Chords for Caleb Klauder & Reeb Willms - Interview after 'C'est Le Moment'
Tempo:
96.15 bpm
Chords used:
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Yeah, yeah, yeah, yeah, Galab.
Cloud is a country band here in studio V at WNCW
I got to show tonight at the Mothlite in West Asheville kicking off 9 p.m. There is an opener. I believe Wyatt youth and his band yeah gets the show started at 9. Yeah, they get in there early It's going to be gonna be busy me a time Yeah, tell me which what instrument did you start with as a as a kid was it Did you start with guitar has been when you were first learning saxophone saxophone an obvious? natural lead into the guitar. To the country world, yeah. That's exactly right. That's great. It might have actually been harmonica was my first one. Okay, that makes more sense. When did you fall into the string world? I was about 12 years old, 11 or 12 years old. A good buddy of mine who I grew up with named David Andrews, he and I just wanted to play music constantly. And I begged for a guitar and begged for a guitar. I raised my hand when they came to class in fifth grade and said, would anyone like to be in the band next year? Me, me, me, I do. And that's when I got the saxophone. And my friend David and I actually were both first saxophone and we switched off every week we got to sit in the other seat. And then we ended up just, his parents got him drum lessons and piano lessons. And so he was full of music and I was full of it. We were hanging out a lot. And we started writing songs together when we were 15 or 16 and then went away to college and started a band together. And after in college and after that, a little while I got turned on to the mandolin and the fiddle. I had a stepmom who played the fiddle when I was younger. So that kind of, when I had this opportunity to play the fiddle as a young 20 year old, you know, 22, I think I was, it was like, ah, I can do that. I can play the fiddle. I kind of always liked that thing. I have to think that playing the fiddle probably informs the way that you play the mandolin, doesn't it? Absolutely. Absolutely. I would think just your hand position, the arch of your hand is going to be drawn in a certain way from that. So much. So much. Yeah. It's a little different in the way you hold the instrument, like physically. Violin's a little more ergonomic. The mandolin's a little different, but it's, the fingering is obviously the same as the violin and the mandolin. But so yeah, that fiddling has taught me a lot about playing mandolin. I bet. I bet. Your, your mandolin does not have an armrest. No no armrest. Does it have a tone guard on the back? No, it's just all, all wood. You can see where I've worn off the arm. My arm, I wear a lot of wool shirts out in the wintertime in Oregon and Washington. It's worn off that finish there. Yeah. Was that something that was intentional? You just didn't want to mess with that? Had you tried playing with those? I'm a total Luddite and I don't like anything extra. I don't like the chin rest on my violin or the shoulder rest or the, the other thing about the back of the mandolin, like I see people that wear the little face guard thing. I call it a face guard. Right. But they also hold it flat on their belly and that's, you know, going to mute the tone. So I try and hold it off, off my [G] belly. Let it ring. As opposed to. Yeah. So. It [N] definitely deadens it. Yeah. That was kind of my approach. Just like Mr. Monroe. I learned that from Mr. Monroe. Mr. Monroe. That's right. Big man teaches everybody something. That's right. Well, that's great. And so are you guys in total going to have a chance to, to record? You know, I don't think we are as a, as this group. We we played last night in Bristol and they did a recording there last night and I guess this might be being recorded. So. It is indeed. This will probably be as far as we get. We, you know, I'd like to say welcome to Matt Meyer playing drums with us. He's doing a great job. He lives in St. Louis, Missouri now. He's from, from New Jersey and we picked him up in New Jersey on this trip and we, you know, we're not going to get to see him too much. We've been trying to do this for a few years. We've been chatting about this touring together and same with Patrick McAvenu. He's on the fiddle. He's a. And sounded beautiful as well. Sounded wonderful. He's from Baltimore, Maryland and we've been chatting with Patrick. Reeb and I met Patrick in Germany. We were on a packaged bluegrass tour over there and Patrick was playing with Audie Blaylock and Reeb and I were opening up the show as a duo and we were on the bus for 18 days together, just driven all around Germany and we had a good time. We hung out and shared some music and. Wiener schnitzel and bluegrass. A natural combo. And good beer. And good beer. Everywhere. It was like amazing. So you guys have worked together before though, right? Yeah. I believe. Yeah. This is Jesse Emerson on the upright bass. Yeah. He's been on all three of the records that we've made with this country band and Mr. Russ Blake on the steel guitar. This is his first time recording with the band. He's been playing with us five years, four years, five years. I can't keep track of years very well. He's playing electric guitar and steel guitar on the album. Also from Portland. Plays in a number of other fine bands in this genre. Can I mention them? Please. There's a band called the Lucky Stars out of LA. He's been playing with them for a long time and another band that you might have gotten their album. It's the Western Centuries. Yes. Yes. Rusty Blake is on that album. Yeah. Wonderful sounding album. Yeah. It really is. Well, the one we're talking about here today is Innocent Road. That's right. Boom. That's our album. So in performance, are you guys covering the bulk of that material and then ranging from there? Yeah, we're doing stuff off all three of the albums. A bunch of stuff off this album. Some of the songs on this album haven't been played at all yet on this trip. And we're doing some stuff that's not recorded yet. Uh-huh. So that's kind of fun. All right. Yeah. All right. Well, you got to be in the room to catch it tonight, folks. 9 p.m. The fun starts at the Mothlight in West Asheville with Caleb Clowder and this country band. Yes. We got one more we can stir up the sawdust with.
