Chords for Bishop Gunn "Alabama" Behind the Scenes Part 1
Tempo:
69.8 bpm
Chords used:
E
G
A
Em
B
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G]
This song came about through a co-write with a friend of mine and she's kind of started it off.
We didn't [Gm] really [E] kind of come into this co-write with [G] not much direction or just kind of random.
You know, neither one [A] of us had anything we were just looking [E] to write [Em] about.
But she [D] had this cool line that said, higher than a junkie drying out in the slammer, Lord
I hope I don't die in Alabama.
So we basically went from there and how do we make sense out of this line?
Well we got to write a little in front of it, we got to write behind it.
And this was a fictional [G] kind of write.
We just traded lines and Ben, the bass player, was in this one as well.
It [E] was a pretty smooth write and it [A] became kind of dark, you know, almost [E] immediately.
And we just kind of went with it.
It was okay.
We weren't really set out to do that particularly, [G] but that's the [A] direction it took.
So we wrote it out and we're pretty happy with the end result.
Kind of by design, Travis at first was like, you know, I want to make this song different.
You know, he was like, we're not going to do a drum kit, I don't want to do these different
things so we ended up doing stomps and claps, it's acoustic [E] driven.
We went down to Fame to record this tune.
It was a pretty surreal day.
We got the call that morning that Rick Hall had passed away.
I rode down with Casey, the producer, and we were right behind the guys.
Then we got a phone call, as they did, saying that Rick Hall had passed.
[A] I [E] looked at Casey and kind of looked at each other like, there's probably no way we're
going to do this today.
Rodney called us and was like, you know, Rick would turn over in his grave if I turned down a session.
You know, because you know Rick and his legacy of the productions he's done and the amount
of artists he's had [Am] a thumbprint with is just simply legendary.
There's no other way to put it.
You know, because of Rick's passing, everyone was kind of in a strange, eerie mood anyway.
And then we brought the song in, which [Bm] was already kind of dark.
So those [E] two things combined, I [B] think that affected it greatly.
I know the guys that are in [Em] Muscle Shoals that are friends of mine from previous work
that I'd done.
[A] G-Mane and all [G] those guys over there who sang on the song, they don't know it.
I know him.
So I was like, hey, come meet us at this place.
I'm working with these guys.
We've done a ton of working paths.
Let's [E] all get together on this song.
We didn't know it was going to be on that day.
I told him, hey, come work with these [G] guys on this track.
I think you'd be good to just [E] be on it or something.
Come hang out with us.
I haven't seen you in a while.
They called me in to come record with them.
They came to Muscle Shoals to fame to record [G#] one week.
And they asked me to come in and do some [C#m] backgrounds for them.
I [E] did that.
Next thing you know, they asked if I wanted to be in the video.
I was like, I'm all for it.
Him being of a different genre of music and then being on that song in general, I thought
was really cool just because of Rick Hall's legacy of pulling together all different types
of people of all walks of life to make [G] hits, to make great music.
And that's kind of what this felt like, getting these [E] different guys together in a room, even
on this sad [A] day.
But [E] it was just powerful.
[C#m] [E]
This song came about through a co-write with a friend of mine and she's kind of started it off.
We didn't [Gm] really [E] kind of come into this co-write with [G] not much direction or just kind of random.
You know, neither one [A] of us had anything we were just looking [E] to write [Em] about.
But she [D] had this cool line that said, higher than a junkie drying out in the slammer, Lord
I hope I don't die in Alabama.
So we basically went from there and how do we make sense out of this line?
Well we got to write a little in front of it, we got to write behind it.
And this was a fictional [G] kind of write.
We just traded lines and Ben, the bass player, was in this one as well.
It [E] was a pretty smooth write and it [A] became kind of dark, you know, almost [E] immediately.
And we just kind of went with it.
It was okay.
We weren't really set out to do that particularly, [G] but that's the [A] direction it took.
So we wrote it out and we're pretty happy with the end result.
Kind of by design, Travis at first was like, you know, I want to make this song different.
You know, he was like, we're not going to do a drum kit, I don't want to do these different
things so we ended up doing stomps and claps, it's acoustic [E] driven.
We went down to Fame to record this tune.
It was a pretty surreal day.
We got the call that morning that Rick Hall had passed away.
I rode down with Casey, the producer, and we were right behind the guys.
Then we got a phone call, as they did, saying that Rick Hall had passed.
[A] I [E] looked at Casey and kind of looked at each other like, there's probably no way we're
going to do this today.
Rodney called us and was like, you know, Rick would turn over in his grave if I turned down a session.
You know, because you know Rick and his legacy of the productions he's done and the amount
of artists he's had [Am] a thumbprint with is just simply legendary.
There's no other way to put it.
You know, because of Rick's passing, everyone was kind of in a strange, eerie mood anyway.
And then we brought the song in, which [Bm] was already kind of dark.
So those [E] two things combined, I [B] think that affected it greatly.
I know the guys that are in [Em] Muscle Shoals that are friends of mine from previous work
that I'd done.
[A] G-Mane and all [G] those guys over there who sang on the song, they don't know it.
I know him.
So I was like, hey, come meet us at this place.
I'm working with these guys.
We've done a ton of working paths.
Let's [E] all get together on this song.
We didn't know it was going to be on that day.
I told him, hey, come work with these [G] guys on this track.
I think you'd be good to just [E] be on it or something.
Come hang out with us.
I haven't seen you in a while.
They called me in to come record with them.
They came to Muscle Shoals to fame to record [G#] one week.
And they asked me to come in and do some [C#m] backgrounds for them.
I [E] did that.
Next thing you know, they asked if I wanted to be in the video.
I was like, I'm all for it.
Him being of a different genre of music and then being on that song in general, I thought
was really cool just because of Rick Hall's legacy of pulling together all different types
of people of all walks of life to make [G] hits, to make great music.
And that's kind of what this felt like, getting these [E] different guys together in a room, even
on this sad [A] day.
But [E] it was just powerful.
[C#m] [E]
Key:
E
G
A
Em
B
E
G
A
[G] _ _ _ _ _ _ _ _
This song came about through a co-write with a friend of mine and she's kind of started it off.
We didn't [Gm] really [E] kind of come into this co-write with [G] not much direction or just kind of random.
You know, neither one [A] of us had anything we were just looking [E] to write [Em] about.
But she [D] had this cool line that said, higher than a junkie drying out in the slammer, Lord
I hope I don't die in Alabama.
So we basically went from there and how do we make sense out of this line?
Well we got to write a little in front of it, we got to write behind it.
And this was a fictional [G] kind of write.
We just traded lines and Ben, the bass player, was in this one as well.
It [E] was a pretty smooth write and it [A] became kind of dark, you know, almost [E] immediately.
And we just kind of went with it.
It was okay.
We weren't really set out to do that particularly, [G] but that's the [A] direction it took.
So we wrote it out and we're pretty happy with the end result.
Kind of by design, Travis at first was like, you know, I want to make this song different.
You know, he was like, we're not going to do a drum kit, I don't want to do these different
things so we ended up doing stomps and claps, it's acoustic [E] driven.
We went down to Fame to record this tune.
It was a pretty surreal day.
We got the call that morning that Rick Hall had passed away.
I rode down with Casey, the producer, and we were right behind the guys.
Then we got a phone call, as they did, saying that Rick Hall had passed.
[A] I [E] looked at Casey and kind of looked at each other like, there's probably no way we're
going to do this today.
Rodney called us and was like, you know, Rick would turn over in his grave if I turned down a session.
You know, because you know Rick and his legacy of the productions he's done and the amount
of artists he's had [Am] a thumbprint with is just simply legendary.
There's no other way to put it.
You know, because of Rick's passing, everyone was kind of in a strange, eerie mood anyway.
And then we brought the song in, which [Bm] was already kind of dark.
So those [E] two things combined, I [B] think that affected it greatly.
I know the guys that are in [Em] Muscle Shoals that are friends of mine from previous work
that I'd done.
