Chords for Guy Clark Talks About The Drawbacks Of Cut And Paste Recording
Tempo:
65.75 bpm
Chords used:
G
E
D
Ab
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Gbm] [D] [Gb]
[A] [Db] How do you, I mean, how [B] do you record?
When you sit down and you have the song,
do you record it live or do you record it
and you lay the drums down?
No, no, live.
Live, so you always do it live, so you have that feel.
A performance, I mean, [C] patching stuff together
just always sounded like that to me.
I go in, me and a guitar, my friend Verlin,
bass player, [G] young woman named Bren Davies,
who's just stunning player.
And usually [E] on this last record,
we used a drummer on some of it,
who's just absolutely wonderful.
And some of us just, a couple of guitars, I think.
[D] I can't even remember.
You record live, then do you ever go back
and fix something or do you just play it again?
I don't, if I [C] don't get a whole performance
of my singing the [Em] song and playing it,
[E] that's not a take.
[Ab] I have on occasion, I heard a word
that I didn't really pronounce really well.
And [G] through the [F] technology that we were talking about,
they [D] can, you can fix that.
And I [E] don't mind doing that.
[Ab] But as far as it being a whole [G] performance,
if it's [F] not a whole [G] performance,
it's not the [Eb] take.
Right, and you do it again. Right.
[N] Until I get that.
Now the, one thing, how many, wait, that's good.
How many songs do you think kind of wind up
in the waste bin out of?
Most of them.
Most of them?
Like, you know, is [C] it, when do you know
to abandon a song also?
I mean, when do you, what's the point
of what you go, oh, this just isn't [D] working.
Well, [Em] [E] I don't know.
I mean, that's different every song, you know.
At this point, I [B] write a lot with other writers
in Nashville.
[Bb] And I know it's songs [E] I will never do, [G] you know.
But it's for their project or their, whatever.
And I enjoy [Eb] the give and take and word wrangling
[Ab] that goes on between two people when you're [D] writing a song.
There's something about [E] that I find fun, you know.
And I enjoy writing by myself, too.
But, and one of the things I found out about it
is that when you write with somebody
[Ab] and you have a little idea and you write it down,
you actually have to [G] say it out loud.
You have to commit it orally to the air.
[Ab] And sometimes [G] when you hear the words come out
[Gb] of your mouth, you know immediately it's wrong.
But you can sit there for two weeks
and [G] fool yourself [E] mumbling to yourself.
Until [F] it's out there.
Yeah, and it just,
[A] [Db] How do you, I mean, how [B] do you record?
When you sit down and you have the song,
do you record it live or do you record it
and you lay the drums down?
No, no, live.
Live, so you always do it live, so you have that feel.
A performance, I mean, [C] patching stuff together
just always sounded like that to me.
I go in, me and a guitar, my friend Verlin,
bass player, [G] young woman named Bren Davies,
who's just stunning player.
And usually [E] on this last record,
we used a drummer on some of it,
who's just absolutely wonderful.
And some of us just, a couple of guitars, I think.
[D] I can't even remember.
You record live, then do you ever go back
and fix something or do you just play it again?
I don't, if I [C] don't get a whole performance
of my singing the [Em] song and playing it,
[E] that's not a take.
[Ab] I have on occasion, I heard a word
that I didn't really pronounce really well.
And [G] through the [F] technology that we were talking about,
they [D] can, you can fix that.
And I [E] don't mind doing that.
[Ab] But as far as it being a whole [G] performance,
if it's [F] not a whole [G] performance,
it's not the [Eb] take.
Right, and you do it again. Right.
[N] Until I get that.
Now the, one thing, how many, wait, that's good.
How many songs do you think kind of wind up
in the waste bin out of?
Most of them.
Most of them?
Like, you know, is [C] it, when do you know
to abandon a song also?
I mean, when do you, what's the point
of what you go, oh, this just isn't [D] working.
Well, [Em] [E] I don't know.
I mean, that's different every song, you know.
At this point, I [B] write a lot with other writers
in Nashville.
[Bb] And I know it's songs [E] I will never do, [G] you know.
But it's for their project or their, whatever.
And I enjoy [Eb] the give and take and word wrangling
[Ab] that goes on between two people when you're [D] writing a song.
There's something about [E] that I find fun, you know.
And I enjoy writing by myself, too.
But, and one of the things I found out about it
is that when you write with somebody
[Ab] and you have a little idea and you write it down,
you actually have to [G] say it out loud.
You have to commit it orally to the air.
[Ab] And sometimes [G] when you hear the words come out
[Gb] of your mouth, you know immediately it's wrong.
But you can sit there for two weeks
and [G] fool yourself [E] mumbling to yourself.
Until [F] it's out there.
