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I'm The Man Who Loves You (live)


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I'm The Man Who Loves You

 

Standard Tuning

Capo on 1st fret (or not if you prefer)

 

(E) All I can see is black and white and white and pink with blades of blue

That lay between the words I think on a page I was meaning to send (A) you

I couldn't tell if it would bring my heart the way I wanted when I started

(E) Writing this letter to you

(B) But if I could you know I would just hold your hand and you'd understand

(A) I'm the man who (E) loves you

 

(E) All I can be is a busy bee of spinning wheels and hands that feel

For stones to throw and feet that run but come back home

(A) It makes no difference ever known, makes no difference ever known (E) to me

(B) But if I could you know I would just hold your hand and you'd understand

(A) I'm the man who (E) loves you

 

E A E B F# A E

 

(E) All I can see is black and white and white and pink with blades of blue

That lay between the words I think on a page I was meaning to send (A) you

I couldn't tell if it would bring my heart the way I wanted when I started

(E) Writing this letter to you

(B) But if I could you know I would just hold your hand and you'd understand

(F#) If I could you know I would just hold your hand and you'd understand

(A) If I could you know I would just hold your hand and you'd understand

I'm the man who (F#) loves you (A)

I'm the man who (F#) loves you (A)

I'm the man who (E) loves you

 

During the verses you should alternate between E and E7

During the last "I'm the man who loves you" you can do a little riff up the D string

The B is played 133100

 

 

I'm not sure if this is the live version being referred to, but this is what I play

It's off the altcountry site

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I'm The Man Who Loves You

 

Standard Tuning

Capo on 1st fret (or not if you prefer)

 

(E) All I can see is black and white and white and pink with blades of blue

That lay between the words I think on a page I was meaning to send (A) you

I couldn't tell if it would bring my heart the way I wanted when I started

(E) Writing this letter to you

(B) But if I could you know I would just hold your hand and you'd understand

(A) I'm the man who (E) loves you

 

(E) All I can be is a busy bee of spinning wheels and hands that feel

For stones to throw and feet that run but come back home

(A) It makes no difference ever known, makes no difference ever known (E) to me

(B) But if I could you know I would just hold your hand and you'd understand

(A) I'm the man who (E) loves you

 

E A E B F# A E

 

(E) All I can see is black and white and white and pink with blades of blue

That lay between the words I think on a page I was meaning to send (A) you

I couldn't tell if it would bring my heart the way I wanted when I started

(E) Writing this letter to you

(B) But if I could you know I would just hold your hand and you'd understand

(F#) If I could you know I would just hold your hand and you'd understand

(A) If I could you know I would just hold your hand and you'd understand

I'm the man who (F#) loves you (A)

I'm the man who (F#) loves you (A)

I'm the man who (E) loves you

 

During the verses you should alternate between E and E7

During the last "I'm the man who loves you" you can do a little riff up the D string

The B is played 133100

I'm not sure if this is the live version being referred to, but this is what I play

It's off the altcountry site

 

Tweedy plays the lead with a capo on the first fret. The others are in standard.

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  • 1 month later...

edited for clarity - if you're playing this with a capo, skip this. If you're not playing with a capo (eg playing in F) this might be useful.

 

The trick to getting it to sound like the live versions is to play the F chord as a C-shape barre chord, barring the 5th fret. You only have to play the top 4 strings, so getting the shape isn't hard (actually no different than the top 4 strings of a Dmin7 using the A minor barre chape, which is probably a more familiar shape)

 

So the riff relative to the capo would look like this... sliding up to the chord initially.

 

e--s5-5--5-5-5--

B--s6-6--6-6-6--

G--s5-5--8-7-5--

D--s7-7--7-7-7--

A---------------

E---------------

 

During the chord I'm sliding initially, I'm focusing on picking stings 2,3, and 4. Then there's a quick hit, same chord shape, focusing on strings 1,2,and 3

 

You're intoducing a dominant 7th note on the G string, which gives it that bluesy/rock feel.

