don't even care how it ended, [D#m] doesn't really matter anyway.
[E] Sitting around on my invitation, leaving New York here away.
[B] It was just a sort of this like serendipitous moment where Shane and I were listening back
to Lonely Side of Town and it just has such a vibe and such an old school kind of groove
and I was looking at Shane and I said, man, it would be so cool to have somebody like
Gladys Knight on this album.
And he was like, she lives [B] in Asheville, she's here.
[F#] [C#] We talked to the people at the studio and of course they knew her and [B] the rest just
kind of fell into [A#m] place.
We just asked her if she would be into singing with us and [G#]
she immediately said yes.
Amazing.
[G#m] Hey!
How y'all doing?
It's nice [B] to meet you.
I love you guys.
[C#m] Thank you.
And I'm so proud of you guys.
[C#] I really have loved country music all my life.
[B] Just so excited.
Oh, it's my [F#] pleasure.
I feel so honored.
[C#m] I've been watching you guys.
To me, it's one of those songs that [B] we loved writing it and then [F#] when we recorded it, we
just, all the parts [C#] are nailed.
I think everyone [D#m] is at their highest level on that song, which [C#] sometimes happens [C#m] and sometimes doesn't.
I think [D#m] it just has that [C#m] Motown sort [B] of vibe to it.
It's just the perfect combination of [F#] that classic sound that we have but just [C#m] taken
into the modern world.
[B] I heard you broke up with who you broke up with me for.
[C#m] I won't bring it up.
I swear [C#] I'm over keeping score.
[F#] I don't really care how it ended.
It doesn't really matter anyway.
[C#m] Consider it an open invitation.
[C#] Even if you threw your key [B] away.
If you're ever [F#] on the lonely side [C#m] of town.
A little messed up.
Saturday night.
Nothing going on and you [B] feel like getting up to something.
[F#] Boy, you know I'm [C#m] always down for a good time.
Little small talk.
You don't need no reason [D#m] at all to call an old [C#m] familiar more than a friend.
[D#m] You can find me right [C#m] there.
I'll [B] be standing there.
[G#] No, I just love what you've [C#m] done.
It's so pure and it's so just [G#] right at that person [B] and it's millions of people out there
that's feeling [B] like that.
You know, [C#m] and especially those who are kind of a little shy.
They don't want to [D#m] get back into it and know you had a good thing.
[C#m] That kind of thing, you [D#m] know.
So that's what I love about this song.
[C#m] You [F#] know, talking to Glass about it.
She [B]
said over [C#] and over that if you really listen to her songs, [F#]
all of her biggest hits,
they are actually [B] country songs at heart.
And when you really listen to [G#] like, you know, Midnight Train to Georgia and things [C#] like
that, they are.
They're country songs.
And I think she [F#] just identified with our story and [C#m] she kept telling me like, man, how did
you write this [F#] in such a relatable [D#] way?
So I think she's just [C#] a song person and we knew that about her.
You can tell how much she cares about what she is singing.
And that's what we ultimately do when we're writing.
We care about every [G#] single word.
[B] It's a highlight of [G#] our career to work with someone like [C#] her.
It's something that we'll always look back on.
We'll look at the pictures, we'll look at the video and listen [B] to it thinking, wow,
a true legend honored [C#] us with this performance.
[E] Just yet another example [F#] of a moment when you just can kind of [B] step back and [C#] realize
how far we've come on our [G#m] journey that that's even [B] a possibility.
I'll be right there.
[C#m] I'll be right [C#] there.
[D#m] And [F#] you, [B] little mister, Saturday night.
[C#] That's a good way to put it.
A lonely side [G#] of town.
I like that.
A lot.
It's real.
[N] You're recording.
Yep.
So here we are.
We're about to go and meet Gladys Knight.
We're out in the parking lot.
This is us before we meet Gladys Knight.
This is what we look like.
This is the moment before we will be [C] forever changed.
Yep.
We [A#] will never look, feel, or be [G#] the same.
You'll need to see what we
Yeah.
I [G#m] won't break it [E] up, I swear I'm over it, keep it [B] scored.
I don't even care how it ended, [D#m] doesn't really matter anyway.