Cloud is a country band here in studio V at WNCW
I got to show tonight at the Mothlite in West Asheville kicking off 9 p.m. There is an opener. I believe Wyatt youth and his band yeah gets the show started at 9. Yeah, they get in there early It's going to be gonna be busy me a time Yeah, tell me which what instrument did you start with as a as a kid was it Did you start with guitar has been when you were first learning saxophone saxophone an obvious? natural lead into the guitar. To the country world, yeah. That's exactly right. That's great. It might have actually been harmonica was my first one. Okay, that makes more sense. When did you fall into the string world? I was about 12 years old, 11 or 12 years old. A good buddy of mine who I grew up with named David Andrews, he and I just wanted to play music constantly. And I begged for a guitar and begged for a guitar. I raised my hand when they came to class in fifth grade and said, would anyone like to be in the band next year? Me, me, me, I do. And that's when I got the saxophone. And my friend David and I actually were both first saxophone and we switched off every week we got to sit in the other seat. And then we ended up just, his parents got him drum lessons and piano lessons. And so he was full of music and I was full of it. We were hanging out a lot. And we started writing songs together when we were 15 or 16 and then went away to college and started a band together. And after in college and after that, a little while I got turned on to the mandolin and the fiddle. I had a stepmom who played the fiddle when I was younger. So that kind of, when I had this opportunity to play the fiddle as a young 20 year old, you know, 22, I think I was, it was like, ah, I can do that. I can play the fiddle. I kind of always liked that thing. I have to think that playing the fiddle probably informs the way that you play the mandolin, doesn't it? Absolutely. Absolutely. I would think just your hand position, the arch of your hand is going to be drawn in a certain way from that. So much. So much. Yeah. It's a little different in the way you hold the instrument, like physically. Violin's a little more ergonomic. The mandolin's a little different, but it's, the fingering is obviously the same as the violin and the mandolin. But so yeah, that fiddling has taught me a lot about playing mandolin. I bet. I bet. Your, your mandolin does not have an armrest. No no armrest. Does it have a tone guard on the back? No, it's just all, all wood. You can see where I've worn off the arm. My arm, I wear a lot of wool shirts out in the wintertime in Oregon and Washington. It's worn off that finish there. Yeah. Was that something that was intentional? You just didn't want to mess with that? Had you tried playing with those? I'm a total Luddite and I don't like anything extra. I don't like the chin rest on my violin or the shoulder rest or the, the other thing about the back of the mandolin, like I see people that wear the little face guard thing. I call it a face guard. Right. But they also hold it flat on their belly and that's, you know, going to mute the tone. So I try and hold it off, off my [G] belly. Let it ring. As opposed to. Yeah. So. It [N] definitely deadens it. Yeah. That was kind of my approach. Just like Mr. Monroe. I learned that from Mr. Monroe. Mr. Monroe. That's right. Big man teaches everybody something. That's right. Well, that's great. And so are you guys in total going to have a chance to, to record? You know, I don't think we are as a, as this group. We we played last night in Bristol and they did a recording there last night and I guess this might be being recorded. So. It is indeed. This will probably be as far as we get. We, you know, I'd like to say welcome to Matt Meyer playing drums with us. He's doing a great job. He lives in St. Louis, Missouri now. He's from, from New Jersey and we picked him up in New Jersey on this trip and we, you know, we're not going to get to see him too much. We've been trying to do this for a few years. We've been chatting about this touring together and same with Patrick McAvenu. He's on the fiddle. He's a. And sounded beautiful as well. Sounded wonderful. He's