Chords for Norah Jones - EPK (Live)

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_ [E] _ _ _ I think I'm just in a place where [Gb] I'm older now and I'm not afraid to just try something.
I wrote most [E] of these songs in the last year and a half, two years.
[A] I think there's one stray from like three [Bm] years ago, but [E] I felt like a few of them were different for me.
_ [A] And I liked that and [Gb] I wanted to sort of do something different.
[Em] And I thought it was just a good time for me to try to work with different people,
try to get some kind of [E] different sound, just experiment [C] a little.
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_ _ [F] _ _ So I was trying to find a [C] partner for the [E] record because I didn't want to [F]
go it alone, I guess.
And I felt like, you know, [C] unless I had somebody with different perspective, [E] I wasn't going to get a different sound.
_ [Gm] And I kind of looked for a [Em] while before I found Jakir.
I finally thought to look [Gb] on one of my favorite records [Bbm] to see who engineered it
[Gm] because part of it was finding an engineer who could get [C] different sounds.
[Em] And I saw his name.
[G] Nora gave me a call.
She was trying [E] to find the right person [Em] to make this record.
And [C] I think through some conversations she had shared with me that [G] a Tom Waits record that I've made called Mule Variations is one of her [F] favorite records.
I just love the way that record sounds.
It [Cm] walks the balance between being [Gm] beautiful and rough and also sounding very natural.
[E] We didn't know each other, so she sought me out and I got a phone call.
[F] The next day we were talking on [Bb] the phone and he just seemed really [Cm] cool and really interested.
[G] And [Em] once he got the songs, he just seemed [Bm] like he could bring a lot to [Em] the table.
I got together with her initially, took away the demos, and then I spent a good [F] couple of few weeks
[Fm] doing some [G] programming and treatments to the demos to sort of use [Ab] as a jumping off point before we went into [Ebm] the studio. _
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I think for this record I just had a sound in my [B] head.
A feeling of [C] sampled music and things percussive and just sort of [F] a rhythm element that [B] it all feels very organic, but there's some [C] treatments. _ _
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_ _ _ _ _ The [D] drums on this record are different from any, maybe it's just the drummers or maybe it's the way they were playing.
That's why you sound so good, I think.
You have a light touch even when you're playing [G] aggressively.
[Bb] I like a lot of space and I'm used to a lot of space in the drums, but for this one I just sort of wanted to have more of a steady presence in the drums.
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[G] _ _ _ It [B] feels like a [A] very [B] natural progression and growth, but it [Eb] will feel slightly unfamiliar.
I do feel like it's a [Gb] different direction for me [D] and another thing that was different about this recording is we had keyboard [C] players, real keyboard players,
with the actual [Bb] whole [A] rig of analog sounds and all these crazy [Cm] keyboards, which I've never [F] done before.
I've [C] never had [Db] people do that on their kerts before.
[Bbm] It's gonna [C] be, _ [Fm] _
[G] it's gonna be, _ [Ab] _ _
[Fm] it's gonna [Em] be.
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_ [B] _ _ [D] _ [A] I _ [E] _
_ think the [B] big surprise may be that she's sort of [Gb] gravitated to guitar.
I've just always written on guitar more than [E] on piano.
Yeah, I mean I wrote Come Away With Me on the guitar.
_ She's got great feel on guitar, you know, and it does, it puts things in a different place. _
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_ _ [Bm] _ _ [Gb] It goes back to her [A] voice, you know, that's [E] the thing that lots of [A] people, when you [Ab] speak to people about it, you know, [E] that's the thing that they would say, I love Nora's voice.
[Bm] Vocally on this record, I think [A] what I like about it is that [E] I was way more relaxed about my vocal.
[Bm] I'm more focused on the, everything else that was happening, so I [Eb] could just kind of relax and sing. _ _ _
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This one song called Light as a Feather, it's a song I actually wrote with Ryan Adams.
So I wanted to figure out how to make this song work and tie it in with all these other [Bb] songs.
And we did it [C] by kind of taking the guitar out and [G]
the [Gm] groove was really, really good.
[G]
It was [Bb] kind of a good moment when I realized that, okay, [C] cool, [D] you just strip away a few elements and let musicians be creative and you can get something totally different.
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_ _ _ Chasing Pirates is one of the first songs I wrote of the group of songs.
It became one of my favorites and it became a direction to look in.
Chasing [Bb] Pirates is a really cool tune.
There's a lot of rhythm to it.
It has a [F] fun feel [D] to it.
Chasing Pirates kind of went somewhere I didn't expect it to go.
You don't know going in what you want [Gm] sometimes.
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Chasing _ [Dm] _ _ _ _ _
_ [Gm] _ _ _ _ Pirates
[Bb] And I don't [C] know how slow [F] it