[E] Sitting around on my invitation, leaving New York here away.
[B] It was just a sort of this like serendipitous moment where Shane and I were listening back
to Lonely Side of Town and it just has such a vibe and such an old school kind of groove
and I was looking at Shane and I said, man, it would be so cool to have somebody like
Gladys Knight on this album.
And he was like, she lives [B] in Asheville, she's here.
[F#] [C#] We talked to the people at the studio and of course they knew her and [B] the rest just
kind of fell into [A#m] place.
We just asked her if she would be into singing with us and [G#]
she immediately said yes.
Amazing.
[G#m] Hey!
How y'all doing?
It's nice [B] to meet you.
I love you guys.
[C#m] Thank you.
And I'm so proud of you guys.
[C#] I really have loved country music all my life.
[B] Just so excited.
Oh, it's my [F#] pleasure.
I feel so honored.
[C#m] I've been watching you guys.
To me, it's one of those songs that [B] we loved writing it and then [F#] when we recorded it, we
just, all the parts [C#] are nailed.
I think everyone [D#m] is at their highest level on that song, which [C#] sometimes happens [C#m] and sometimes doesn't.
I think [D#m] it just has that [C#m] Motown sort [B] of vibe to it.
It's just the perfect combination of [F#] that classic sound that we have but just [C#m] taken
into the modern world.
[B] I heard you broke up with who you broke up with me for.
[C#m] I won't bring it up.
I swear [C#] I'm over keeping score.
[F#] I don't really care how it ended.
It doesn't really matter anyway.
[C#m] Consider it an open invitation.
[C#] Even if you threw your key [B] away.
If you're ever [F#] on the lonely side [C#m] of town.
A little messed up.
Saturday night.
Nothing going on and you [B] feel like getting up to something.
[F#] Boy, you know I'm [C#m] always down for a good time.
Little small talk.
You don't need no reason [D#m] at all to call an old [C#m] familiar more than a friend.
[D#m] You can find me right [C#m] there.
I'll [B] be standing there.
[G#] No, I just love what you've [C#m] done.
It's so pure and it's so just [G#] right at that person [B] and it's millions of people out there
that's feeling [B] like that.
You know, [C#m] and especially those who are kind of a little shy.
They don't want to [D#m] get back into it and know you had a good thing.
[C#m] That kind of thing, you [D#m] know.
So that's what I love about this song.
[C#m] You [F#] know, talking to Glass about it.
She [B]
said over [C#] and over that if you really listen to her songs, [F#]
all of her biggest hits,
they are actually [B] country songs at heart.
And when you really listen to [G#] like, you know, Midnight Train to Georgia and things [C#] like
that, they are.
They're country songs.
And I think she [F#] just identified with our story and [C#m] she kept telling me like, man, how did
you write this [F#] in such a relatable [D#] way?
So I think she's just [C#] a song person and we knew that about her.
You can tell how much she cares about what she is singing.
And that's what we ultimately do when we're writing.
We care about every [G#] single word.
[B] It's a highlight of [G#] our career to work with someone like [C#] her.
It's something that we'll always look back on.
We'll look at the pictures, we'll look at the video and listen [B] to it thinking, wow,
a true legend honored [C#] us with this performance.
[E] Just yet another example [F#] of a moment when you just can kind of [B] step back and [C#] realize
how far we've come on our [G#m] journey that that's even [B] a possibility.
I'll be right there.
[C#m] I'll be right [C#] there.
[D#m] And [F#] you, [B] little mister, Saturday night.
[C#] That's a good way to put it.
A lonely side [G#] of town.
I like that.
A lot.
It's real.
[N] You're recording.
Yep.
So here we are.
We're about to go and meet Gladys Knight.
We're out in the parking lot.
This is us before we meet Gladys Knight.
This is what we look like.
This is the moment before we will be [C] forever changed.
Yep.
We [A#] will never look, feel, or be [G#] the same.
You'll need to see what we
Key:
B
C#m
C#
F#
D#m
B
C#m
C#
I heard you broke up with me, [B] you broke up with me for That's cool.
Yeah.
I [G#m] won't break it [E] up, I swear I'm over it, keep it [B] scored.
I don't even care how it ended, [D#m] doesn't really matter anyway.
