Chords for Robbie Robertson on Dylan, Nashville, and Otis Redding
Tempo:
73.15 bpm
Chords used:
Bb
B
E
Eb
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Bb] [Eb]
[Bb] I [N] go to Nashville, Tennessee with Bob Dylan and we're recording a record called Blonde on Blonde.
In Nashville, they don't like other people coming into their circle.
So it was an uncomfortable experience, you know, just to be like this guy that, you know,
was kind of being forced on them.
And you could feel it.
You could feel the thing.
And then there was a song we recorded.
I think it might have been this song, obviously, Five Believers or something.
And so Bob said, you know, Robbie's going to play the guitar on this one.
So you could see the attitude and everything.
And it wasn't like brutal, but, you know, it was subtle enough that, you know, but you
could feel it.
And then I played and they realized I did something that none of them did.
It was a different kind of guitar playing.
And that was okay then.
And they accepted me into this thing.
So anyway, we make this record and there's a song on the record called Just Like a Woman.
And at this time, Bob Dylan, other people record his songs.
Lots of other people do.
So we record the song and he says, who do you think would be good to cover this song?
And I said, Otis Redding, who is just, to me, one of the greatest singers that ever
walked the earth.
And he said, really?
I said, absolutely.
You know, he would, you know, he would just tear it up.
So then we were in Los Angeles and we find out that Otis Redding was playing somewhere here, right?
So the manager, Albert Grossman, hooks up for Bob and I to meet Otis and Phil Walden.
So we get together and I, you know, I'm saying there's this song, blah, blah, blah.
I'm kind of pitching the song like an old-fashioned song pitcher guy, right?
And so anyway, Otis says, that sounds great to me.
And then we play the song and he says, oh man, what a song.
You know, and she breaks us like a little girl.
Oh, that's fantastic.
So anyway, he says, I'm definitely going to record this.
So I'm, hello?
Like talk about a good call here, you know.
I'm very proud of this thing.
So anyway, time passes and Otis has a record coming out and this isn't on it.
So the next time I see Phil Walden, I say, what happened to recording Just Like a Woman?
And he said, we went in and recorded it and he couldn't sing the bridge.
He said, I don't know how to sing the bridge.
And in the bridge, the words are about amphetamine and pearls.
And he said that he couldn't get those words to come out of his mouth in a truthful way.
He didn't know how to do it.
The rest of the song, no problem.
But he could not get the bridge.
And so we recorded the song and didn't have a bridge to it, so we had to put it aside.
And when he said that, I thought, God, I understand that.
I understand that.
If you can't sing something with a complete honesty, then you shouldn't be singing that thing.
And he was just being [A] honest about it.
[B] [E] [Gbm] [B]
[Bb] I [N] go to Nashville, Tennessee with Bob Dylan and we're recording a record called Blonde on Blonde.
In Nashville, they don't like other people coming into their circle.
So it was an uncomfortable experience, you know, just to be like this guy that, you know,
was kind of being forced on them.
And you could feel it.
You could feel the thing.
And then there was a song we recorded.
I think it might have been this song, obviously, Five Believers or something.
And so Bob said, you know, Robbie's going to play the guitar on this one.
So you could see the attitude and everything.
And it wasn't like brutal, but, you know, it was subtle enough that, you know, but you
could feel it.
And then I played and they realized I did something that none of them did.
It was a different kind of guitar playing.
And that was okay then.
And they accepted me into this thing.
So anyway, we make this record and there's a song on the record called Just Like a Woman.
And at this time, Bob Dylan, other people record his songs.
Lots of other people do.
So we record the song and he says, who do you think would be good to cover this song?
And I said, Otis Redding, who is just, to me, one of the greatest singers that ever
walked the earth.
And he said, really?
I said, absolutely.
You know, he would, you know, he would just tear it up.
So then we were in Los Angeles and we find out that Otis Redding was playing somewhere here, right?
So the manager, Albert Grossman, hooks up for Bob and I to meet Otis and Phil Walden.
So we get together and I, you know, I'm saying there's this song, blah, blah, blah.
I'm kind of pitching the song like an old-fashioned song pitcher guy, right?
And so anyway, Otis says, that sounds great to me.
And then we play the song and he says, oh man, what a song.
You know, and she breaks us like a little girl.
Oh, that's fantastic.
So anyway, he says, I'm definitely going to record this.
So I'm, hello?
Like talk about a good call here, you know.
I'm very proud of this thing.
So anyway, time passes and Otis has a record coming out and this isn't on it.
So the next time I see Phil Walden, I say, what happened to recording Just Like a Woman?
And he said, we went in and recorded it and he couldn't sing the bridge.
He said, I don't know how to sing the bridge.
And in the bridge, the words are about amphetamine and pearls.
And he said that he couldn't get those words to come out of his mouth in a truthful way.
He didn't know how to do it.
The rest of the song, no problem.
But he could not get the bridge.
And so we recorded the song and didn't have a bridge to it, so we had to put it aside.
And when he said that, I thought, God, I understand that.
I understand that.
If you can't sing something with a complete honesty, then you shouldn't be singing that thing.
And he was just being [A] honest about it.
