Feist - "Inside And Out" from the album Let It Die
*Chords for solo guitar, with thoughts on chord voicings*
This is meant to be a transcription of the album version in 4/4 time,
super cool 70s drum beat, etc, not the waltzy acoustic live version,
though arranged with an acoustic guitar in mind.
Baby I can't figure it out, your kisses taste like honey
Sweet lies don't give me no rise up, oh, what you're trying to do
Living on your cheatin' and the pain
A (7 fr.) Dm7
grows inside me it's enough to leave me cryin in the rain
Love you forever but you're driving me insane
and I'm hanging on
A7b9 A7 Edim/A Dm7/A
oh oh oh oh
I'll win I'll never give in, our love has got the power
Too many lovers in one life time ain't good for you
You treat me like a vision in the night,
someone there to stand behind you when your world ain't working right
I ain't no vision I'm the girl who
Dm G^/E Am7
Loves you inside and out
Backwards and forwards with my heart hanging out
Dm G^/E Am7
I love no other way
What are we gonna do if we lose that fire
Wrap myself up and take me home again
Too many heartaches in my lifetime ain't good for me
You figure it's the love that keeps you warm
Let this moment be forever, we won't ever feel the storm
I ain't no vision, I'm the girl who
Don't try to tell me that it's over (A,Bb,B)
I can't hear a word I can't hear a line
No girl could love you more
And that's what I'm cryin' for
You can't change the way I feel inside
You are the reason for my laughter and my sorrow
Blow out the candle I will burn again tomorrow.
No man on earth can stand between my loving arms
And no matter how you hurt me, I will love you till I die
I ain't no vision, I'm the girl who
Dm7 Em7 Am7 (barre chords here, "jazz" Am7 [no fifth above root])
Thoughts on the chords:
Am11/E * I'm calling this Am11 even though there's no 7th, because
0 X it's the best I could reason. Use that second "chord" as the
1 3 alternating melody line in the intro. Obviously add in the
2 2 A-C-D bass line at the appropriate place.
Cmaj7 I think it's nicer to leave the E on the A string out for this,
0 make it less muddy and helps emphasize the major 7th because...->
X (use a different voicing [shown later] for chorus Cmaj7)
C7 ->...you almost want that Cmaj7 to sound like the B is on top to
0 make smooth voice leading from the B to the Bb. The piano REALLY
1 emphasizes that Bb in the second verse (see C7!)
A7 If you decide to use the 7th in the first verse, I suggest this
0 voicing. In the second verse (A7!), it sounds more like the G
2 should be on top (3rd fret, high e string). The piano actually
(2) leads it like so: G E C#. Pull off the G on the e string to an
2 open e, then emphasize the C# on the 2nd fret, B string.
Dm7 I think this barre chord voicing works nicely. Use the high A at
(5) the end of the second verse (before the chorus) and during the
G7 Fairly standard voicing, might want to come up with something
1 different. What I really can't decide is the G6 that comes next,
0 or whether it's a G6 at all. Let up on the 7th (F, 1st fret,
0 high e string) and see what you think. The "6" (which is the E)
0 is emphasized in the vocal anyway.
A7b9 Edim/A These two are actually the same chord just voiced
6 3 differently (because of the relationship of the notes
5 2 in a full diminished chord) but I'll name them separate
6 3 for clarity. Make sure to voice the melody on top of the
5 2 the chord on the guitar (Bb, A, G, F). Do this as you see
0 0 fit with the A7 and the Dm in that descending sequence.
(5) (5) Keep that steady 8th note bass line with the open A.
G^ Just a nice higher voicing for the pre-chorus line and chorus.
7 Keeps the B on top of the chord. Obviously just add a low open E
8 for the G^/E. You might also look at this chord as an Em7, and
7 you might also try an Em9 (add an F# on top, 7th fret B string).
5 Typical jazz minor 7th voicing. Bar your ring finger across
5 the top four strings, middle finger on the low string.
Fmaj7/G Might also be called Gmaj13, probably easier to think of it
(0) as Fmaj7/G though. In all honesty, not sure about this chord.
Cmaj7* Another typical maj7 voicing but I think any maj7 will
3 work here, though try to keep that G on top.
Cm7 So here it almost sounds appropriate just to alternate between
X the notes. Let them ring. Choose the position to play it on.
X Same pattern for that bass line "walk": A, Bb, B, C.
F F7/Eb Dm
X X X Basically walk the bass down for this.
6 6 6 Might be interesting on the fourth measure to make
5 5 5 the Dm a half diminished (Ab instead of A in the
7 7 7 chord), though maybe not authentic.
8 6 5
X X X
Hope someone enjoys this! Feel free to steal it and edit it as your own,
for this. Look for it under username ltaurum, or message me for any
thoughts or corrections.