[E] Sitting around on my invitation, leaving New York here away.
[B] It was just a sort of this like serendipitous moment where Shane and I were listening back
to Lonely Side of Town and it just has such a vibe and such an old school kind of groove
and I was looking at Shane and I said, man, it would be so cool to have somebody like
Gladys Knight on this album.
And he was like, she lives [B] in Asheville, she's here. _ _
[F#] _ _ _ _ _ [C#] _ We talked to the people at the studio and of course they knew her and [B] the rest just
kind of fell into [A#m] place.
We just asked her if she would be into singing with us and [G#]
she immediately said yes.
Amazing.
[G#m] Hey!
How y'all doing?
It's nice [B] to meet you.
I love you guys.
[C#m] Thank you.
And I'm so proud of you guys.
[C#] I really have loved country music all my life.
[B] Just so excited.
Oh, it's my [F#] pleasure.
I feel so honored.
[C#m] I've been watching you guys. _
To me, it's one of those songs that [B] we loved writing it and then [F#] when we recorded it, we
just, all the parts [C#] are nailed.
I think everyone [D#m] is at their highest level on that song, which [C#] sometimes happens [C#m] and sometimes doesn't.
I think [D#m] it just has that _ [C#m] Motown sort [B] of vibe to it.
It's just the perfect combination of [F#] that classic sound that we have but just [C#m] taken
into the modern world.
_ _ _ _ [B] I heard you broke up with who you broke up with me for.
[C#m] I won't bring it up.
I swear [C#] I'm over keeping score.
[F#] I don't really care how it ended.
It doesn't really matter anyway.
[C#m] Consider it an open invitation.
[C#] Even if you threw your key [B] away.
If you're ever [F#] on the lonely side [C#m] of town.
A little messed up.
Saturday night.
Nothing going on and you [B] feel like getting up to something.
[F#] Boy, you know I'm [C#m] always down for a good time.
Little small talk.
You don't need no reason [D#m] at all to call an old [C#m] familiar more than a friend.
[D#m] _ You can find me right [C#m] there.
I'll [B] be standing there. _
_ [G#] No, I just love what you've [C#m] done.
It's so pure and it's so just [G#] right at that person [B] and it's millions of people out there
that's feeling [B] like that.
You know, [C#m] and especially those who are kind of a little shy.
They don't want to [D#m] get back into it and know you had a good thing.
[C#m] That kind of thing, you [D#m] know.
So that's what I love about this song.
[C#m] You [F#] know, talking to Glass about it.
She [B] _
_ said over [C#] and over that if you really listen to her songs, [F#]
all of her biggest hits,
they are actually [B] country songs at heart.
And when you really listen to [G#] like, you know, Midnight Train to Georgia and things [C#] like
that, they are.
They're country songs.
And I think she [F#] just identified with our story and [C#m] she kept telling me like, man, how did
you write this [F#] in such a relatable [D#] way?
So I think she's just [C#] a song person and we knew that about her.
You can tell how much she cares about what she is singing.
And that's what we ultimately do when we're writing.
We care about every [G#] single word.
_ [B] _ It's a highlight of [G#] our career to work with someone like [C#] her.
It's something that we'll always look back on.
We'll look at the pictures, we'll look at the video and listen [B] to it thinking, wow,
a true legend _ honored [C#] us with this performance.
[E] Just yet another example [F#] of a moment when _ you just can kind of [B] step back and [C#] realize
how far we've come on our [G#m] journey that that's even [B] a possibility. _
_ I'll be right there.
[C#m] I'll be right [C#] there.
_ _ _ [D#m] And [F#] you, [B] little mister, Saturday night.
_ [C#] That's a good way to put it.
A lonely side [G#] of town.
I like that.
A lot.
It's real. _ _ _ _ _ _
[N] You're recording.
Yep.
So here we are.
We're about to go and meet Gladys Knight.
We're out in the parking lot.
This is us before we meet Gladys Knight.
This is what we look like.
This is the moment before we will be [C] forever changed.
Yep.
We [A#] will never look, feel, or be [G#] the same.
You'll need to see what we
Yeah.
I [G#m] won't break it [E] up, I swear I'm over it, keep it [B] scored.
