Chords for The Velvet Underground & Nico (In 4 Minutes)
Tempo:
126.65 bpm
Chords used:
D
G
F
Gb
Bb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[D] [G] I'm waiting for [D] my man
[G] [D]
[G] $26 [D] in my hand
[G] When it was released in 1967,
few outside the band's immediate circle
seemed to know what to make of the Velvet Underground
and Nico's combative noise and provocative lyrics.
Only a few years later, it would become a key building block
for the punk movement, and [F] now,
after several generations of indie and alternative rockers
working from its template,
a record that was once famous for its terrible sales
has become one of [Dbm] rock's most revered icons.
Shiny, shiny, shiny boots of leather
[Gb] [Dbm]
With Flash [Bb] Girlchild in the dark
Andy Warhol is the only [Ab] credited producer on the album.
[G] Despite doing little of the work expected of the position,
he still had a deep influence on the album.
He gave Lou Reed subjects to write about,
like Edie Sedgwick, who inspired the song Femme Fatale.
[C] Cause everybody knows
[F]
The thing she [C] does to please
[F] She's just a [C] little tease
[F] He also convinced the band to hire the German fashion model Nico as a singer.
Nico was already well-known in rock circles
before Warhol connected her with the Velvets.
She'd worked with Rolling [Abm] Stones guitarist Brian Jones
and Led Zeppelin's Jimmy Page,
and recorded songs by Bob Dylan and Serge Gainsbourg.
She'd also done some acting,
[D] appearing briefly in Federico Fellini's La Dolce Vita.
And what cost him shares of longer
To [G] all
[Am] [N] Most of the details of the recording were lost or forgotten.
It may have been recorded partly in New York and partly in L.A.,
in anywhere between one and four days,
for as much as $3,000.
The original recordings were turned down by Columbia,
Atlantic, and Elektra,
before being picked up by traditionally jazz-oriented Verve Records.
Even after they were signed,
the label insisted on changes to make the album more commercial,
including adding the single Sunday Morning.
[Gb] Sunday morning
For me
I've got [Eb] a feeling
[Gb] I don't [Ab]
want [Db] to know
The album's release was held up for an entire year,
a delay often blamed on Warhol,
who was serving as co-manager,
despite having never managed a band before.
On top of problems [N] tied to inexperience,
the peel-away banana sticker he designed for the cover
required a special machine to produce it.
The label agreed to the delay
because they thought Warhol's art could help sell the record.
That artwork would go on to become
one of the most famous album covers in rock history.
It would also produce at least two lawsuits.
The first came right after the album's release,
over the unauthorized use of actor Eric Emerson on the back cover.
And in 2012, after the cover art had spawned
a profitable merch business for the Velvet Underground,
the surviving band members sued Andy Warhol's foundation
to limit third-party [D] licensing.
Run, run, run, run, run, take a jagged tooth
Run, run, run, run, [G] Jim's a devil, you
[D] Say what you do
The album's unconventional sound
wasn't helped by Verve's anemic marketing campaign.
[Em] On top of that, its lyrical content
led radio stations and record [Db] stores to ban the album,
and music magazines refused advertising for it.
When I put a spike into my vein
And I tell you things aren't quite the same
When I'm [Bbm] a feeler just like Jesus' son
It only [N] made it as high as 171 on the Billboard album chart.
Since then, the Velvet Underground in Eco
has been reissued a number of times,
including as a six-disc super deluxe box set in 2012,
when an acetate of the original recording sessions
that were turned down by labels the first time around
was discovered in a Manhattan flea market in 2002.
It sold on eBay for over $25,000.
The record that no one had wanted at the time
turned out to be worth more than its weight in gold.
[F] [Bb] [Eb] [Cm]
[Eb] [F]
[Bb]
[D]
[G] [D]
[G] $26 [D] in my hand
[G] When it was released in 1967,
few outside the band's immediate circle
seemed to know what to make of the Velvet Underground
and Nico's combative noise and provocative lyrics.
