Chords for Rhythm Country & Blues The Staple Singers and Marty Stuart 'The Weight' Part 1

[Gm] _ CHING CHING CHING
CHING [G] CHING CHING
[Gm] _
CHING CHING CHING
CHING CHING [G] CHING
[Gm] CHING CHING CHING
CHING CHING CHING CHING COOL
CHING CHING CHING
CHING CHING _ CHING
CHING _ CHING CHING
CHING [G] CHING CHING
CHING CHING CHING
CHING CHING [Gm] CHING
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[B] _ Milwaukee's where we [E] were before [B] we came here
Workin' in a [C#] brewery, makin' the finest [F#] [B] beer
You came to me on a Peggy Knott's
[E] Said let's go to [B] Tennessee
[E] So we came down [B] to Nashville
[F#] To the Grand [B] Ole Opry
Sing a little [E] bit of it
_ We were watchin' [A] TV
Ernie's tub was [E] singin' out loud
I said he's the man for [F#] me
I love [B] him there's no doubt
[E] I'm leavin' you and [A] goin' out to that [E] freezer
[A] And if I can't find him [E] I'll settle for [B] that [E] bluegrass Lester [B] Flair
Memphis and Nashville are 200 miles apart [E] in a straight [F#] line
And they're opposite ends of the universe, [C#] musically
Long distance information, give me Memphis, Tennessee
Help me find the party, try to get in touch with [F#] me
We could not leave her number
But I know who placed the [C#m] call
The smog gon' took the message
It was Beale Street and the [F#] blues that made [G] Memphis
[E] See don't make it my girl
You see the music from the [G] Delta is, to me, is the foundation of all of it
I'm a soul, _ [Gm] _ _ _ [G] _ _ _ _
[Gm] _ _ _ [F] _ [G] I'm a soul
Black gospel and the blues gravitated to the city of Memphis
and then moved to North Chicago
[C] But whatever we had that was white country shifted to Nashville
Don't you think maybe [D] we could find [G] us a brand new [C] recipe
Like [N] one would say, well let's don't go there and record
cause they don't know nothin' about country music
It's all rhythm and blues
And then they would say the same thing
In Memphis, let's don't go to Nashville
Cause they don't know nothin' about rhythm and blues
They just told that old country
But now today, we're kinda lookin' at each other
[F#m] and liking each other's things because we're so close
I _ [E] _ [Bm] _
[D] _ [Bm] _ [A] _ _ _ _ _
pulled [C#m] into Nazareth, [D] was feelin' about [A] half-past dead
[A] I just [C#m] need some place [D] where I can lay [A] my head
Hey [C#m] mister, can you tell me [D] where a man might [A] find a bed
Just [C#m] grinned, shook my [D] hand, and Lord was [A] all he said
Take a [D] load off, Fannie
[A] Take a [D] load for free
[A]
Take a [D] load off, Fannie
_ And you put the load [A] right on [E] me
[F#m] _ [A] _ [D] _ _
_ _ [A] I picked up my [C#m] bags, [D] went lookin' for a place to [A] hide
[D] [A] When I saw War [C#m] Carmen and the devil [D]
walkin' side by [A] side
I said, [C#m] hey Carmen, [D] come on, let's go [A] downtown
She said, [C#m] I gotta go, [D] but my friend can [A] stick around
_ Take a [D] load off, Fannie
Take a [A] load off, [Am] _ [D] Fannie
[A] Take a [D] load off, Fannie
And _ you put the load right [A] on [E] me
[F#m] [A] What I would like to [D] see happen ultimately with this record
[E] is that somehow without dotting the I
and putting the token pedal steel guitar in there
and say, well that's country, and geez, those cunga drums are R&B
[D]
I'd like it to be seamless, I'd like to stay true to the song.
[A] Go [C#m] down, Moses, [D] there's nothing that a [A] youth can say
Roblox Pop Staples [C#m] goes back to the days of the [A] Delta Blues.
He knew and worked with people [C] like Charlie Patton, Robert Johnson,
[D] Robert Gimli Lockwood, and many others.
[A] So I [E] started playing when I was a boy,
played down, I played a few blues in [D] Mississippi.
[F#] When we get through picking cotton, we set out [D] on the big porch and sang.
[A] Take a [D] load, Fannie
[A] Take a [D] load off, Fannie
_ And you put the [E]
[A] load [E] right on me
Marty Stewart is probably the purest
of the current traditional country performers,
and he has always maintained that type of straight country,
[Gm] rural, mountain music approach.
[G] _ _
[N] Pops and I are both from Mississippi, so we got to work this thing out together.
But we probably had some of the same [G#] influences
in our formative days, musically.
And we were all raised in the church house,
and I think I hear all kinds of influences in the way that,
musically, I hear a bit of gospel in this. _
_ [C] God made [G] man and he made _ [C] man
We got to [C#] stay fair
[F] All along we [N] got down there
Oh, man, oh, we
I think the Mississippi Delta [G#] was just as fertile to American culture
as the Delta was in ancient Egypt.
It was where _ black people [E] heard the white man's music
and made something new out of it.
It was where the white man heard the black man's music.
And, you know, people say the blues came from Africa.
Well, I think they really came from the deep south.
Man, I thank God that they invented guitars
to get people like you and me out of [Bm] cotton fields.
We'd just been in [A] the way down there, man.
Take a [D] load off, Annie
[A] [E] Take a [D] load off, Lee
[A] Take a [D] load off, Annie
And you put the load [A] right on me
[E] _ [F#m] _ [A] [D] Yeah, yeah
Yeah, [A] yeah
[E] _ [F#m] _ [A] _
[D] _ _ _ _ _ _ _ _
_ _ _ _ _ I always [A] felt that country music was just white soul music
and that, essentially, thematically, you're dealing with the same material.
And even musically, you're on this chord
that's based pretty much from, you know, comes from the blues, really.