Chords for Rosanne Cash - She Remembers Everything (Behind The Scenes)

[G] _ _ _ _ _ _ _
[Bm] Who knows who she used to be before it all went dark?
Was she like a streak of fire, a pane of glass, a beating heart?
All the mirrors, all the smoke, _ [Gm] charades of valentines,
_ versions of the third degree, yours [G] and hers and [Bm] mine. _ _ _ _
I [G] didn't know her then, _ me, [Em] my treasured friend.
_ _ _ [Bm] _
_ This waking dream, she remembers _ everything.
_ _ It's a few years that led up to the making of this record,
and I started writing these songs,
and then this pressure cooker started building in America
[D] that [G] didn't exactly take women into consideration.
I grew up in the 60s and 70s, and I [B] believed in progress
and [Em] that things would become more equal,
that women would get equal [Bm] pay,
that all of the prejudice and [G] subjugation would fall away.
And then I started to feel crushed,
and that this horrible, regressive [Bm] thing was happening,
[Db] and that [B] for my sake and my [A] daughter's sake
[G] and for young women's sake,
it was important to [Em] plant your flag in the ground.
I thought I [Bm] have to write the record I want to write
and say the things I want to say. _
The [Db] title [B] of the album, She [A] Remembers [G] Everything,
I mean, it sounds like a come on, and it sounds like a threat too,
and that [Em] sums up everything, the ideas [Bm] on the record
and the songs to me so succinctly.
_ _ [F] _ [Bb] _ _ _ _ _
_ _ _ _ _ _ _ _
Light [Bbm] is particle [Gb] and wave
_ I [Ab] wrote [Eb] all the lyrics [Bb] on the album,
and I had co-writers for some of the songs.
There was [G] a lot of pressure for me [D] to do
the kind of record [G] I did last time,
which was a concept record [C] about one theme
and writing [G] from characters' [Em] voices.
_ And I kept thinking, I [D] don't want to do that.
[G] I had this deep [C] yearning to return [G] to personal songwriting.
[D] I have something to [G] say, and I have less [C] time to say it.
[G] We plow a similar _ field
Of all [C] the bonds of [Em] remembered _ hearts
_ [D] And _ [G] all the _ [C] crackpot dreams
_ _ And [G] all the [D] backroom art
[G] _ _ [D] _ [G] _ [D] We're on a similar [G] _ course
_ On a track [C] laid with broken [G] _ [Em] glass
_ [D] So _ [G] tie your [C] shoes real [G] tight
_ _ It [D] goes [G] by real fast _ _
_ _ [Em] There's a lot [G] of reckoning with mortality
in these songs as well, _ but even that
is kind of this gothic, feminine way of looking at it. _
_ There's [N] melody in a lot of human emotions,
and there's melody in rage too, _ but it's not _ violent.
_ It's a rage that has compassion and wisdom and beauty.
[E] _ _ And I wanted to find out more about that by writing about [Am] it. _ _
It's helped me [Abm] go into madness a little [E] more in my writing.
[Am] My least favorite life, that song, is a [D] nightmare.
_ [B] And I loved writing [Am] those lyrics.
It was just so _ [Dm] liberating.
_ _ The night that I [E] twist on the rack
Is the time that I feel most at home
_ I think [Am] everybody's felt that, you know,
when you just [E] wallow in despair,
and when it just feels like it has [Am] its own energy,
and it belongs to you, [E] and it's so personal.
_ _ _ [Am] It's very seductive to [Dm] _ play with darkness.
You do have to [E] be careful.
_ _ _ [Am] _ [Dm] The first thing I saw of [Am] Portia was her [C] pink room,
[Dm] and everything was in this blast of pink.
[Am] Then I saw this piece of hers called Tree Knife Elbow.
It just hit me in the most visceral way when I saw her art.
There was an unconscious dialogue [C] between me and Portia.
I don't even know if she knows about it,
where I was reaching for what she was showing
to say in words and to say in melody.
_ So I asked her, I said,
do you think you could deconstruct that for an album cover?
_ It felt that that image conveyed something that was Gothic
and yet intensely feminine, _ and take no prisoners.
_ _ _ [Gm] All those who go before us, the mothers and the kings,
_ [Cm] Shakespeare and my father,
[Gm] who kick dust up in my dreams.
_ If you're too [C] close to the voices,
you can stray [Gm] far from the track. _
So goodbye my friends, it's my [C] turn.
I won't look back.
_ _ [Gm] Undiscovered Country, it's a very _
[Cm] _ personal anthem. _ _ _
The old [Eb] men never [F] helped us.
[Cm] They took our every vow and turned them into money.
And look where we [Bb] are now, [Eb] waiting for a [F] savior,
but she walks [Gb] along the [Cm] sea.
And someone's going [Eb] down, she went down for me.
_ [F] She's not a real [Cm] woman, she's more an archetype.
[Eb] It's the women in the Me Too [F] movement,
it's women who [Cm] are terrified to speak up but do it anyway,
even though [Eb] they know the threats and the [F] attacks will come.
But their own [Cm] truth is so important to them,
they can't not do it.
[Eb] I think at the end of my life, the [C] regrets I would have
would be about not living out loud,
not saying what was true for me.
_ [Bm] _ _ _
She remembers everything, _ begins with a trauma.
_ _ Who knows who she used to be before it all went [A] dark?
Was [G] she like a streak of fire, a paint of glass, a beating heart?
[D] I felt I didn't have [E] to be specific [Em] about what the trauma was
because [Bm] trauma is universal
and [D] we'll all bring our [G] traumas in a different way,
and I thought that people would recognize
whatever it was in [D] themselves.
_ _ [Bm] She remembers _ [Dbm]
everything.
[Bm] _ _ [A] _ [G] If [D] world peace [E] or some kind of [A] healing of the [Bm] union happens,
it's not going to be because some politicians talked about it.
It's going to be because art and [C] music intervened. _ _
[Fm] We plow a similar field [Am] of all the bones of remembered hearts
and all the crackpot dreams [C] and all the backroom art.
We run a similar course on a track laid [Am] with broken glass.
_ So tie your shoes real tight.
[D] It goes [F] by real fast. _
_ [Am] _ _ _ _ _ _ _
_ _ _ _ _ _ [N] _ _