Chords for The Kingston Trio Backstage
Tempo:
180.35 bpm
Chords used:
Eb
F
Gb
B
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
In 1957, San Francisco publicist Frank Werber [F] went down to nearby [B] Menlo Park [E] to catch a singing group he'd heard [Db] about.
At a place called the [E] Cracked Pot, he found Dave Gard, Nick Reynolds [B] and Bob Shane singing folk and [Dbm] [F] calypso songs to a very hip, very attentive crowd.
Before night's [Ab] end, a contract had [C] been signed by all four, making Frank [Db] their personal manager.
With Frank as manager, Boyle Gilmore [Em] as record producer and David Buckwheat as [B] bassist arranger, [F] the Kingston trio was poised to make things happen.
Frank [A] Werber was definitely [Db] responsible for making us [B] work in the beginning and really [C] work at rehearsing and stuff.
Buckwheat was an excellent [D] bass player, jazz bass player, but
And road managers were good and [Gb] managers were good and Boyle Gilmore was the [B] most creative individual I think I'd ever met with being low [C]-key too.
[Gb] He initiated, he was the first person to use the Capitol echo chambers, especially on groups.
He was [Bm] a very innovative [Abm] producer.
It [E] took four days to record their first mono-only album and it had a [B] limited pressing of about 1,000.
Contained in that first LP was a post [Fm]-Civil War [Gbm] murder ballad from [Ab] North Carolina [D] called Tom [E] Dooley.
This jockey's [Eb] at KULB in Salt Lake City began playing the [C] song off the album and getting [Bm] enormous phone reaction.
Soon, other stations around the country were playing it [C] and it became a [Bm] certified turntable hit, [D] meaning it was often requested but record buyers [E] couldn't find it in stores.
[G] Three months after the [Gb] LP's release, [Fm] Capitol issued a single and very soon [A] after [Gb] it shot to number one.
The song launched the [F] Kingston Trio and started [Gb] an entire folk [E] music boom.
The group also developed a loyal collegiate following with an innovative approach.
We were the first ones to [B] do college country [A] at a large scale.
In the first four years from [Am] 1958 to [Gbm] 1962, both with Dave to start with and then [B] the first year with [D] John,
we played 475 [C] colleges [Db] and nightclubs [B] and fairs and stuff.
In the first four [E] years, we were on [Eb] the average [D] on the road [Db] 280 [C] to 290 days a year.
We had our own [Gb] plane, we were flying into [E] grass airfields [Eb] and gravel airfields and stuff, playing [G] small colleges all over the [Am] country.
[D] In 1961, Dave Gard [Bb] quit to form a Weavers [Gm] type group called the Whiskey Hill Singers.
[Eb] He took with him David Wheat, [F] leaving only 50% of the [Bb]
original four players.
A 21-year-old San Diego [Eb] singer-songwriter named John Stewart [F] replaced Gard and Dean [Bb] Riley became the new bassist.
[Gm] The group's personnel stayed [Eb] unchanged for the next six years, [Gm] producing many more gold albums and hit singles.
The Kingston trio ushered in the protest [Eb] song movement with Pete [F] Seeger's Where Have All the Flowers Gone.
[Bb]
We were playing [Eb] in a club in Boston at [F] a concert hall.
The guy [G] that promoted the [Gb] concert, George [Bb] Ween, also owned a club in [Dm] downtown [Gm] Boston.
He said there was [F] a group coming [Eb] up from New York that [B] he [Eb] had playing at [D] his place downtown
and that they had asked if I could bring you guys over so you [Gb] could see what they wanted.
[Bb] They don't have a record contract [F] or a business [Cm] contract with anybody or anything.
[Bb] And they're just the first time out of New York.
[Eb] And so we [F] went down to see the group and it turned out to [Bb] be Peter, Paul and Mary.
And we [G] invited them over and we immediately sent Peter and Paul out [Bb] for ribs.
[Gm]
I'm not sure that was true, [Eb] but it sounds realistic.
[G] But we got [Bb]
Where Have All the Flowers Gone, Mary gave us, [Gm] and we gave them [Eb] Lemon Tree.
[Bm]
Early in 1964, popular music [A] was about to change [Gb] dramatically.
And after seven years and [Em] 22 albums for the Kingston Trio, it [Gb] became contract [B] renewal [A] time with Capitol.