Edited by jhc
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  • 2 weeks later...
  • 4 months later...
The trick to getting it to sound like the live versions is to play to E chord (assuming capo 1) as a C-shape barre chord, barring the 4th fret. You only have to play the top 4 strings, so getting the shape isn't hard (actually no different than the top 4 strings of a C#min7 using the A minor barre chape, which is probably a more familiar shape)

 

So the riff relative to the capo would look like this... sliding up to the chord initially.

 

e--s4-4--4-4-4--

B--s5-5--5-5-5--

G--s4-4--7-6-4--

D--s6-6--6-6-6--

A---------------

E---------------

 

During the chord I'm sliding initially, I'm focusing on picking stings 2,3, and 4. Then there's a quick hit, same chord shape, focusing on strings 1,2,and 3

 

You're intoducing a dominant 7th note on the G string, which gives it that bluesy/rock feel.

 

 

It's so much easier just to form an E chord and play that twice, then just put your pinky finger on the third fret of the B string (making an E7) , then slide your pinky to the second fret, then take it off to make another E. You still get the bluesy feel. Like this:

 

e----------------------

B---00--3333--22--0

G---11--1111--11--1

D---22--2222--22--2

A---22--2222--22--2

E----------------------

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It's so much easier just to form an E chord and play that twice, then just put your pinky finger on the third fret of the B string (making an E7) , then slide your pinky to the second fret, then take it off to make another E. You still get the bluesy feel. Like this:

 

e----------------------

B---00--3333--22--0

G---11--1111--11--1

D---22--2222--22--2

A---22--2222--22--2

E----------------------

 

 

You're right. I play this without a capo so I need that barre shape. With a capo you can simply use the first position E as a starting point like you posted.

 

It ends up being the same notes.

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  • 6 months later...
So when Jeff plays it live, is this what he is doing in the very beginning (with a capo on 1)?

 

e----------------------

B---00--3333--22--0

G---11--1111--11--1

D---22--2222--22--2

A---22--2222--22--2

E----------------------

 

basically, yes

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  • 4 weeks later...
  • 2 weeks later...

e 4-4-4-4-4-4---4-4-4-4--------4-4--------------------------------------

b ---------------------------4-4---------4-4-------------------------------

g ------------------------------------------------3h5-3-------3h5-5b-5-5-

d --------------------------------------------------------3-3---------------

a ----------------------------------------------------------------------------

e ----------------------------------------------------------------------------

 

I'm not sure if this what you wanted exactly. But this song is in F Major but they mess around with G# (#2nd) and Eb (#6th) alot during the song.

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  • 3 weeks later...

theres also this riff after the chorus

 

e ------------------------------------------------

b -----------12b-10---------------13-12b-10--

g 10-12-10-----------10-12-10----------------

d ------------------------------------------------

a ------------------------------------------------

e ------------------------------------------------

 

and this one towards the end

 

e ------------------------

b ------------------------

g ------------------------

d ------------------------

a ------------------------

e 3-----1-3-5-3-5-5s6--

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But this song is in F Major but they mess around with G# (#2nd) and Eb (#6th) alot during the song.

I hate to be nitpicky, but this sentence should never be repeated. There are many reasons why one of which being that musicians should be able to communicate and understand each other. In this case G# should be referred to as Ab because F is a flat key and because the note functions as a flat third not a sharp second. And Eb is a flat seventh not a sharp sixth. I don't mean to be a dick. It's just that I learned a lot of stuff about music from the internet and I would hate for someone who is just learning to be misinformed and confused.

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Which brings up a good point: Should I actually pay attention to music theory or just keep going by ear which is what I have been doing?

Music theory isnt really importnat in and of itself. I've played with a lot of people who play more with their brains and eyes rather than their ears. And while nerdiness is alright in music everyone(?) falls in love with music first because of what it sounds like.

 

Music theory is important when playing and communicating with other people and in the context of history. It is a lot more important in the context of jazz. The way something is written is important becuase of how it got that way over time. Certain assumptions are built into the language which all the musicians should be keyed into. For instance, over an Ab7 chord, a #11, a b5 and a #4 all refer to the note D natural. Yet, the key and scale which most musicians would improvise in would be different depending on which one you chose. But it's something which people still argue about and it will never be decided upon. The only time that a musical choice is "right" or "correct" is when it sounds good.