Only a few years later, it would become a key building block
for the punk movement, and [F] now,
after several generations of indie and alternative rockers
working from its template,
a record that was once famous for its terrible sales
has become one of [Dbm] rock's most revered icons.
Shiny, shiny, shiny boots of leather
[Gb] [Dbm]
With Flash [Bb] Girlchild in the dark
Andy Warhol is the only [Ab] credited producer on the album.
[G] Despite doing little of the work expected of the position,
he still had a deep influence on the album.
He gave Lou Reed subjects to write about,
like Edie Sedgwick, who inspired the song Femme Fatale.
[C] Cause everybody knows
[F]
The thing she [C] does to please
[F] She's just a [C] little tease
[F] He also convinced the band to hire the German fashion model Nico as a singer.
Nico was already well-known in rock circles
before Warhol connected her with the Velvets.
She'd worked with Rolling [Abm] Stones guitarist Brian Jones
and Led Zeppelin's Jimmy Page,
and recorded songs by Bob Dylan and Serge Gainsbourg.
She'd also done some acting,
[D] appearing briefly in Federico Fellini's La Dolce Vita.
And what cost him shares of longer
To [G] all
[Am] [N] Most of the details of the recording were lost or forgotten.
It may have been recorded partly in New York and partly in L.A.,
in anywhere between one and four days,
for as much as $3,000.
The original recordings were turned down by Columbia,
Atlantic, and Elektra,
before being picked up by traditionally jazz-oriented Verve Records.
Even after they were signed,
the label insisted on changes to make the album more commercial,
including adding the single Sunday Morning.
[Gb] Sunday morning
For me
I've got [Eb] a feeling
[Gb] I don't [Ab]
want [Db] to know
The album's release was held up for an entire year,
a delay often blamed on Warhol,
who was serving as co-manager,
despite having never managed a band before.
On top of problems [N] tied to inexperience,
the peel-away banana sticker he designed for the cover
required a special machine to produce it.
The label agreed to the delay
because they thought Warhol's art could help sell the record.
That artwork would go on to become
one of the most famous album covers in rock history.
It would also produce at least two lawsuits.
The first came right after the album's release,
over the unauthorized use of actor Eric Emerson on the back cover.
And in 2012, after the cover art had spawned
a profitable merch business for the Velvet Underground,
the surviving band members sued Andy Warhol's foundation
to limit third-party [D] licensing.
Run, run, run, run, run, take a jagged tooth
Run, run, run, run, [G] Jim's a devil, you
[D] Say what you do
The album's unconventional sound
wasn't helped by Verve's anemic marketing campaign.
[Em] On top of that, its lyrical content
led radio stations and record [Db] stores to ban the album,
and music magazines refused advertising for it.
When I put a spike into my vein
And I tell you things aren't quite the same
When I'm [Bbm] a feeler just like Jesus' son
It only [N] made it as high as 171 on the Billboard album chart.
Since then, the Velvet Underground in Eco
has been reissued a number of times,
including as a six-disc super deluxe box set in 2012,
when an acetate of the original recording sessions
that were turned down by labels the first time around
was discovered in a Manhattan flea market in 2002.
It sold on eBay for over $25,000.
The record that no one had wanted at the time
turned out to be worth more than its weight in gold.
[F] [Bb] [Eb] [Cm]
[Eb] [F]
[Bb]
[D]
Key:
D
G
F
Gb
Bb
D
G
F
_ _ [D] _ [G] I'm waiting for [D] my man
_ _ [G] _ _ _ _ [D] _
_ _ _ [G] $26 _ [D] in my hand
[G] When it was released in 1967,
few outside the band's immediate circle
seemed to know what to make of the Velvet Underground
and Nico's combative noise and provocative lyrics.