[E] Well, they dropped us for [Abm] the Beatles.
[C]
That was our fault.
[F] We played in England in [Gb] 1962 and the Beatles opened a show for us at [E] Royal Festival [F] Hall.
We came back and told the people at Capitol about [Eb] this great group we heard in England
[Gb] and not realizing that Capitol was owned by EMI, an [G] English corporation.
[E] And it came time for our contract to be [D] renewed and bang!
We accounted for [Bm] 14% of the entire sales of Capitol Records at the time.
[G] So they were taking a chance and you knew [A] it.
But [Gbm] they did the right thing.
They dropped our contract for [G] the Beatles.
After 43 years, Bob Shane continues to tour with [C] two partners, [G] still racking up about 200 dates per year.
George [D] Grove auditioned in the group and he's an [G] excellent musician and he's been with me for 24, 25 years now.
And then when Nick was just recently retired, Bobby Hayworth came [Em] back
and we're just doing gangbuster shows and having a great time and entertaining [G] people,
which is what the whole basis of the Kingston Trio is.
[N]
At a place called the [E] Cracked Pot, he found Dave Gard, Nick Reynolds [B] and Bob Shane singing folk and [Dbm] [F] calypso songs to a very hip, very attentive crowd.
Before night's [Ab] end, a contract had [C] been signed by all four, making Frank [Db] their personal manager.
With Frank as manager, Boyle Gilmore [Em] as record producer and David Buckwheat as [B] bassist arranger, [F] the Kingston trio was poised to make things happen.
Frank [A] Werber was definitely [Db] responsible for making us [B] work in the beginning and really [C] work at rehearsing and stuff.
Buckwheat was an excellent [D] bass player, jazz bass player, but
And road managers were good and [Gb] managers were good and Boyle Gilmore was the [B] most creative individual I think I'd ever met with being low [C]-key too.
[Gb] He initiated, he was the first person to use the Capitol echo chambers, especially on groups.
He was [Bm] a very innovative [Abm] producer.
It [E] took four days to record their first mono-only album and it had a [B] limited pressing of about 1,000.
Contained in that first LP was a post [Fm]-Civil War [Gbm] murder ballad from [Ab] North Carolina [D] called Tom [E] Dooley.
This jockey's [Eb] at KULB in Salt Lake City began playing the [C] song off the album and getting [Bm] enormous phone reaction.
Soon, other stations around the country were playing it [C] and it became a [Bm] certified turntable hit, [D] meaning it was often requested but record buyers [E] couldn't find it in stores.
[G] Three months after the [Gb] LP's release, [Fm] Capitol issued a single and very soon [A] after [Gb] it shot to number one.
The song launched the [F] Kingston Trio and started [Gb] an entire folk [E] music boom.
The group also developed a loyal collegiate following with an innovative approach.
We were the first ones to [B] do college country [A] at a large scale.
In the first four years from [Am] 1958 to [Gbm] 1962, both with Dave to start with and then [B] the first year with [D] John,
we played 475 [C] colleges [Db] and nightclubs [B] and fairs and stuff.
In the first four [E] years, we were on [Eb] the average [D] on the road [Db] 280 [C] to 290 days a year.
We had our own [Gb] plane, we were flying into [E] grass airfields [Eb] and gravel airfields and stuff, playing [G] small colleges all over the [Am] country.
[D] In 1961, Dave Gard [Bb] quit to form a Weavers [Gm] type group called the Whiskey Hill Singers.
[Eb] He took with him David Wheat, [F] leaving only 50% of the [Bb]
original four players.
A 21-year-old San Diego [Eb] singer-songwriter named John Stewart [F] replaced Gard and Dean [Bb] Riley became the new bassist.
[Gm] The group's personnel stayed [Eb] unchanged for the next six years, [Gm] producing many more gold albums and hit singles.
The Kingston trio ushered in the protest [Eb] song movement with Pete [F] Seeger's Where Have All the Flowers Gone.
[Bb]
We were playing [Eb] in a club in Boston at [F] a concert hall.
The guy [G] that promoted the [Gb] concert, George [Bb] Ween, also owned a club in [Dm] downtown [Gm] Boston.
He said there was [F] a group coming [Eb] up from New York that [B] he [Eb] had playing at [D] his place downtown
and that they had asked if I could bring you guys over so you [Gb] could see what they wanted.