 

So just keep going by ear but any theory you can pick up will help and give you shortcuts in learning.

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  • 1 year later...

Here is my stab at putting it all together:

 

I'm The Man Who Loves You

Standard Tuning
Capo on 1st fret 

Intro: (not relative to capo)
e|-----------------------------------------------|
B|-----------------------------------------------|
G|-----------------------------------------------|
D|-----------------------------------------------|
A|-----------------------------------------------|
E|13----s------1-----s-----13-----s-----1--------|


e 4-4-4-4-4-4---4-4-4-4--------4-4--------------------------------------
b ---------------------------4-4---------4-4-------------------------------
g ------------------------------------------------3h5-3-------3h5-5b-5-5-
d --------------------------------------------------------3-3---------------
a ----------------------------------------------------------------------------
e ----------------------------------------------------------------------------

(E) All I can see is black and white and white and pink with blades of blue
That lay between the words I think on a page I was meaning to send (A) you
I couldn't tell if it would bring my heart the way I wanted when I started
(E) Writing this letter to you
(B) But if I could you know I would just hold your hand and you'd understand
(A) I'm the man who (E) loves you

e ------------------------------------------------
b -----------12b-10---------------13-12b-10-------
g 10-12-10-----------10-12-10---------------------
d ------------------------------------------------
a ------------------------------------------------
e ------------------------------------------------

(E) All I can be is a busy bee of spinning wheels and hands that feel 
For stones to throw and feet that run but come back home
(A) It makes no difference ever known, makes no difference ever known (E) to me
(B) But if I could you know I would just hold your hand and you'd understand
(A) I'm the man who (E) loves you

E A E B F# A E 

(E) All I can see is black and white and white and pink with blades of blue
That lay between the words I think on a page I was meaning to send (A) you
I couldn't tell if it would bring my heart the way I wanted when I started
(E) Writing this letter to you
(B) But if I could you know I would just hold your hand and you'd understand
(F#) If I could you know I would just hold your hand and you'd understand
(A) If I could you know I would just hold your hand and you'd understand
I'm the man who (F#) loves you (A)

e ------------------------
b ------------------------
g ------------------------
d ------------------------
a ------------------------
e 3-----1-3-5-3-5-5s6-----

I'm the man who (F#) loves you (A)
I'm the man who (E) loves you


(E) Riff:
e----------------------
B---00--3333--22--0----
G---11--1111--11--1----
D---22--2222--22--2----
A---22--2222--22--2----
E----------------------

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When I was able to talk to Jeff at the 2007 Living Room Show, he told me that the tuning he uses was EBEG#BE with the capo on the first fret.

 

FINALLY! It's clearly not in standard when played w/ Wilco, nice to have this confirmation. Considering they play it EVERY SINGLE NIGHT, it shouldn't be too hard for this to get properly tabbed.. (I suppose I did just hear it 5 nights in a row, but the Residency Sickness is still lingering in my head and might impair my aural judgment...)

 

Thanks for posting solid info from a legitimate source. :)

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Usually when I play this song, I complement the bluesy E riff with this for A (relative to capo):

 

e--0--5--3--2--0--

B--2--2--2--2--2--

G--2--2--2--2--2--

D--2--2--2--2--2--

A--0--0--0--0--0--

E-------------------

 

Also, no one's mentioned the thing Tweedy does at the end of the third verse when he sings "writing this letter to you" again (though I think he doesn't sing it live anymore and just plays his little riff). I've never really figured it out, but this sounds decent (relative to capo):

 

e-------------------------0h0--

B--/9--7--5--3/5--3---0h0--

G--/9--7--6--4/6--4---0h1--

D--/9--7--7--4/6--4---0h2--

A------------------------0h2--

E------------------------0h0--

 

thoughts?

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  • 3 weeks later...

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