Chords for Livingston Taylor - In The Studio with Take 6 (8 of 10)

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_ _ _ [F] _ _ _ I wrote a song called, Tell [G] Jesus to Come to My House.
I loved the idea of it.
I loved, I had this opening rap _ and I had this vision of this guy sitting _ on a desk,
sitting in a chair on a front porch and he could not [Ab] move and he was so, he [Gm] was so frozen
in his depression and his, just the ferocity of his broken heart and he could not move
and he needed to move but it would not happen and he looked out and he saw this beautiful
family next door and this was a good family, two, you know, husband and wife and two young
children and they would look at him and they would, and I'll say him was me and they'd
look at me and they'd see me on the front porch and they'd go, Livingston is there anything
we can do for you?
I'd go, no, no, I'm okay, I'm fine.
You know, well thank you for asking but I'm just gonna sit here because I hurt too much
to move, I cannot move.
_ And then this goes on for a while and finally there's a day and the sun's shining and it's
early spring and it's uncharacteristically warm and these people are dressed up and they
look beautiful and it's a Sunday morning and they ask me once again, Livingston, as they've
done so many times, Livingston is there [G] anything we can do for you? _ _
At this point [Eb] I look at them and I say, _ _ _ _ _ _ _ _ _ are you going to church?
And they go, well yeah, yeah that's fair, we're going. _ _
_ _ _ _ _ _ _ _
_ [Gb] When you get to church, _ [G] are you gonna _ talk to Jesus?
Yeah, yeah, we probably will do that.
_ _ Well listen, when you're talking to Jesus, _ _ _ I have one favor to ask.
[C] _ _ I want you to _ [N] tell Jesus to come to my house.
And I had this whole opening rap and it was so good and it was just driving me crazy,
you know, yeah.
And of course I'd be playing all the time.
_ _ _ _ _ And so then when it came time to record it, of course, what I did was I turned that rap
into, you know, I can't move, I can't get out of this chair, I made it lyrical and I
rhymed it up.
But I saw it as a big, huge, long intro.
And actually I have to tell you that this record that you hear is the first of two.
I have another one, I have enough material for the second half of this one, which I have
recorded a bit of but I'm not through yet.
And then, but my fantasy was always that the only reason why I recorded those two records
was to teach an audience _ their part.
So then we could go to Symphony Hall, _ _ _ _ Carnegie [Bb] Hall, I could symbol all those players and
all those people and we would do it the way it was meant to be done, _ _ _ in front of an audience.
We can't do that until we teach them their part though.
The audience must know their part and that's why you have to give them a good record.
Now realistically will that happen?
No.
But that was and is my plan.
_ That's where all of this is.
I'm sadly placing it into a music industry that's so fragmented that realistically it won't happen.
But _ _ you know that it won't happen doesn't mean that it shouldn't happen or that you
can't think about it happening.
This gets us to a very important point _ _ that I want, that I get across.
How do you, sometimes I'll ask my students what they want and they'll go, oh well I just
want a little _ career, you know, just to make a, _ _ and [C] what you see is they're tempering their _
expectation because they don't know that they can handle their disappointment if their expectations
are too high.
_ _ _ _ You're confusing two things.
_ You're confusing _ expectation. _ _ _ _ _
[Eb] Now hope is a little different. _ _
You can hope.
_ So what did I hope my record to sell?
_ [Bb] _ _ 25 million units.
_ _ _ [N] _ What did I expect it to do?
I expected it to do nothing.
All expectations were met when I was able to create it.
[G] That was enough.
That was enough times 10.
_ So what we want to do is to very carefully in our lives separate out hope from expectation.
_ And expectation _ [Gb] is a resentment [Bb] waiting to happen.
_ Hope, _ the worst that happens when hopes don't come true _ is that your heart is broken.
_ And that's easily repairable.
Broken hearts are fine.
Not only are they fine, they're very [N] attractive to audiences.
So hope and expectation.
Back to take six.
I get take six in to the studio.
They came in, they came in at 11 in the morning, _ _ _ not all six, five.
Base part was done the next day.
But the five came into the studio and they went to work at 11 in the morning.
They started and they worked straight through till midnight. _ _
_ They worked for 13 _ hours straight.
It was one of the most amazing displays.
It was a short break for a dinner.
It was one of the most amazing displays of discipline.
And when you listen to that song, it is enormously complicated.
And I overwrite a lot.
I tend to write lots of different parts, lots of music.
And oh man, as I'm fond of saying, it took that song.
It took that song into the main room, the sound kitchen. _
They pulled down that song's trousers and they spanked that bad boy. _ _
_ _ Five of them would stand, we had five microphones put up.
And they'd stand up and they'd sing it measure by measure.
They'd sing the part, they'd listen back, they'd go, yeah, Mark and Wayne, _ do it again. _
Everybody else would sit down, Mark and Wayne would do their part again.
All stand up again, do the next.
_ _ _ They doubled every part.
It would, again, and this just went on for hour after hour.
And I just was in awe of that discipline.
No, those are [G] amazing men.
That was fun. _
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_ _ _ _ _ _ _ [N] _