[Bb] They don't have a record contract [F] or a business [Cm] contract with anybody or anything.
[Bb] And they're just the first time out of New York.
[Eb] And so we [F] went down to see the group and it turned out to [Bb] be Peter, Paul and Mary.
And we [G] invited them over and we immediately sent Peter and Paul out [Bb] for ribs.
[Gm]
I'm not sure that was true, [Eb] but it sounds realistic.
[G] But we got [Bb]
Where Have All the Flowers Gone, Mary gave us, [Gm] and we gave them [Eb] Lemon Tree.
[Bm]
Early in 1964, popular music [A] was about to change [Gb] dramatically.
And after seven years and [Em] 22 albums for the Kingston Trio, it [Gb] became contract [B] renewal [A] time with Capitol.
[E] Well, they dropped us for [Abm] the Beatles.
[C]
That was our fault.
[F] We played in England in [Gb] 1962 and the Beatles opened a show for us at [E] Royal Festival [F] Hall.
We came back and told the people at Capitol about [Eb] this great group we heard in England
[Gb] and not realizing that Capitol was owned by EMI, an [G] English corporation.
[E] And it came time for our contract to be [D] renewed and bang!
We accounted for [Bm] 14% of the entire sales of Capitol Records at the time.
[G] So they were taking a chance and you knew [A] it.
But [Gbm] they did the right thing.
They dropped our contract for [G] the Beatles.
After 43 years, Bob Shane continues to tour with [C] two partners, [G] still racking up about 200 dates per year.
George [D] Grove auditioned in the group and he's an [G] excellent musician and he's been with me for 24, 25 years now.
And then when Nick was just recently retired, Bobby Hayworth came [Em] back
and we're just doing gangbuster shows and having a great time and entertaining [G] people,
which is what the whole basis of the Kingston Trio is.
[N]
Key:
Eb
F
Gb
B
E
Eb
F
Gb
_ _ _ _ In _ 1957, San Francisco publicist Frank Werber [F] went down to nearby [B] Menlo Park [E] to catch a singing group he'd heard [Db] about.
At a place called the [E] Cracked Pot, he found Dave Gard, Nick Reynolds [B] and Bob Shane singing folk and [Dbm] [F] calypso songs to a very hip, very attentive crowd.
Before night's [Ab] end, a contract had [C] been signed by all four, making Frank [Db] their personal manager.
With Frank as manager, Boyle Gilmore [Em] as record producer and David Buckwheat as [B] bassist arranger, [F] the Kingston trio was poised to make things happen.
Frank [A] Werber was definitely [Db] responsible for making us [B] work in the beginning and really [C] work at rehearsing and stuff. _
Buckwheat was an excellent [D] bass player, jazz bass player, _ but_
And _ _ road managers were good and [Gb] managers were good and Boyle Gilmore was the [B] most creative individual I think I'd ever met with being low [C]-key too.
[Gb] He _ initiated, he was the first person to use the _ Capitol _ echo chambers, especially on groups.
He was [Bm] a very innovative [Abm] producer.
It [E] took four days to record their first mono-only album and it had a [B] limited pressing of about 1,000.
_ _ Contained in that first LP was a post [Fm]-Civil War [Gbm] murder ballad from [Ab] North Carolina [D] called Tom [E] Dooley.
This jockey's [Eb] at KULB in Salt Lake City began playing the [C] song off the album and getting [Bm] enormous phone reaction.
_ Soon, other stations around the country were playing it [C] and it became a [Bm] certified turntable hit, [D] meaning it was often requested but record buyers [E] couldn't find it in stores.
_ [G] Three months after the [Gb] LP's release, [Fm] Capitol issued a single and very soon [A] after [Gb] it shot to number one.
The song launched the [F] Kingston Trio and started [Gb] an entire folk [E] music boom.
_ The group also developed a loyal collegiate following with an innovative approach.
_ _ _ We were the first ones to [B] do college country _ [A] at a large scale.
In the first four years from [Am] _ 1958 _ to [Gbm] 1962, _ _ both with Dave _ to start with and then [B] the first year with [D] John,
we played _ 475 [C] colleges [Db] and nightclubs [B] and fairs and stuff.
In the first four [E] years, we were on [Eb] the average [D] on the road [Db] 280 [C] to 290 days a year.