I don't even care how it ended, [D#m] doesn't really matter anyway.
[E] Sitting around on my invitation, leaving New York here away.
[B] It was just a sort of this like serendipitous moment where Shane and I were listening back
to Lonely Side of Town and it just has such a vibe and such an old school kind of groove
and I was looking at Shane and I said, man, it would be so cool to have somebody like
Gladys Knight on this album.
And he was like, she lives [B] in Asheville, she's here. _ _
[F#] _ _ _ _ _ [C#] _ We talked to the people at the studio and of course they knew her and [B] the rest just
kind of fell into [A#m] place.
We just asked her if she would be into singing with us and [G#]
she immediately said yes.
Amazing.
[G#m] Hey!
How y'all doing?
It's nice [B] to meet you.
I love you guys.
[C#m] Thank you.
And I'm so proud of you guys.
[C#] I really have loved country music all my life.
[B] Just so excited.
Oh, it's my [F#] pleasure.
I feel so honored.
[C#m] I've been watching you guys. _
To me, it's one of those songs that [B] we loved writing it and then [F#] when we recorded it, we
just, all the parts [C#] are nailed.
I think everyone [D#m] is at their highest level on that song, which [C#] sometimes happens [C#m] and sometimes doesn't.
I think [D#m] it just has that _ [C#m] Motown sort [B] of vibe to it.
It's just the perfect combination of [F#] that classic sound that we have but just [C#m] taken
into the modern world.
_ _ _ _ [B] I heard you broke up with who you broke up with me for.
[C#m] I won't bring it up.
I swear [C#] I'm over keeping score.
[F#] I don't really care how it ended.
It doesn't really matter anyway.
[C#m] Consider it an open invitation.
[C#] Even if you threw your key [B] away.
If you're ever [F#] on the lonely side [C#m] of town.
A little messed up.
Saturday night.
Nothing going on and you [B] feel like getting up to something.
[F#] Boy, you know I'm [C#m] always down for a good time.
Little small talk.
You don't need no reason [D#m] at all to call an old [C#m] familiar more than a friend.
[D#m] _ You can find me right [C#m] there.
I'll [B] be standing there. _
_ [G#] No, I just love what you've [C#m] done.
It's so pure and it's so just [G#] right at that person [B] and it's millions of people out there
that's feeling [B] like that.
You know, [C#m] and especially those who are kind of a little shy.
They don't want to [D#m] get back into it and know you had a good thing.
[C#m] That kind of thing, you [D#m] know.
So that's what I love about this song.
[C#m] You [F#] know, talking to Glass about it.
She [B] _
_ said over [C#] and over that if you really listen to her songs, [F#]
all of her biggest hits,
they are actually [B] country songs at heart.
And when you really listen to [G#] like, you know, Midnight Train to Georgia and things [C#] like
that, they are.
They're country songs.
And I think she [F#] just identified with our story and [C#m] she kept telling me like, man, how did
you write this [F#] in such a relatable [D#] way?
So I think she's just [C#] a song person and we knew that about her.
You can tell how much she cares about what she is singing.
And that's what we ultimately do when we're writing.
We care about every [G#] single word.
_ [B] _ It's a highlight of [G#] our career to work with someone like [C#] her.
It's something that we'll always look back on.
We'll look at the pictures, we'll look at the video and listen [B] to it thinking, wow,
a true legend _ honored [C#] us with this performance.
[E] Just yet another example [F#] of a moment when _ you just can kind of [B] step back and [C#] realize
how far we've come on our [G#m] journey that that's even [B] a possibility. _
_ I'll be right there.
[C#m] I'll be right [C#] there.
_ _ _ [D#m] And [F#] you, [B] little mister, Saturday night.
_ [C#] That's a good way to put it.
A lonely side [G#] of town.
I like that.
A lot.
It's real. _ _ _ _ _ _
[N] You're recording.
Yep.
So here we are.
We're about to go and meet Gladys Knight.
We're out in the parking lot.
This is us before we meet Gladys Knight.
This is what we look like.
This is the moment before we will be [C] forever changed.
Yep.
We [A#] will never look, feel, or be [G#] the same.
You'll need to see what we