Chords for Jorma Kaukonen's Blue Country Heart

[E] A one, two, three, four. _ _ _ _ _
_ [A] _ _ [E] _ [A] _ _ [Em] _ [A] _
_ [E] When we were making albums in the early Jefferson Airplane days, I can't swear to this but I
could probably be as big a jerk as anybody.
And there was [B] a lot of self-indulgence.
We [E] never can agree. _ _
_ _ _ Today, however, it drives me nuts to take [G] a long time in the studio.
I really like to let things happen.
I'm not [E] wild about agonizing over things that as history goes by you could just care [E] less about.
[B] _ [E] _ [D] I _ [B] _ [Em] _
don't mind playing songs over and over again if you have to.
It's not like if you lose a take it's not like the end of the world because every take is different.
The next [C] one could be the one.
_ _ _ [G#] _ [C] _
_ _ _ [Em] [Dm] Sam [C] _ Bush plays mandolin and fiddle.
He has impeccable [Em] taste and a great sense of humor.
[E] Excuse me while we whip this out. _
[C#m] _ [C] _ [G#] _ [G] [C] Jerry [C] _ _ _
[Em] Douglas, he's just brilliant.
Sometimes we'd be doing takes, we'd be doing things that I really knew how to play well
and I'd find myself listening to what he was doing and just kind [E] of forget to play.
Oh no, I'm supposed to be playing while he does [D] all this stuff.
[A] _
_ _ _ _ [E] _ _ I'm sorry.
_ _ _ Byron is probably the guy that I know the best.
He's a great bass player.
I would say in a way he's sort of like the spiritual father of [G] this project.
The process of making the record is basically all of us sitting around in a room together
as if we were [D] just getting together to have a good [G] time playing, which is in essence what we did.
We just happened [Em] to have some mics and [G] a recording machine and a bit of an agenda as far as the
material that was chosen.
_ _ _ [C] What can you say about Bela [G] Flagg?
I mean, Bela's just terrific.
[Em] For Bela, [G] I don't know if he's played with anyone that knows the rules [D] of authentic country
fingerpick and blues like Yorma does.
And so I could see his wheels turning.
[G] I heard him play differently on this than I've heard him play before.
I mean, he's schooled in traditional music so he can do all that stuff just like whoever.
[C] But we're doing this little solo on Bela just like, [G] phew, goes off into the stratosphere.
But Wright comes back on the one when he's got to be.
_ _ [Gm] _ _ [G] _ _ [C] _ _
_ [A#] They were not playing [G] just another Nashville recording session.
You show up, you [Em] clock in, you clock out, you leave, you make your whatever amount of money.
[G] [E] This was for all involved [D] very much a [G] labor of musical love.
Well, just because you think I'll be lonesome, just because you [D] think I'll be blue, just
because you think I'll be foolish.
[G] When Yorma was talking about coming to Nashville, you know, we knew that all we had to do was
just give him the proper backup and let him take off.
[C] Well, I'm telling you, [G] good gal, I'm [E] doing you [D] because [G] you're seeing us. _
The chemistry is just so important to me.
The way the [C] interplay between all these [G] guys, I mean, just really amazing stuff came out.
I mean, the whole was, in my opinion, definitely greater than some of the parts.
I think we just really clicked.
I'll come and do me like I do.
It was a little bit of a surprise [D] to be doing a [D] record with Yorma [Gm] like this, to be doing
a really traditional blues, country [C] blues kind of record.
If you'd asked me a [G] couple years ago what kind of record that I would even be part of
with Yorma, I wouldn't have thought we'd be doing this right now.
But it's been [C] wonderful.
[G] We got the blues, the [C] breadline blues.
I liked a lot of these songs before, but I never took time to learn them because they
didn't feature as much of the guitar that I was interested in.
But when we got into some of these things like Jimmy Davis and Jimmy Rogers or the Delmore
Brothers, a lot of the guys that were really instrumental in the foundation of what modern
country music has become, I [G] started listening to stuff and [D] I'm like, man, that's really [G] cool.
[A] _
[C] _ _ _ _ [F] [Em] You never dream you get to play with one of your heroes, [C] and Yorma's always been one for me.
These sessions for this record, it's just been a joyful noise.
And of course, I mean, that vibe comes from Yorma.
_ _ [Dm] [Em] These were the kind of sessions I think that we were probably going for feel more than technical perfection.
Yorma keeps the show rolling all day and we've just had a ball playing these songs.
[F] _ [G] _ _ [F] _ _ [C] [A] This [Em] whole package has really [C] been cool for me.
I like a lot of country music.
I like a lot of old-timey music.
And Nashville really is the center of so much musical activity.
[G] For the way they don't move, [C] don't break my moves.
This was a really special kind of project, special album, special man, special friends.
If Yorma called me [F#] tomorrow to do something [B] like this again, I [F#] wouldn't hesitate for a second.
I'm in.
If all sessions felt this good, I'd never want to leave the studio.
[F] I just had a [F#] great time.
Just the playing, the guys I got to play with, music that I love to play.
[C#] I mean, it's just, [F#] it was just plain fun.
_ _ [C] _ _ _ _ [F] _ _ _ [C] _ _ [G] _ [C] _
_ _ _ [F] _ _ [C] _ _ [G] _
_ [C] _ _ _ _ _ _ _