I have been asked for the chords to this song so many times that I am down right flattered. Here is a copy of an article ran in one of the 3DN newsletters as well as chord diagrams of my own below the text.

INTRO: Am7 | Bm7/E7 | Am7 | Bm7/E7 | Am7 | Bm7/E7 | Am7 | Bm7/E7 |

VERSE: Am7 | Bm7/E7 | Am7 | Bm7/E7 | Asus4 | A maj | D9 | D9 |

CHORUS: G/D7* | Bm7/Am7-D7 | G maj/Bm7 | C maj/ Dmaj |

G/D7* | Bm7/Am7-D7 | G maj/Bm7 | C maj/ Dmaj | D-G/A-A | C-D |

I've included some guitar chord diagrams, but only show the basic different types/inversions to be used. Use the chords above for the correct order. Although these chords can be played in any inversion and work just fine, if you use these ... you'll find that they sound more like the record. I assume you understand that Am7 (A minor 7th) (See chord illustration #1.) when moved up the neck 2 frets (a whole step) becomes a Bm7. I did not bother to show the Bm7 diagram. The same thing goes for Gmaj (G major) and a Cmaj (C major), accept the Gmaj is played barring behind the 3rd fret, whereas a Cmaj would be played barring behind the 8th fret.

E7 (E7th) = This is a unique inversion in as much as it uses the fingering similar to an open C7 chord moved up two whole steps to become an E7 chord, with this exception. YOU ALSO LET THE LOW and HI "E" STRINGS RING OUT as open strings. The notes would be (going low E string to hi E string) ... OPEN E, E, G#, D, E, OPEN E. The open "E" on both the high and the low strings gives a very nice ... pseudo-12 string effect to that passing chord. A small thing, but really nice when done correctly.

See chord illustration #2.

All major chords (see illustration #4) signified by the letter name or with the added suffix such as "Amaj" are to be played as a standard 6 string bar chord similar to the Am7 description above, except you put your second and fourth fingers down on the strings to make it a major chord instead of minor 7th.

Concerning the second half of each verse at the Asus4 chord passage (see illustration #3). The first 3 chords of this passage really just accommodate the descending notes of D, C#, and C. They are played as such: A 6 string bar Amajor chord with your little (4th) finger put on the 3rd string at the 7th fret. This is Asus4. You're going to make that little finger note go down in half steps with the next two chords. The next chord is A maj. Just lift your little finger off of the 3rd string-7th fret and it will automatically be picked up by the 2nd finger below it on the 6th fret. Move your 4th finger back to the regular position for a 6 string bar major chord. (4th finger on the 4th string-7th fret)

For the 3rd chord (D9) use the inversion in illustration #5. Starting with the 5th string (A string) bar 5 strings with your first finger on the 5th fret and add your 3rd finger to the 4th string 7th fret. You play all the strings but the low E string. With all that changing of fingers all you've really done is make that D note on the 3rd string just descend in half steps. D, C#, and C notes. Note that the low E string is muted.

THE CHORUS CHORDS: All are the same inversions as above except for the D7* in the first bar of the Chorus. It's a strange little inversion and that's why I added an asterist to it. It's an inversion that I only used in this song and this song alone. In fact, I didn't know this inversion. I just made it up to create the flow that I intended. You be the judge. It's a bit difficult at first, but once you practice grabbing it repeatedly ... I think you will find it to have a special color and tonal quality that the other D7's don't. The thing that is different about it is that you don't play the tonic on the low string. Instead, you play the flatted 7th (C).

Chorus variables. On the record I played rhythm guitar and then over-dubbed what I call "Cropper Licks" referring to Steve Cropper of Booker T. and the M.G.'s Steve used to use a lot of those 2 note harmony things around chord progressions. i.e. "Soul Man", etc. I applied those to the Chorus section playing a "D" note on my 3rd string 7th fret and a high "B" note also on the 7th fret with my 2nd and 3rd fingers respectively. Rather than explain each one in the progression I'll just say that I start with that one and all the others work off of that inversion.

I hope this helps those of you who are interested. I did ramble a bit, but my heart was in the right place.


Michael Allsup

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