Chords for Alan Walden and Jimmy Johnson talk about Lynyrd Skynyrd at Muscle Shoals Studios 3614
Tempo:
115.3 bpm
Chords used:
Bm
D
E
F#m
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[D] [G] [C] [D]
Ronnie Van Zant told me word for word that this is where he learned to record, right
here in this studio.
Ronnie would come down here and watch Jimmy work during the day.
We did all of our sessions, we were on the midnight shift.
We started at midnight and went all night long.
But he would come down during the day and watch Jimmy work, particularly I think Don
Nix was coming in there doing Black Cat Make You Moan.
But these guys over here taught Leonard Skinner how to record.
Not a question of mine.
Roger Hawkins sat with Bob Burns over here, I think it was eight hours worth of tuning
on the drums to try to get a decent sound out of them.
They were so raggedy and so messed up.
But for the Leonard Skinner guys, they were in heaven right here.
As you know, they put All About the Swamp was in Sweet Home, Alabama.
They wrote about Alabama in such a praising way.
This was where they really got their real start, right here.
They were so well rehearsed.
There was not a lot to do except to get a pristine performance and pristine solo performances
and stuff like that.
They were used to playing live.
So overdubbing, they had to learn how.
And learn how to perform as if they were playing like at Yankee Stadium.
It'd just be us and say Ronnie out here singing or guitar players playing.
So once they mastered that, and that's all part of learning how to record, there was
never very much, because their arrangements basically were intact when they got here.
And so it was up to me to make sure that everything that you had to have to stand out and to get
the correct solo, to get the correct shot at the solo.
And sometimes combining vocals and combining certain solos together.
And then mixing.
I mean, that's basically what we had to do.
They were that good.
We didn't have to go in and arrange everything from the ground up.
Occasionally, we'd say, hey, break it down a little more in the beginning and we'll less
happen on the front end.
Something like that.
Real simple instructions.
And they were really good at following.
So no, they were a real pleasure to work with because they could do what we asked.
And they were willing to.
We were all, all of us, the Skinner guys, Jimmy, myself, we were all just a good [N] bunch
of country boys that had a high goal in life and we [B] wanted to reach that.
And we believed in that group.
[C#m] [Bm]
[E] [Bm] [F#m] [E]
Ronnie Van Zant told me word for word that this is where he learned to record, right
here in this studio.
Ronnie would come down here and watch Jimmy work during the day.
We did all of our sessions, we were on the midnight shift.
We started at midnight and went all night long.
But he would come down during the day and watch Jimmy work, particularly I think Don
Nix was coming in there doing Black Cat Make You Moan.
But these guys over here taught Leonard Skinner how to record.
Not a question of mine.
Roger Hawkins sat with Bob Burns over here, I think it was eight hours worth of tuning
on the drums to try to get a decent sound out of them.
They were so raggedy and so messed up.
But for the Leonard Skinner guys, they were in heaven right here.
As you know, they put All About the Swamp was in Sweet Home, Alabama.
They wrote about Alabama in such a praising way.
This was where they really got their real start, right here.
They were so well rehearsed.
There was not a lot to do except to get a pristine performance and pristine solo performances
and stuff like that.
They were used to playing live.
So overdubbing, they had to learn how.
And learn how to perform as if they were playing like at Yankee Stadium.
It'd just be us and say Ronnie out here singing or guitar players playing.
So once they mastered that, and that's all part of learning how to record, there was
never very much, because their arrangements basically were intact when they got here.
And so it was up to me to make sure that everything that you had to have to stand out and to get
the correct solo, to get the correct shot at the solo.
And sometimes combining vocals and combining certain solos together.
And then mixing.
I mean, that's basically what we had to do.
They were that good.
We didn't have to go in and arrange everything from the ground up.
Occasionally, we'd say, hey, break it down a little more in the beginning and we'll less
happen on the front end.
Something like that.
Real simple instructions.
And they were really good at following.
So no, they were a real pleasure to work with because they could do what we asked.
And they were willing to.
We were all, all of us, the Skinner guys, Jimmy, myself, we were all just a good [N] bunch
of country boys that had a high goal in life and we [B] wanted to reach that.
And we believed in that group.
[C#m] [Bm]
[E] [Bm] [F#m] [E]
Key:
Bm
D
E
F#m
G
Bm
D
E
[D] _ _ [G] _ [C] _ [D] _ _ _ _
_ Ronnie Van Zant told me word for word that this is where he learned to record, right
here in this studio. _ _
Ronnie would come down here and watch Jimmy work during the day. _
We did all of our sessions, we were on the midnight shift.
We started at midnight and went all night long.
But he would come down during the day and watch Jimmy work, particularly I think Don
Nix was coming in there doing Black Cat Make You Moan.
_ _ But these guys over here taught Leonard Skinner how to record.
Not a question of mine. _
Roger Hawkins sat with Bob Burns over here, I think it was eight hours worth of tuning
on the drums to try to get a decent sound out of them.
They were so raggedy and so messed up.
But _ for the Leonard Skinner guys, they were in heaven right here.
As you know, they put All About the Swamp was in Sweet Home, Alabama.
They wrote about Alabama in such a praising way.
This was where they really got their real start, right here.
They were so well rehearsed.
_ There was not a lot to do except to get a pristine performance and pristine solo performances
and stuff like that. _ _
They were used to playing live.
_ So overdubbing, they had to learn how.
And learn how to perform as if they were playing like at Yankee Stadium.
It'd just be us and say Ronnie out here singing or guitar players playing.
So once they mastered that, and that's all part of learning how to record, _ _ _ there was
never very much, because their arrangements basically were intact when they got here.
And so it was up to me to make sure that everything that you had to have to stand out and to get
the correct solo, to get the correct shot at the solo.
And sometimes combining vocals and combining certain solos together.
And then mixing.
I mean, that's basically what we had to do.
They were that good.
We didn't have to go in and arrange everything from the ground up.
Occasionally, we'd say, hey, break it down a little more in the beginning and we'll less
happen on the front end.
Something like that.
Real simple instructions.
And they were really good at following.
So no, they were a real pleasure to work with because they could do what we asked.
And they were willing to. _ _ _ _
We were all, all of us, the Skinner guys, Jimmy, myself, we were all just a good [N] bunch
of country boys that had a high goal in life and we [B] wanted to reach that.
And we believed in that group.
_ _ [C#m] _ _ [Bm] _ _ _ _
[E] _ _ [Bm] _ _ _ [F#m] _ _ [E] _
_ Ronnie Van Zant told me word for word that this is where he learned to record, right
here in this studio. _ _
Ronnie would come down here and watch Jimmy work during the day. _
We did all of our sessions, we were on the midnight shift.
We started at midnight and went all night long.
But he would come down during the day and watch Jimmy work, particularly I think Don
Nix was coming in there doing Black Cat Make You Moan.
_ _ But these guys over here taught Leonard Skinner how to record.
Not a question of mine. _
Roger Hawkins sat with Bob Burns over here, I think it was eight hours worth of tuning
on the drums to try to get a decent sound out of them.
They were so raggedy and so messed up.
But _ for the Leonard Skinner guys, they were in heaven right here.
As you know, they put All About the Swamp was in Sweet Home, Alabama.
They wrote about Alabama in such a praising way.
This was where they really got their real start, right here.
They were so well rehearsed.
_ There was not a lot to do except to get a pristine performance and pristine solo performances
and stuff like that. _ _
They were used to playing live.
_ So overdubbing, they had to learn how.
And learn how to perform as if they were playing like at Yankee Stadium.
It'd just be us and say Ronnie out here singing or guitar players playing.
So once they mastered that, and that's all part of learning how to record, _ _ _ there was
never very much, because their arrangements basically were intact when they got here.
And so it was up to me to make sure that everything that you had to have to stand out and to get
the correct solo, to get the correct shot at the solo.
And sometimes combining vocals and combining certain solos together.
And then mixing.
I mean, that's basically what we had to do.
They were that good.
We didn't have to go in and arrange everything from the ground up.
Occasionally, we'd say, hey, break it down a little more in the beginning and we'll less
happen on the front end.
Something like that.
Real simple instructions.
And they were really good at following.
So no, they were a real pleasure to work with because they could do what we asked.
And they were willing to. _ _ _ _
We were all, all of us, the Skinner guys, Jimmy, myself, we were all just a good [N] bunch
of country boys that had a high goal in life and we [B] wanted to reach that.
And we believed in that group.
_ _ [C#m] _ _ [Bm] _ _ _ _
[E] _ _ [Bm] _ _ _ [F#m] _ _ [E] _