We had our own [Gb] plane, we were flying into [E] grass airfields [Eb] and gravel airfields and stuff, playing [G] small colleges all over the [Am] country.
_ [D] In 1961, Dave Gard [Bb] quit to form a Weavers [Gm] type group called the Whiskey Hill Singers.
[Eb] He took with him David Wheat, [F] leaving only 50% of the [Bb]
original four players.
A 21-year-old San Diego [Eb] singer-songwriter named John Stewart [F] replaced Gard and Dean [Bb] Riley became the new bassist.
_ [Gm] The group's personnel stayed [Eb] unchanged for the next six years, [Gm] producing many more gold albums and hit singles.
The Kingston trio ushered in the protest [Eb] song movement with Pete [F] Seeger's Where Have All the Flowers Gone.
[Bb] _
_ We were playing [Eb] in a club in Boston at [F] a concert hall.
The guy [G] that _ promoted the [Gb] concert, George [Bb] Ween, also owned a club in [Dm] downtown [Gm] Boston.
_ He said there was [F] a group coming [Eb] up from New York that _ _ [B] _ he [Eb] had playing at [D] his place downtown
and that they had asked if I could bring you guys over so you [Gb] could see what they wanted.
[Bb] They don't have a record contract [F] or a business [Cm] contract with anybody or anything.
[Bb] And they're just the first time out of New York.
[Eb] And so _ we [F] went down to see the group and it turned out to [Bb] be Peter, Paul and Mary.
And we [G] invited them over and we immediately sent Peter and Paul out [Bb] for ribs.
_ _ _ _ [Gm]
I'm not sure that was true, [Eb] but it sounds realistic. _ _
_ _ [G] But we got [Bb]
Where Have All the Flowers Gone, Mary gave us, [Gm] and _ we gave them [Eb] Lemon Tree.
_ _ [Bm]
Early in 1964, popular music [A] was about to change [Gb] dramatically.
And after seven years and [Em] 22 albums for the Kingston Trio, it [Gb] became contract [B] renewal [A] time with Capitol.
[E] Well, they dropped us for [Abm] the Beatles.
_ _ [C] _
That was our fault.
_ [F] We played in England in [Gb] 1962 and the Beatles opened a show for us at [E] Royal Festival [F] Hall.
We came back and told the people at Capitol about [Eb] this great group we heard in England
_ [Gb] and not realizing that Capitol was owned by EMI, an [G] English corporation.
_ _ _ [E] And it came time for our contract to be [D] renewed and bang! _
We accounted for [Bm] 14% of the entire sales of Capitol Records at the time.
[G] So they were taking a chance and you knew [A] it.
But [Gbm] they did the right thing.
They dropped our contract for [G] the Beatles.
_ _ After 43 years, Bob Shane continues to tour with [C] two partners, [G] still racking up about 200 dates per year.
_ George [D] Grove auditioned in the group and he's an [G] excellent musician and he's been with me for 24, 25 years now.
And then when Nick was just recently retired, Bobby Hayworth came [Em] back
and _ we're just doing gangbuster shows and having a great time and entertaining [G] people,
which is what the whole basis of the Kingston Trio is. _ _ _ _ _
_ _ [N] _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
At a place called the [E] Cracked Pot, he found Dave Gard, Nick Reynolds [B] and Bob Shane singing folk and [Dbm] [F] calypso songs to a very hip, very attentive crowd.
Before night's [Ab] end, a contract had [C] been signed by all four, making Frank [Db] their personal manager.
With Frank as manager, Boyle Gilmore [Em] as record producer and David Buckwheat as [B] bassist arranger, [F] the Kingston trio was poised to make things happen.
Frank [A] Werber was definitely [Db] responsible for making us [B] work in the beginning and really [C] work at rehearsing and stuff. _
Buckwheat was an excellent [D] bass player, jazz bass player, _ but_
And _ _ road managers were good and [Gb] managers were good and Boyle Gilmore was the [B] most creative individual I think I'd ever met with being low [C]-key too.
[Gb] He _ initiated, he was the first person to use the _ Capitol _ echo chambers, especially on groups.
He was [Bm] a very innovative [Abm] producer.
It [E] took four days to record their first mono-only album and it had a [B] limited pressing of about 1,000.