from Baltimore, Maryland and we've been chatting with Patrick. Reeb and I met Patrick in Germany. We were on a packaged bluegrass tour over there and Patrick was playing with Audie Blaylock and Reeb and I were opening up the show as a duo and we were on the bus for 18 days together, just driven all around Germany and we had a good time. We hung out and shared some music and. Wiener schnitzel and bluegrass. A natural combo. And good beer. And good beer. Everywhere. It was like amazing. So you guys have worked together before though, right? Yeah. I believe. Yeah. This is Jesse Emerson on the upright bass. Yeah. He's been on all three of the records that we've made with this country band and Mr. Russ Blake on the steel guitar. This is his first time recording with the band. He's been playing with us five years, four years, five years. I can't keep track of years very well. He's playing electric guitar and steel guitar on the album. Also from Portland. Plays in a number of other fine bands in this genre. Can I mention them? Please. There's a band called the Lucky Stars out of LA. He's been playing with them for a long time and another band that you might have gotten their album. It's the Western Centuries. Yes. Yes. Rusty Blake is on that album. Yeah. Wonderful sounding album. Yeah. It really is. Well, the one we're talking about here today is Innocent Road. That's right. Boom. That's our album. So in performance, are you guys covering the bulk of that material and then ranging from there? Yeah, we're doing stuff off all three of the albums. A bunch of stuff off this album. Some of the songs on this album haven't been played at all yet on this trip. And we're doing some stuff that's not recorded yet. Uh-huh. So that's kind of fun. All right. Yeah. All right. Well, you got to be in the room to catch it tonight, folks. 9 p.m. The fun starts at the Mothlight in West Asheville with Caleb Clowder and this country band. Yes. We got one more we can stir up the sawdust with.
Key:
G
G
G
G
G
G
G
G
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
Yeah, yeah, yeah, yeah, Galab.
Cloud is a country band here in studio V at WNCW
I got to show tonight at the Mothlite in West Asheville kicking off 9 p.m. There is an opener. I believe Wyatt youth and his band yeah gets the show started at 9. Yeah, they get in there early It's going to be gonna be busy me a time Yeah, tell me which what instrument did you start with as a as a kid was it Did you start with guitar has been when you were first learning saxophone saxophone an obvious? natural lead into the guitar. To the country world, yeah. That's exactly right. That's great. It might have actually been harmonica was my first one. Okay, that makes more sense. When did you fall into the string world? I was about 12 years old, 11 or 12 years old. A good buddy of mine who I grew up with named David Andrews, he and I just wanted to play music constantly. And I begged for a guitar and begged for a guitar. I raised my hand when they came to class in fifth grade and said, would anyone like to be in the band next year? Me, me, me, I do. And that's when I got the saxophone. And my friend David and I actually were both first saxophone and we switched off every week we got to sit in the other seat. And then we ended up just, his parents got him drum lessons and piano lessons. And so he was full of music and I was full of it. We were hanging out a lot. And we started writing songs together when we were 15 or 16 and then went away to college and started a band together. And after in college and after that, a little while I got turned on to the mandolin and the fiddle. I had a stepmom who played the fiddle when I was younger. So that kind of, when I had this opportunity to play the fiddle as a young 20 year old, you know, 22, I think I was, it was like, ah, I can do that. I can play the fiddle. I kind of always liked that thing. _ I have to think that playing the fiddle probably informs the way that you play the mandolin, doesn't it? Absolutely. Absolutely. I would think just your hand position, the arch of your hand is going to be drawn in a certain way from that. So much. So much. Yeah. It's a little different in the