Only a few years later, it would become a key building block
for the punk movement, and [F] now,
after several generations of indie and alternative rockers
working from its template,
a record that was once famous for its terrible sales
has become one of [Dbm] rock's most revered icons.
Shiny, shiny, _ _ shiny boots of leather
[Gb] _ [Dbm] _ _
With Flash [Bb] _ Girlchild in the dark
_ _ Andy Warhol is the only [Ab] credited producer on the album.
[G] Despite doing little of the work expected of the position,
he still had a deep influence on the album.
He gave Lou Reed subjects to write about,
like Edie Sedgwick, who inspired the song Femme Fatale.
_ _ [C] Cause everybody knows
_ _ [F] _
_ The thing she [C] does to please _
[F] _ _ _ She's just a [C] little tease
_ _ [F] _ _ He also convinced the band to hire the German fashion model Nico as a singer.
Nico was already well-known in rock circles
before Warhol connected her with the Velvets.
She'd worked with Rolling [Abm] Stones guitarist Brian Jones
and Led Zeppelin's Jimmy Page,
and recorded songs by Bob Dylan and Serge Gainsbourg.
She'd also done some acting,
[D] appearing briefly in Federico Fellini's La Dolce Vita.
And what cost him shares of longer _ _ _ _ _ _ _
_ _ _ To [G] all _
_ _ [Am] _ _ _ _ [N] Most of the details of the recording were lost or forgotten.
It may have been recorded partly in New York and partly in L.A.,
in anywhere between one and four days,
for as much as $3,000.
The original recordings were turned down by Columbia,
Atlantic, and Elektra,
before being picked up by traditionally jazz-oriented Verve Records.
Even after they were signed,
the label insisted on changes to make the album more commercial,
including adding the single Sunday Morning.
[Gb] _ _ Sunday morning _ _ _ _ _ _
For me _ _ _ _
I've got [Eb] a feeling
[Gb] I don't [Ab]
want _ [Db] to know
The album's release was held up for an entire year,
a delay often blamed on Warhol,
who was serving as co-manager,
despite having never managed a band before.
On top of problems [N] tied to inexperience,
the peel-away banana sticker he designed for the cover
required a special machine to produce it.
The label agreed to the delay
because they thought Warhol's art could help sell the record.
That artwork would go on to become
one of the most famous album covers in rock history.
It would also produce at least two lawsuits.
The first came right after the album's release,
over the unauthorized use of actor Eric Emerson on the back cover.
And in 2012, after the cover art had spawned
a profitable merch business for the Velvet Underground,
the surviving band members sued Andy Warhol's foundation
to limit third-party [D] licensing.
Run, run, run, run, run, take a jagged tooth
_ Run, _ _ run, run, _ run, [G] Jim's a devil, you
[D] Say what you do
The album's unconventional sound
wasn't helped by Verve's anemic marketing campaign.
[Em] On top of that, its lyrical content
led radio stations and record [Db] stores to ban the album,
and music magazines refused advertising for it.
When I put a spike into my vein
And I tell you things aren't quite the same
When I'm _ _ _ _ _ [Bbm] a feeler just like Jesus' son
It only [N] made it as high as 171 on the Billboard album chart.
Since then, the Velvet Underground in Eco
has been reissued a number of times,
including as a six-disc super deluxe box set in 2012,
when an acetate of the original recording sessions
that were turned down by labels the first time around
was discovered in a Manhattan flea market in 2002.
It sold on eBay for over $25,000.
The record that no one had wanted at the time
turned out to be worth more than its weight in gold. _ _
_ [F] _ [Bb] _ _ [Eb] _ _ _ [Cm] _
_ _ _ _ _ [Eb] _ _ [F] _
_ [Bb] _ _ _ _ _ _ _
_ _ _ [D] _ _ _ _ _
_ _ [G] _ _ _ _ [D] _
_ _ _ [G] $26 _ [D] in my hand
[G] When it was released in 1967,
few outside the band's immediate circle
seemed to know what to make of the Velvet Underground
and Nico's combative noise and provocative lyrics.
