Chords for Baroness: New Album, Gina Gleason + Future Plans

[D#] _ _ _ [A#] _ _ _ _
[G#] Hey everyone, [Fm] Graham [D#] here at Rock on the [D] Range with Jon [D#] Baisley, Baroness.
[D] Thank you so much for your [F#] time, man.
Always, always, [B] always appreciate it.
[C] I'm super psyched to [B] be here.
Awesome.
So, [G] you were just telling me that [F#] you've recently acquired _ [D#]
a vocal [D#m] coach after having some voice
[F#m] issues during the early days of the Purple [B] album cycle.
Is that right?
[E] Yeah.
I mean, like, [D#] okay, I'll preface this by [F#] saying that I don't spend a whole lot of time [C] thinking
about what's going to be good for me, a good idea for me to do, [F#] and a bad idea for me to
do at [A] the time that I'm doing things.
And [C] that's led me [G#] into _ [C#] [C] an entire [D#] lifespan worth of [C] [D#] difficulties [A] and [C#] you should think twice.
I [D] don't.
It's just, it's fine.
I know this about myself.
However, [C#] you know, I do tour quite [C] frequently and I have to play a lot of shows _ [C#] and there's
nothing that makes me more upset than when I can't use the instruments that I have at
my disposal in the way that I know that I'm capable of using.
You know what I mean?
Okay. _
So, after [C] we played this show [B] at St.
Vitus that you just [D#m] mentioned to me and I was shot.
[F#m] I was doing everything.
I mean, I'm still giving 100%.
It's just 100% of something that's damaging and it's getting worse and worse as it goes on.
[E] _
[D#m] After that show, I decided [B] that, _ why, [C] or [F#] I had the thought, why don't I treat this instrument
with the same care and attention [B] that I treat the guitar?
You know, I've been looking forward to a new Baroness record ever since Purple.
Me [E] too.
It's been like two and a half years.
Too long.
Line up [D] change.
[D#m] Yes.
Are there plans?
Yes, there [D] are definitely plans.
There are plans?
Okay.
We're kind of in like a _ [G] as soon as [A] possible type of situation right now.
Okay.
We have a record.
[G] _ Written? _
Written.
[A] Recorded?
[F#] And it's somewhere in [D#] there.
In the ether?
It's somewhere in that ether.
Nice.
Cool.
I think [B] we're all really genuinely excited to [F#] see it _ [B] come out so that [C] we can start [D#] touring
again with [F#m] the [B] full [G#] weight and conviction of [B] our _ live [D#m] energy. Oh yeah.
It's not to diminish anything that we're doing right now.
[Bm] It's just that we've gotten to that point [G] where I think we know our songs pretty well.
[F#] _ _ I'd like it to [D] be more difficult.
I want some [G] new challenges.
I want to get out there and I want to make some [F#m] mistakes _ [C] and not [F#] admonish myself for
_ making a mistake on a song I played a thousand [D] times.
I want to play a [C#] song a second time and be like, oh boy, that didn't [Cm] work.
A hundred [E] percent.
_ So [D] haven't been to the studio yet.
It's [C] just been kind of ideas flowing around.
[F#] You've been in the studio.
Wow.
So [F#m] is it recorded?
[C#] Is it done?
[F#] _ _ [C#] Those are two questions.
The [F#] answer to one of them is yes.
_ [D#] Wow.
[E] Okay.
So what process are we in?
Are we [F#] mixing?
Mastering? _
Yeah.
_ [E] I mean, I have to [D#m] ask, [C#m] what's the color?
_ _ Is it a color?
It's [D#] got to be.
_ Does it?
_ [E] I feel like I've spent a lot of time talking about how it's not going to be a color.
[D#] Have [G] you?
So it's not a color.
I didn't know this.
So I [C#] apologize if I'm out of the loop here.
[D#]
Well, I don't know.
I'm being vague again.
You are being vague.
That's okay.
Have [D#m] you started working on the album artwork for it?