way you hold the instrument, like physically. Violin's a little more ergonomic. The mandolin's a little different, but it's, the fingering is obviously the same as the violin and the mandolin. But so yeah, that fiddling has taught me a lot about playing mandolin. I bet. I bet. Your, your mandolin does not have an armrest. No no armrest. Does it have a tone guard on the back? No, it's just all, all wood. You can see where I've worn off the arm. My arm, I wear a lot of wool shirts out in the wintertime in Oregon and Washington. It's worn off that finish there. Yeah. Was that something that was intentional? You just didn't want to mess with that? Had you tried playing with those? I'm a total Luddite and I don't like anything extra. I don't like the chin rest on my violin or the shoulder rest or the, the other thing about the back of the mandolin, like I see people that wear the little face guard thing. I call it a face guard. Right. But they also hold it flat on their belly and that's, you know, going to mute the tone. So I try and hold it off, off my [G] belly. Let it ring. _ _ _ _ _ As opposed to. Yeah. _ So. It [N] definitely deadens it. Yeah. That was kind of my approach. _ Just like Mr. Monroe. I learned that from Mr. Monroe. Mr. Monroe. That's right. Big man teaches everybody something. That's right. _ Well, that's great. And so are you guys in total going to have a chance to, to record? You know, I don't think we are as a, as this group. We we played last night in Bristol and they did a recording there last night and I guess this might be being recorded. So. It is indeed. This will probably be as far as we get. We, you know, I'd like to say welcome to Matt Meyer playing drums with us. He's doing a great job. He lives in St. Louis, Missouri now. He's from, from New Jersey and we picked him up in New Jersey on this trip and we, you know, we're not going to get to see him too much. We've been trying to do this for a few years. We've been chatting about this touring together and same with Patrick McAvenu. He's on the fiddle. He's a. And sounded beautiful as well. Sounded wonderful. He's from Baltimore, Maryland and we've been chatting with Patrick. Reeb and I met Patrick in Germany. We were on a packaged bluegrass tour over there and Patrick was playing with Audie Blaylock and Reeb and I were opening up the show as a duo and we were on the bus for 18 days together, just driven all around Germany and we had a good time. We hung out and shared some music and. Wiener schnitzel and bluegrass. A natural combo. And good beer. And good beer. Everywhere. It was like amazing. So you guys have worked together before though, right? Yeah. I believe. Yeah. This is Jesse Emerson on the upright bass. Yeah. He's been on all three of the records that we've made with this country band and Mr. Russ Blake on the steel guitar. This is his first time recording with the band. He's been playing with us _ _ five years, four years, five years. I can't keep track of years very well. He's playing electric guitar and steel guitar on the album. _ Also from Portland. Plays in a number of other fine bands in this genre. _ Can I mention them? Please. There's a band called the Lucky Stars out of LA. He's been playing with them for a long time and another band that you might have gotten their album. It's the Western Centuries. Yes. Yes. Rusty Blake is on that album. Yeah. Wonderful sounding album. Yeah. It really is. Well, the one we're talking about here today is Innocent Road. That's right. Boom. That's our album. So in performance, are you guys covering the bulk of that material and then ranging from there? Yeah, we're doing stuff off all three of the albums. A bunch of stuff off this album. Some of the songs on this album haven't been played at all yet on this trip. And we're doing some stuff that's not recorded yet. Uh-huh. So that's kind of fun. All right. Yeah. All right. Well, you got to be in the room to catch it tonight, folks. 9 p.m. The fun starts at the Mothlight in West Asheville with Caleb Clowder and this country band. Yes. We got one more we can stir up the sawdust with. _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
Yeah, yeah, yeah, yeah, Galab.