Only a few years later, it would become a key building block
for the punk movement, and [F] now,
after several generations of indie and alternative rockers
working from its template,
a record that was once famous for its terrible sales
has become one of [Dbm] rock's most revered icons.
Shiny, shiny, _ _ shiny boots of leather
[Gb] _ [Dbm] _ _
With Flash [Bb] _ Girlchild in the dark
_ _ Andy Warhol is the only [Ab] credited producer on the album.
[G] Despite doing little of the work expected of the position,
he still had a deep influence on the album.
He gave Lou Reed subjects to write about,
like Edie Sedgwick, who inspired the song Femme Fatale.
_ _ [C] Cause everybody knows
_ _ [F] _
_ The thing she [C] does to please _
[F] _ _ _ She's just a [C] little tease
_ _ [F] _ _ He also convinced the band to hire the German fashion model Nico as a singer.
Nico was already well-known in rock circles
before Warhol connected her with the Velvets.
She'd worked with Rolling [Abm] Stones guitarist Brian Jones
and Led Zeppelin's Jimmy Page,
and recorded songs by Bob Dylan and Serge Gainsbourg.
She'd also done some acting,
[D] appearing briefly in Federico Fellini's La Dolce Vita.
And what cost him shares of longer _ _ _ _ _ _ _
_ _ _ To [G] all _
_ _ [Am] _ _ _ _ [N] Most of the details of the recording were lost or forgotten.
It may have been recorded partly in New York and partly in L.A.,
in anywhere between one and four days,
for as much as $3,000.
The original recordings were turned down by Columbia,
Atlantic, and Elektra,
before being picked up by traditionally jazz-oriented Verve Records.
Even after they were signed,
the label insisted on changes to make the album more commercial,
including adding the single Sunday Morning.
[Gb] _ _ Sunday morning _ _ _ _ _ _
For me _ _ _ _
I've got [Eb] a feeling
[Gb] I don't [Ab]
want _ [Db] to know
The album's release was held up for an entire year,
a delay often blamed on Warhol,
who was serving as co-manager,
despite having never managed a band before.
On top of problems [N] tied to inexperience,
the peel-away banana sticker he designed for the cover
required a special machine to produce it.
The label agreed to the delay
because they thought Warhol's art could help sell the record.
That artwork would go on to become
one of the most famous album covers in rock history.
It would also produce at least two lawsuits.
The first came right after the album's release,
over the unauthorized use of actor Eric Emerson on the back cover.
And in 2012, after the cover art had spawned
a profitable merch business for the Velvet Underground,
the surviving band members sued Andy Warhol's foundation
to limit third-party [D] licensing.
Run, run, run, run, run, take a jagged tooth
_ Run, _ _ run, run, _ run, [G] Jim's a devil, you
[D] Say what you do
The album's unconventional sound
wasn't helped by Verve's anemic marketing campaign.
[Em] On top of that, its lyrical content
led radio stations and record [Db] stores to ban the album,
and music magazines refused advertising for it.
When I put a spike into my vein
And I tell you things aren't quite the same
When I'm _ _ _ _ _ [Bbm] a feeler just like Jesus' son
It only [N] made it as high as 171 on the Billboard album chart.
Since then, the Velvet Underground in Eco
has been reissued a number of times,
including as a six-disc super deluxe box set in 2012,
when an acetate of the original recording sessions
that were turned down by labels the first time around
was discovered in a Manhattan flea market in 2002.
It sold on eBay for over $25,000.
The record that no one had wanted at the time
turned out to be worth more than its weight in gold. _ _
_ [F] _ [Bb] _ _ [Eb] _ _ _ [Cm] _
_ _ _ _ _ [Eb] _ _ [F] _
_ [Bb] _ _ _ _ _ _ _
_ _ _ [D] _ _ _ _ _