Chords for Huey Lewis, Bill Gibson and Johnny Colla talk through Soulsville

_ _ _ [F] _ _ It was a great idea, and it was, you know, just really the most fun record we've ever
made for sure.
It allowed me to discover Stax and what it is like.
I had never known it before.
I've been missing you for so [Bb] many days now.
And to be able to [Dm] play these songs was just a thrill.
And it's also a [Bb] chance to show off our band.
You know, we've been playing [F] now for over 30 years together, [Bb] and we've improved, oddly
[Dm] enough, at this ripe old age.
But true love is so hard to find.
I won't get [F] another day.
The radio station I heard was, we [Bb] listened to was KDIA, and that's the sister [F] station
of WDIA in Memphis.
So we were getting [Bb] all the soul music.
We were all [F] in the same boat.
Johnny and Sean and Huey and I, that was our [Bb] favorite music, was soul music.
And I can be anything that you want [F] me to be now.
_ _ KDIA, Lucky 13.
[Abm] It was just kind of a natural progression for us to [Gm] go back and revisit [A] it.
_ _ [D] _ _ What we tried to do was rather than cover songs that everybody knows, [A] we chose to find
songs [E] that maybe most people hadn't heard and record them faithfully.
You [Dbm] found somebody [Bb] new.
[A] I _ romanced through yesterday.
_ Gone [Db] so [D] victory way.
[A] But you didn't walk my [E] love in your way.
_ [A] You found _ [D] somebody new.
_ [A] I [D]
romanced [A] through yesterday.
_ It's not [D] brain surgery, this [D] music.
It's not [G] complicated, [D] but it's got [G] to be right.
It's very [D] primitive.
It's very raw, this stuff.
Some of these songs were written [Bm] after 1968, but [Em] I tried to actually pull them into the early [Bm] 60s.
That was a huge [Em] challenge for me, and that [Bm] was the fun of it.
One day [Em] he'll put an end [Bm] to all [A] this misery.
The happiness [D] of _ _ [Dm] love.
We [D] did have the benefit of a second [Bb] look at these songs, so [Db] we did [C] tweak them a little
bit, [Bb] but tried to stay faithful to the original [Gb] _ [Bbm] inspiration for the song.
You've been walking along thinking about the world, oh, you're something, don't you feel that? _
Johnny is our musical director, and I got to say, Johnny really did a great job on the fine points.
Because this music is simple music in a way, and the chords aren't complicated, and so
on, in a way it's kind of simple.
But you've got to get it right.
That helped make it a sort of, wow, this is going to work.
[F] Put [Bb] your head on [Bbm] your mouth when you're cold, it'll help the solution.
I'm going to shout your praises.
But she wrote [F] and sang Oh Happy Day with Edward Aronofsky, and it's been a fixture here in
the Bay Area.
And the song, obviously a staple singer song.
You nailed it on the very first take.
Well, when he said, respect your stuff, it was like, oh sure, that's my baby.
Oh man! _ _ _ _
_ [D] _ Any kind of job is hard to find.
_ That means an increase in the welfare line.
When we cut this thing in Memphis at Arden Studios, [G] and we had Studio A and Studio B,
[D] and we cut this stuff live, and I mean, [Bm] it went down like butter.
We cut, what, four or [Em] five things every day.
First takes?
[Bm] Yeah, I mean, it was ridiculous, insane.
[Em] That's how easy, I mean, everything just kind of came together, [Bm] you know, it was pretty amazing.
Little [Em] boy needs a pair of shoes.
_ [Bm] _ This is [G] Tommy _ Apata.
[D] _ _ [G] _ _ [D] _ _ _
_ _ Well, I tell you what, for me, it's just a pleasure [C] to be with you here on 60 Minutes.
_ [Eb] Thank you. _ _
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