_ _ Contained in that first LP was a post [Fm]-Civil War [Gbm] murder ballad from [Ab] North Carolina [D] called Tom [E] Dooley.
This jockey's [Eb] at KULB in Salt Lake City began playing the [C] song off the album and getting [Bm] enormous phone reaction.
_ Soon, other stations around the country were playing it [C] and it became a [Bm] certified turntable hit, [D] meaning it was often requested but record buyers [E] couldn't find it in stores.
_ [G] Three months after the [Gb] LP's release, [Fm] Capitol issued a single and very soon [A] after [Gb] it shot to number one.
The song launched the [F] Kingston Trio and started [Gb] an entire folk [E] music boom.
_ The group also developed a loyal collegiate following with an innovative approach.
_ _ _ We were the first ones to [B] do college country _ [A] at a large scale.
In the first four years from [Am] _ 1958 _ to [Gbm] 1962, _ _ both with Dave _ to start with and then [B] the first year with [D] John,
we played _ 475 [C] colleges [Db] and nightclubs [B] and fairs and stuff.
In the first four [E] years, we were on [Eb] the average [D] on the road [Db] 280 [C] to 290 days a year.
We had our own [Gb] plane, we were flying into [E] grass airfields [Eb] and gravel airfields and stuff, playing [G] small colleges all over the [Am] country.
_ [D] In 1961, Dave Gard [Bb] quit to form a Weavers [Gm] type group called the Whiskey Hill Singers.
[Eb] He took with him David Wheat, [F] leaving only 50% of the [Bb]
original four players.
A 21-year-old San Diego [Eb] singer-songwriter named John Stewart [F] replaced Gard and Dean [Bb] Riley became the new bassist.
_ [Gm] The group's personnel stayed [Eb] unchanged for the next six years, [Gm] producing many more gold albums and hit singles.
The Kingston trio ushered in the protest [Eb] song movement with Pete [F] Seeger's Where Have All the Flowers Gone.
[Bb] _
_ We were playing [Eb] in a club in Boston at [F] a concert hall.
The guy [G] that _ promoted the [Gb] concert, George [Bb] Ween, also owned a club in [Dm] downtown [Gm] Boston.
_ He said there was [F] a group coming [Eb] up from New York that _ _ [B] _ he [Eb] had playing at [D] his place downtown
and that they had asked if I could bring you guys over so you [Gb] could see what they wanted.
[Bb] They don't have a record contract [F] or a business [Cm] contract with anybody or anything.
[Bb] And they're just the first time out of New York.
[Eb] And so _ we [F] went down to see the group and it turned out to [Bb] be Peter, Paul and Mary.
And we [G] invited them over and we immediately sent Peter and Paul out [Bb] for ribs.
_ _ _ _ [Gm]
I'm not sure that was true, [Eb] but it sounds realistic. _ _
_ _ [G] But we got [Bb]
Where Have All the Flowers Gone, Mary gave us, [Gm] and _ we gave them [Eb] Lemon Tree.
_ _ [Bm]
Early in 1964, popular music [A] was about to change [Gb] dramatically.
And after seven years and [Em] 22 albums for the Kingston Trio, it [Gb] became contract [B] renewal [A] time with Capitol.
[E] Well, they dropped us for [Abm] the Beatles.
_ _ [C] _
That was our fault.
_ [F] We played in England in [Gb] 1962 and the Beatles opened a show for us at [E] Royal Festival [F] Hall.
We came back and told the people at Capitol about [Eb] this great group we heard in England
_ [Gb] and not realizing that Capitol was owned by EMI, an [G] English corporation.
_ _ _ [E] And it came time for our contract to be [D] renewed and bang! _
We accounted for [Bm] 14% of the entire sales of Capitol Records at the time.
[G] So they were taking a chance and you knew [A] it.
But [Gbm] they did the right thing.
They dropped our contract for [G] the Beatles.
_ _ After 43 years, Bob Shane continues to tour with [C] two partners, [G] still racking up about 200 dates per year.
_ George [D] Grove auditioned in the group and he's an [G] excellent musician and he's been with me for 24, 25 years now.
And then when Nick was just recently retired, Bobby Hayworth came [Em] back
and _ we're just doing gangbuster shows and having a great time and entertaining [G] people,
which is what the whole basis of the Kingston Trio is. _ _ _ _ _
_ _ [N] _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _