Chords for Kenny Wayne Shepherd - The Traveler (EPK)

[G] _ _ [Dm] _ _ _ _ [G] _
Check, one, two.
[B] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ [D] _ _ [E] _ [B] I was chasing myself.
[D] This [Em] album [Bm] is somewhat of a continuation [D] of the [Em] last record,
[B] and I think people are going to like what they hear.
_ Marshall Altman [D] was the producer [Bm] for the last album, Lay It On Down.
I just don't want to blow that amp up if we're _ running that thing hard.
I collaborated with some new writers, along with Mark Selby and Tia [D] Sillars,
[A] because I was trying to step outside the box and [B] outside the comfort zone
and push myself to do different things.
_ [A] _ _ _ Kenny's changing as an artist.
He's growing [G] as an artist.
That's one of the best things about him.
[E] He's capable of [F#] expressing himself emotionally [Bm] through his guitar,
but he's also a hell of a writer, too.
So all [A] those elements are driving to make this record
probably _ [G] maybe a deeper version [Em] musically [E] of what we started [F#] on the last record.
_ So [Am] far, what we've done, I think, is exciting in a different [G] kind of way.
Saws are different.
Some are a little bit [D] more organic,
and some of them are like you have a different kind of [G] an excitement factor,
a different approach than [A] the last record.
When people hear this record, it's going to have a little bit more of [G] an edge.
There's going to be some songs on [D] here that rock pretty hard,
but still have those [G] blues elements.
[D] We [Am] bring in a little rock and roll or a little R&B.
_ _ _ So _ _ _
[C] _ _ _ _ the extra [G] bar at the end of the chorus.
_ _ [Am] Okay.
_ Then while he's [D] going_
Duck, duck, duck, ba-ba-duck, [A] duck, duck.
_ _ Maybe a small amount of country influence [G] or whatever,
and we kind of bend the [D] genre into something _ new and different.
_ [Am] _ _ Everything that we do comes [G] from the blues,
and I [D] think all American music _ [A]
is rooted in that.
_ [A#] _ _ _ _
And then [Dm] Danny Myrick and Dylan Altman, who I wrote Baby Got Gone
and Down for [A#] Love and a whole bunch of songs for Laid On Down,
we wrote [Dm] more material for this record as well.
Some people use [F] all studio musicians on their record,
and then they have another group of musicians that they tour with.
But oftentimes, most of the time [Dm] actually, I use my band, my touring band, in the studio.
And so we bring in Chris Layton.
[F] You're going to see him live playing the same stuff with me that he played in the studio.
_ You also have Noah Hunt on vocals, _ [Dm]
who's been in my band for over 20, 21 [D] years now.
You come see the [Dm] live show, and you're going to hear the same [F] instruments
and the same parts being played by the guys that actually played them in the [Am] studio.
[G] One of the great things about working with touring musicians is they become [Dm] a unit.
_ [A] _ _ _
_ [C] _ _ [D] _ _ [Em] Yeah, _
_ _ _ _ _ [A] _ [B] _ _
[Em] _ ain't [G] nobody need nobody, [A] _ [D] sir.
Playing live, [C] you know, you [G] feed off the [D] crowd, [G] _ so it's a little bit of a different thing.
In the studio, you are [A] your own [Em] audience.
It's that fine line of taking that energy from the stage and putting it into this box.
_ _ When you're in the room, you have the ability, you know,
these spontaneous moments where songs can evolve.
You know, the magic that you hope for is that _ _ maybe some of your _ conceptions
or your preconceptions are kind of blown right out of the water.
Sometimes you start with something, and you [Bm] end up with [E] something totally [Bm] different.
_ [E] _ In [D] music, that's what I [Em] live for, where something just completely,
[E] _ _
you didn't know was going to happen, you [Em] didn't specifically plan it,
it just happens, you go, wow, what was that?
That was cool.
And [C] that's, you know, that's kind of the magic [G] dust.
_ _ [D] _ _
[Em] _ _ _ [G] _ _ _ _ _
_ _ _ [Em] _ _ _ [D] _ _
[G] _ _ _ _ _ _ _ _
_ _ _ How Kenny's playing the guitar, literally, his hands on the guitar, _ _
affects the sound, it affects the emotional _ response all [C] the other guys get in the room.
How hard the drummer's hitting, how soft the drummer's [G] hitting,
where his mind [Bm] is, where his [Em] eyes are, [G] all those things are important in the process.
You know, making music isn't just [Em] a, you [D] know, it's not a [G] singular _ effort,
it is a [Em] group effort, [G] especially on an album like [C] this. _
So I think our records do [G] _ have a very live, raw energy to them,
and that's something that we strive to try to keep.
[Em] _ I don't know, that adds an edge to [C] it, I think.
I like [G] being under pressure, I like to challenge myself,
[D] and get out of the comfort zone and see [Em] what could come from that.
There's nothing holding you back [C] from trying new things.
That's how [G] people achieve greatness, is pushing themselves.
_ [D] _ _ _ _ _ _ [Em] _
_ _ _ _ _ [C] _ _ _
_ _ [D] _ _ _ _ _ _
_ _ _ _ _ [G] _ _ _
_ _ _ _ _ _ _ _