[A] G-Mane and all [G] those guys over there who sang on the song, they don't know it.
I know him.
So I was like, hey, come meet us at this place.
I'm working with these guys.
We've done a ton of working paths.
Let's [E] all get together on this song.
We didn't know it was going to be on that day.
I told him, hey, come work with these [G] guys on this track.
I think you'd be good to just [E] be on it or something.
Come hang out with us.
I haven't seen you in a while.
They called me in to come record with them.
They came to Muscle Shoals to fame to record [G#] one week.
And they asked me to come in and do some [C#m] backgrounds for them.
I [E] did that.
Next thing you know, they asked if I wanted to be in the video.
I was like, I'm all for it.
Him being of a different genre of music and then being on that song in general, I thought
was really cool just because of Rick Hall's legacy of pulling together all different types
of people of all walks of life to make [G] hits, to make great music.
And that's kind of what this felt like, getting these [E] different guys together in a room, even
on this sad [A] day.
But [E] it was just powerful.
_ [C#m] _ _ [E] _ _ _ _ _
_ _ _ _ _ _ _ _
This song came about through a co-write with a friend of mine and she's kind of started it off.
We didn't [Gm] really [E] kind of come into this co-write with [G] not much direction or just kind of random.
You know, neither one [A] of us had anything we were just looking [E] to write [Em] about.
But she [D] had this cool line that said, higher than a junkie drying out in the slammer, Lord
I hope I don't die in Alabama.
So we basically went from there and how do we make sense out of this line?
Well we got to write a little in front of it, we got to write behind it.
And this was a fictional [G] kind of write.
We just traded lines and Ben, the bass player, was in this one as well.
It [E] was a pretty smooth write and it [A] became kind of dark, you know, almost [E] immediately.
And we just kind of went with it.
It was okay.
We weren't really set out to do that particularly, [G] but that's the [A] direction it took.
So we wrote it out and we're pretty happy with the end result.
Kind of by design, Travis at first was like, you know, I want to make this song different.
You know, he was like, we're not going to do a drum kit, I don't want to do these different
things so we ended up doing stomps and claps, it's acoustic [E] driven.
We went down to Fame to record this tune.
It was a pretty surreal day.
We got the call that morning that Rick Hall had passed away.
I rode down with Casey, the producer, and we were right behind the guys.
Then we got a phone call, as they did, saying that Rick Hall had passed.
[A] I [E] looked at Casey and kind of looked at each other like, there's probably no way we're
going to do this today.
Rodney called us and was like, you know, Rick would turn over in his grave if I turned down a session.
You know, because you know Rick and his legacy of the productions he's done and the amount
of artists he's had [Am] a thumbprint with is just simply legendary.
There's no other way to put it.
You know, because of Rick's passing, everyone was kind of in a strange, eerie mood anyway.
And then we brought the song in, which [Bm] was already kind of dark.
So those [E] two things combined, I [B] think that affected it greatly.
I know the guys that are in [Em] Muscle Shoals that are friends of mine from previous work
that I'd done.
[A] G-Mane and all [G] those guys over there who sang on the song, they don't know it.
I know him.
So I was like, hey, come meet us at this place.
I'm working with these guys.
We've done a ton of working paths.
Let's [E] all get together on this song.
We didn't know it was going to be on that day.
I told him, hey, come work with these [G] guys on this track.
I think you'd be good to just [E] be on it or something.
Come hang out with us.
I haven't seen you in a while.
They called me in to come record with them.
They came to Muscle Shoals to fame to record [G#] one week.
And they asked me to come in and do some [C#m] backgrounds for them.
I [E] did that.
Next thing you know, they asked if I wanted to be in the video.
I was like, I'm all for it.
Him being of a different genre of music and then being on that song in general, I thought
was really cool just because of Rick Hall's legacy of pulling together all different types
of people of all walks of life to make [G] hits, to make great music.
And that's kind of what this felt like, getting these [E] different guys together in a room, even
on this sad [A] day.
But [E] it was just powerful.
_ [C#m] _ _ [E] _ _ _ _ _
_ _ _ _ _ _ _ _