[B] [E] [Gbm] [B]
Key:
Bb
B
E
Eb
A
Bb
B
E
_ _ _ _ _ _ _ _
_ _ _ [Bb] _ _ _ _ [Eb] _
[Bb] I [N] _ go to Nashville, Tennessee with Bob Dylan and we're recording a record called Blonde on Blonde.
In Nashville, they don't like other people coming into their circle.
So it was an uncomfortable experience, you know, just to be like this guy that, you know,
was kind of being forced on them.
And you could feel it.
You could feel the thing.
And then there was a song we recorded.
I think it might have been this song, obviously, Five Believers or something.
And so Bob said, you know, Robbie's going to play the guitar on this one.
So you could see the attitude and everything.
And it wasn't like brutal, but, you know, it was subtle enough that, you know, but you
could feel it.
And then I played and they realized I did something that none of them did.
It was a different kind of guitar playing.
And that was okay then.
And they accepted me into this thing.
So anyway, we make this record and there's a song on the record called Just Like a Woman.
And at this time, Bob Dylan, other people record his songs.
Lots of other people do.
So we record the song and he says, who do you think would be good to cover this song?
And I said, Otis Redding, who is just, to me, one of the greatest singers that ever
walked the earth.
And he said, really?
I said, absolutely.
You know, he would, you know, he would just tear it up.
So _ then we were in Los Angeles and we find out that Otis Redding was playing somewhere here, right?
So the manager, Albert Grossman, hooks up for Bob and I to meet Otis and Phil Walden.
So we get together and I, you know, I'm saying there's this song, blah, blah, blah.
I'm kind of pitching the song like an old-fashioned song pitcher guy, right?
And so _ _ anyway, Otis says, that sounds great to me.
And then we play the song and he says, oh man, what a song.
You know, and she breaks us like a little girl.
Oh, that's fantastic.
So anyway, he says, I'm definitely going to record this.
So I'm, hello?
Like talk about a good call here, you know.
I'm very proud of this thing.
So anyway, time passes _ and Otis has a record coming out and this isn't on it.
So the next time I see Phil Walden, I say, what happened to recording Just Like a Woman?
And he said, we went in and recorded it and he couldn't sing the bridge.
He said, I don't know how to sing the bridge.
And in the bridge, the words are about amphetamine and pearls.
And he said that he couldn't get those words to come out of his mouth in a truthful way.
He didn't know how to do it.
The rest of the song, no problem.
But he could not get the bridge.
And so we recorded the song and didn't have a bridge to it, so we had to put it aside.
_ And when he said that, I thought, God, I understand that.
I understand that.
If you can't sing something with a complete honesty, then you shouldn't be singing that thing.
And he was just being [A] honest about it.
_ [B] _ _ _ _ [E] _ _ _ _ [Gbm] _ [B] _
_ _ _ [Bb] _ _ _ _ [Eb] _
[Bb] I [N] _ go to Nashville, Tennessee with Bob Dylan and we're recording a record called Blonde on Blonde.
In Nashville, they don't like other people coming into their circle.
So it was an uncomfortable experience, you know, just to be like this guy that, you know,
was kind of being forced on them.
And you could feel it.
You could feel the thing.
And then there was a song we recorded.
I think it might have been this song, obviously, Five Believers or something.
And so Bob said, you know, Robbie's going to play the guitar on this one.
So you could see the attitude and everything.
And it wasn't like brutal, but, you know, it was subtle enough that, you know, but you
could feel it.
And then I played and they realized I did something that none of them did.
It was a different kind of guitar playing.
And that was okay then.
And they accepted me into this thing.
So anyway, we make this record and there's a song on the record called Just Like a Woman.
And at this time, Bob Dylan, other people record his songs.
Lots of other people do.
So we record the song and he says, who do you think would be good to cover this song?
And I said, Otis Redding, who is just, to me, one of the greatest singers that ever
walked the earth.
And he said, really?
I said, absolutely.
You know, he would, you know, he would just tear it up.
So _ then we were in Los Angeles and we find out that Otis Redding was playing somewhere here, right?
So the manager, Albert Grossman, hooks up for Bob and I to meet Otis and Phil Walden.
So we get together and I, you know, I'm saying there's this song, blah, blah, blah.
I'm kind of pitching the song like an old-fashioned song pitcher guy, right?
And so _ _ anyway, Otis says, that sounds great to me.
And then we play the song and he says, oh man, what a song.
You know, and she breaks us like a little girl.
Oh, that's fantastic.
So anyway, he says, I'm definitely going to record this.
So I'm, hello?
Like talk about a good call here, you know.
I'm very proud of this thing.
So anyway, time passes _ and Otis has a record coming out and this isn't on it.
So the next time I see Phil Walden, I say, what happened to recording Just Like a Woman?
And he said, we went in and recorded it and he couldn't sing the bridge.
He said, I don't know how to sing the bridge.
And in the bridge, the words are about amphetamine and pearls.
And he said that he couldn't get those words to come out of his mouth in a truthful way.
He didn't know how to do it.
The rest of the song, no problem.
But he could not get the bridge.
And so we recorded the song and didn't have a bridge to it, so we had to put it aside.
_ And when he said that, I thought, God, I understand that.
I understand that.
If you can't sing something with a complete honesty, then you shouldn't be singing that thing.
And he was just being [A] honest about it.
_ [B] _ _ _ _ [E] _ _ _ _ [Gbm] _ [B] _