Yeah, and it just,
Key:
G
E
D
Ab
C
G
E
D
_ [Gbm] _ _ [D] _ _ _ [Gb] _ _
[A] _ [Db] How do you, I mean, how [B] do you record?
When you sit down and you have the song,
do you record it live or do you record it
and you lay the drums down?
No, no, live.
Live, so you always do it live, so you have that feel.
A performance, I mean, [C] patching stuff together
just always sounded like that to me.
I go in, me and a guitar, my friend Verlin,
bass player, [G] young woman named Bren Davies,
who's just stunning player.
And usually [E] on this last record,
we used a drummer on some of it,
who's just absolutely wonderful.
_ And some of us just, _ a couple of guitars, I think.
[D] I can't even remember.
You record live, then do you ever go back
and fix something or do you just play it again?
I don't, if I [C] don't get a whole performance
of my singing the [Em] song and playing it,
[E] that's not a take.
_ [Ab] I have on occasion, I heard a word
that I didn't really pronounce really well.
And [G] through the [F] technology that we were talking about,
they [D] can, you can fix that.
And I [E] don't mind doing that.
[Ab] But as far as it being a whole [G] performance,
if it's [F] not a whole [G] performance,
it's not the [Eb] take.
Right, and you do it again. Right.
[N] Until I get that.
Now the, one thing, how many, wait, that's good.
How many _ songs do you think kind of wind up
in the waste bin out of?
Most of them.
Most of them?
Like, you know, is [C] it, when do you know
to abandon a song also?
I mean, when do you, what's the point
of what you go, oh, this just isn't [D] working.
Well, [Em] _ [E] I don't know.
I mean, that's different every song, you know.
_ At this point, I [B] write a lot with other writers
in Nashville.
_ [Bb] _ And I know it's songs [E] I will never do, [G] you know.
But it's for their project or their, whatever.
And I enjoy [Eb] the give and take and word wrangling
[Ab] that goes on between two people when you're [D] writing a song.
There's something about [E] that I find fun, you know.
And I enjoy writing by myself, too.
But, and one of the things I found out about it
is that when you write with somebody
[Ab] and you have a little idea and you write it down,
you actually have to [G] say it out loud.
You have to commit it orally to the air.
[Ab] And sometimes [G] when you hear the words come out
[Gb] of your mouth, you know immediately it's wrong.
But you can sit there for two weeks
and [G] fool yourself [E] mumbling to yourself.
Until [F] it's out there.
Yeah, and it just,
[A] _ [Db] How do you, I mean, how [B] do you record?
When you sit down and you have the song,
do you record it live or do you record it
and you lay the drums down?
No, no, live.
Live, so you always do it live, so you have that feel.
A performance, I mean, [C] patching stuff together
just always sounded like that to me.
I go in, me and a guitar, my friend Verlin,
bass player, [G] young woman named Bren Davies,
who's just stunning player.
And usually [E] on this last record,
we used a drummer on some of it,
who's just absolutely wonderful.
_ And some of us just, _ a couple of guitars, I think.
[D] I can't even remember.
You record live, then do you ever go back
and fix something or do you just play it again?
I don't, if I [C] don't get a whole performance
of my singing the [Em] song and playing it,
[E] that's not a take.
_ [Ab] I have on occasion, I heard a word
that I didn't really pronounce really well.
And [G] through the [F] technology that we were talking about,
they [D] can, you can fix that.
And I [E] don't mind doing that.
[Ab] But as far as it being a whole [G] performance,
if it's [F] not a whole [G] performance,
it's not the [Eb] take.
Right, and you do it again. Right.
[N] Until I get that.
Now the, one thing, how many, wait, that's good.
How many _ songs do you think kind of wind up
in the waste bin out of?
Most of them.
Most of them?
Like, you know, is [C] it, when do you know
to abandon a song also?
I mean, when do you, what's the point
of what you go, oh, this just isn't [D] working.
Well, [Em] _ [E] I don't know.
I mean, that's different every song, you know.
_ At this point, I [B] write a lot with other writers
in Nashville.
_ [Bb] _ And I know it's songs [E] I will never do, [G] you know.
But it's for their project or their, whatever.
And I enjoy [Eb] the give and take and word wrangling
[Ab] that goes on between two people when you're [D] writing a song.
There's something about [E] that I find fun, you know.
And I enjoy writing by myself, too.
But, and one of the things I found out about it
is that when you write with somebody
[Ab] and you have a little idea and you write it down,
you actually have to [G] say it out loud.
You have to commit it orally to the air.
[Ab] And sometimes [G] when you hear the words come out
[Gb] of your mouth, you know immediately it's wrong.
But you can sit there for two weeks
and [G] fool yourself [E] mumbling to yourself.
Until [F] it's out there.
Yeah, and it just,