I have.
Yeah?
So that's a [D#] _ finite clue.
I've started working on the artwork, which means something exists.
_ _ _ Could you tell me a little bit about the artwork?
No.
Damn it.
[D] I'm trying my best here.
It's [C#] okay, but I'm really happy.
_ [E] I promise we will talk about [C#] it at some point in the future.
We won't want to hear the [E] full explanation.
We will [D] reconnect once the time [G#] is right.
_ [G] So Gina, a new member, [Cm] a new-ish member of the band [C] now, _ [C#m] extremely accomplished musician.
Ridiculously [D#] accomplished.
Even before, [C#m] she worked with Cirque du Soleil [C#] for a very long [C] time. _
Can you [D#] tell me about the contributions [D] that she's been making?
If you can tell me about that time, [C#] about the new record.
About the new stuff.
[D] I'm not going to be a total dick about it.
No, you're not a dick.
No, I mean, [C#] she's been an entirely [D#m] welcome addition.
And that _ _ [C#] doesn't_
I don't [G#m] mean that in the way that Pete wasn't.
Pete was very difficult to replace.
And [C#] I wouldn't even [E] say that we [B] replaced Pete, because [G] _ [D#] Pete's contribution to the band and
Pete's time in the band was so monumental and so important [Cm] for us that we [G] currently
would never want to do anything like disrespect [C#] any contribution that [D#] former members have put in.
So the fact that [D#m] Gina joined the band [G] and three years before that, [D#] that Sab and Nick
[G] joined the band and took [C] the position of [G] very important people [C#] to me, both musically and
[A#] personally, [C#] and [B] have been able to [C#] allow [C] the band to grow [C#m] and [C#] prosper and become [D#] better.
It's really a stupendous thing.
I don't think_
[C#m] I'm not even capable of giving enough [D#] lip service to it.
I'd just like to say that [C#m] in contrast to a lot [D#] of times where you get [C#] the hired guns
thing going on, you get [D#] these session people.
First of all, we don't make enough money to entertain that.
[C#m] Second of all, I never would [B] fucking do that in my life, because [D#] that's_
The whole reason I started this band was to do something personal and direct and immediate
and something that allowed me to [C#m] express myself.
To have found so many [B] people along the way that are willing [D#] to _ sometimes get on a weird
ride with me and, trust me, I feel super fortunate.
Gina has been incredible since [G] she joined the band.
Absolutely.
_ Is there any_
Having [F#] played with Cirque du [D#] Soleil, I imagine she's a very_
Not just an [Gm] advanced musician [B] technically, but an extremely artistic [D#] _
musician.
[D] And physical.
That performance was _ [C#] ridiculously physical [F#] too.
A hundred percent.
_ [D#] Yeah, I mean _ [D#m] _ it's_
I don't want to pat her on the back all the time and boost [C] her ego about it, but [D#] I'm pretty
certain she's spent at least as much time as any [G#] of the rest of us on stage. Oh, sure.
And doing things that were [B] more [C] coordinated [B] and physically and creatively demanding than
[C] _
oftentimes what_
Fair enough, that's just _ being [B] a hundred percent emotional about everything all the time.
She had to control some of that so that she didn't get killed [D#m] by _ [B] armatures and swinging
acrobats and stuff [C#] like that.
_ [D#] When she tells me some of the stuff that she did, I'm just like, well, you [C#] don't have to
do that anymore.
It's mind blowing.
Yeah, it is.
That whole production, everybody who's [F#] a part of that is incredible.
[E] So although we don't know [D#] that much about the record, we can [G] say that it was an entire band [D#] collaboration.
It always is.
[D] Everybody puts their _ stuff to the audit table.
[D#] Everybody's personality, more so than _ _ maybe on any other record, there is a very [B] discernible
amount of character from each of the four [D#] contributing musicians on the record.
_ _ _ [C] _ _ _ _ [A] _ _ _ _ [C] _ _ _
_ _ _ _ _ _ _ _