Chords for Bishop Gunn - Recording at Muscle Shoals Sound Studios

_ _ _ _ [Gm] _ _ [Dm] _ _
[Cm] _ _ [Bb] _ _ [Cm] _ _ _ [C] _
_ _ _ _ _ _ A friend of mine [Eb] actually sent me their [Dm] video [Cm] and said,
you should talk to [Bb] these guys.
They're [Cm] amazing.
And I couldn't believe it.
I [Dm] was like, wait, what?
[D] And so anyway, he drug me up [Cm] to Nashville and said,
you got to [Dm] see them.
And I did.
[Bb] It was the first time in a long time
that I enjoyed a live [Cm] show.
That was kind of great.
We [A] decided to come in here [Cm] and try to make a record.
[Bb] We get a phone call [Cm] from Mr.
Martin Hill,
[Dm] who is [Cm] an amazing producer.
[Bb] And he was like, boys, what do you all think [Cm] about this idea?
Which was coming [Dm] here to Jackson Island.
[Cm] They've restored Muscle Shoals [Bb] South.
I think it would be a perfect place for these guys
to come [Dm] in and just get [Cm] out of town and do [Bb] something strange.
[Cm] So finding all this out was just numbing.
I mean, it's surreal.
It doesn't [Dm] even make sense.
We're these kids from Natchitoches, Mississippi,
you know?
They [Ab] seemed very enthusiastic about the whole project.
[Dm] Mark Neal, man.
Oh my god.
What [Cm] a treasure.
I mean, _ [Bb] by far the most [Cm] fun I've had [Dm] recording.
Working with Mark Neal has [Cm] been a good time.
He's [Bb] definitely easy going and [Cm] fun to work with.
And he makes it [Dm] that way.
They were really easy [Gm] to work with,
because they didn't have [Bb] any preconceptions of what
[Cm] was going to happen.
It [Dm] was [Cm] pretty great.
[Bb] I will [Cm] find a phone.
[Dm] I will sing [Cm] it just [Bb] for you.
[Cm] _ _ [Dm] _ _
[Cm] _ [Bb] The whole approach we've [Cm] taken with this project
has been [Dm] different.
[Gm] It's kind of outside the comfort [Bb] zone, what we're used to.
[G] It's all been open [Dm] air, no headphones, no [Cm] quick tracks
or anything, which is all [Gm] kind of new.
Just us and our instruments and [Dm] a few microphones.
I think [Eb] the creativity level [Bb] of the whole band
has [Cm] kind of evolved.
[Dm] I mean, the whole [Cm] session, we've [Dm] been working up
new arrangements for tunes and [Cm] new tunes in general.
And the room [Dm] itself just has those good ghosts that are just
kind of [Eb] influencing everybody.
Imagine what's [Bb] came out of this building,
the energies [Cm] that have been here, the vibes, [Dm] just everything.
It was easy for [Bb] me to get to know them as [Cm] people,
because they were just [Dm] an open book.
And [Cm] that's a good way to make a [Bb] record for all of us,
is to get [Cm] into a room and [Dm] just explore the [Cm] possibilities.
And every one of them, to [Bb] a person,
[Cm] had the same idea, which [Dm] is, well, let's just
see what [Cm] happens.
He's very good [Dm] at working with individuals in the group
and then pushing us to [Cm] _
go beyond our [Dm] expectations.
Because of that, I feel like we've played [Cm] better
and explored new areas that we wouldn't normally [G] reach for.
[Cm] Found new tones.
[Dm] He'll figure you [Cm] out somehow, [Bb] whether it's
[Cm] pushing your buttons or pushing [Dm] you creatively.
[Cm] And then he [Bb] hones in on that to make you [Cm] do your best work.
[Dm] So I think it works [Cm] for all [Bb] of us,
that everybody was [Cm] in the spirit of [Dm] discovery,
as opposed to, [Cm] well, let's just make sure it sounds
like [Bb] the live show, or let's make [Cm] sure it
sounds like this record.
[Dm] _
[Gm] And I like that.
That's [Bb] my favorite project, [Cm] is where
[Dm] people are open to just [Cm] seeing what [Bb] happens.
_ [Cm] _ _ [Dm] _ _ [Cm] _ _ [Bb] _ _ [Cm] _ _ [Bb] _ _
[Cm] _ _ [Bb] _ _ [Cm] _ _ [Dm] _ _
[Cm] _ _ [Bb] _ _ _ _ _ _
_ _ _ _ _ _ _ _