[ Loose change von Neil Young ]



	LOOSE CHANGE - NEIL YOUNG
	-------------------------
	from: BROKEN ARROW


	Submitted by: Mike Campbell (ma.mjcudo@gutaforsythe.stanford.edu)
	End Note Submitted by: Preston Nichols (pnicholsudo@gutaalleg.edu)	
	(via HyperRust)

	INTRO:  C G C G C (2x)

	C                 G
	Built a house of cards
	                  C
	Built a house of rain
	                  G
	Built a house of love
	                     C
	It's hard to build again

	Built a road to reason
	Built a road to fate
	Built a road to the promised land
	Right up to the gate

	 F                  C
	Loose change in my pocket
	 G            F
	Future in my hand
	 C
	Too many distractions
	    G            F
	For me to understand
	         C   G  F  Am  C  G  F  C
	Loose change

	(harmonica solo over two verse chord progressions)

	Too many distractions
	Got to get back home
	Get into something solid
	Get out of the zone

	Some roads bring renewal
	Some roads hide and wait
	Some roads promise everything
	And steal your fuel away

	 F                  C
	Loose change in my pocket
	 G            F
	Future in my hand
	 C
	Too many distractions
	    G            F
	For me to understand
	         C   G  F  Am  C  G  F  C
	Loose change
	         C   G  F  Am  C  G  F G C
	Loose change

	F
	Some roads I been flyin'
	Some roads I crashed
	Some roads I been sleepin' on
	Some roads I got back on

	F
	Some roads I been runnin'
	Some roads I been stopped
	Some roads I been walkin down
	Some roads I was lost

	  (jammin' over F ...)


NOTE: For the chord archives, it should be noted that this "jammin' over
      F" is on a C-major scale, with a B-natural and no B-flats (the
      Lydian mode, if you like that terminology).

      This is essential for the distinctive feel of that long jam at the
      end:  the main song is in C, but (briefly) modulates into F for the
      beginning of the chorus, which then helps it "sound okay" to land on
      F for "Some roads...".  That F sounds temporary at first, but when
      the bass stays on F so strong so long, F gradually begins to feel
      like "home", like chord I.  But the notes Neil solos on are still
      notes from the C-major scale, "left over" from the early part of the
      song.  This puts the song in a somewhat exotic place, harmonically,
      which I suspect is part of why people have strong reactions to it,
      both positive and negative.  (I love how all that works, like
      magic.)