Cloud is a country band here in studio V at WNCW
I got to show tonight at the Mothlite in West Asheville kicking off 9 p.m. There is an opener. I believe Wyatt youth and his band yeah gets the show started at 9. Yeah, they get in there early It's going to be gonna be busy me a time Yeah, tell me which what instrument did you start with as a as a kid was it Did you start with guitar has been when you were first learning saxophone saxophone an obvious? natural lead into the guitar. To the country world, yeah. That's exactly right. That's great. It might have actually been harmonica was my first one. Okay, that makes more sense. When did you fall into the string world? I was about 12 years old, 11 or 12 years old. A good buddy of mine who I grew up with named David Andrews, he and I just wanted to play music constantly. And I begged for a guitar and begged for a guitar. I raised my hand when they came to class in fifth grade and said, would anyone like to be in the band next year? Me, me, me, I do. And that's when I got the saxophone. And my friend David and I actually were both first saxophone and we switched off every week we got to sit in the other seat. And then we ended up just, his parents got him drum lessons and piano lessons. And so he was full of music and I was full of it. We were hanging out a lot. And we started writing songs together when we were 15 or 16 and then went away to college and started a band together. And after in college and after that, a little while I got turned on to the mandolin and the fiddle. I had a stepmom who played the fiddle when I was younger. So that kind of, when I had this opportunity to play the fiddle as a young 20 year old, you know, 22, I think I was, it was like, ah, I can do that. I can play the fiddle. I kind of always liked that thing. _ I have to think that playing the fiddle probably informs the way that you play the mandolin, doesn't it? Absolutely. Absolutely. I would think just your hand position, the arch of your hand is going to be drawn in a certain way from that. So much. So much. Yeah. It's a little different in the way you hold the instrument, like physically. Violin's a little more ergonomic. The mandolin's a little different, but it's, the fingering is obviously the same as the violin and the mandolin. But so yeah, that fiddling has taught me a lot about playing mandolin. I bet. I bet. Your, your mandolin does not have an armrest. No no armrest. Does it have a tone guard on the back? No, it's just all, all wood. You can see where I've worn off the arm. My arm, I wear a lot of wool shirts out in the wintertime in Oregon and Washington. It's worn off that finish there. Yeah. Was that something that was intentional? You just didn't want to mess with that? Had you tried playing with those? I'm a total Luddite and I don't like anything extra. I don't like the chin rest on my violin or the shoulder rest or the, the other thing about the back of the mandolin, like I see people that wear the little face guard thing. I call it a face guard. Right. But they also hold it flat on their belly and that's, you know, going to mute the tone. So I try and hold it off, off my [G] belly. Let it ring. _ _ _ _ _ As opposed to. Yeah. _ So. It [N] definitely deadens it. Yeah. That was kind of my approach. _ Just like Mr. Monroe. I learned that from Mr. Monroe. Mr. Monroe. That's right. Big man teaches everybody something. That's right. _ Well, that's great. And so are you guys in total going to have a chance to, to record? You know, I don't think we are as a, as this group. We we played last night in Bristol and they did a recording there last night and I guess this might be being recorded. So. It is indeed. This will probably be as far as we get. We, you know, I'd like to say welcome to Matt Meyer playing drums with us. He's doing a great job. He lives in St. Louis, Missouri now. He's from, from New Jersey and we picked him up in New Jersey on this trip and we, you know, we're not going to get to see him too much. We've been trying to do this for a few years. We've been chatting about this touring together and same with Patrick McAvenu. He's on the fiddle. He's a. And sounded beautiful as well. Sounded wonderful. He's from Baltimore, Maryland and we've been chatting with Patrick. Reeb and I met Patrick in Germany. We were on a packaged bluegrass tour over there and Patrick was playing with Audie Blaylock and Reeb and I were opening up the show as a duo and we were on the bus for 18 days together, just driven all around Germany and we had a good time. We hung out and shared some music and. Wiener schnitzel and bluegrass. A natural combo. And good beer. And good beer. Everywhere. It was like amazing. So you guys have worked together before though, right? Yeah. I believe. Yeah. This is Jesse Emerson on the upright bass. Yeah. He's been on all three of the records that we've made with this country band and Mr. Russ Blake on the steel guitar. This is his first time recording with the band. He's been playing with us _ _ five years, four years, five years. I can't keep track of years very well. He's playing electric guitar and steel guitar on the album. _ Also from Portland. Plays in a number of other fine bands in this genre. _ Can I mention them? Please. There's a band called the Lucky Stars out of LA. He's been playing with them for a long time and another band that you might have gotten their album. It's the Western Centuries. Yes. Yes. Rusty Blake is on that album. Yeah. Wonderful sounding album. Yeah. It really is. Well, the one we're talking about here today is Innocent Road. That's right. Boom. That's our album. So in performance, are you guys covering the bulk of that material and then ranging from there? Yeah, we're doing stuff off all three of the albums. A bunch of stuff off this album. Some of the songs on this album haven't been played at all yet on this trip. And we're doing some stuff that's not recorded yet. Uh-huh. So that's kind of fun. All right. Yeah. All right. Well, you got to be in the room to catch it tonight, folks. 9 p.m. The fun starts at the Mothlight in West Asheville with Caleb Clowder and this country band. Yes. We got one more we can stir up the sawdust with. _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _