Chords for Paul Pesco Sits Down with AMS - Paul Pesco AMS Interview

[Am] _ _ _ _ [B] _ _ _ _
[C] _ _ _ [Fm] _ _ _ _ [C] _
_ _ Hi, I'm Paul Pesco.
I'm here in my [Fm] home studio in [C] Millbrook, New York for QSC, an American musical for the blind.
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I was one of those kids, [A] I would look [G] at a record and then I would look at the back and read the credits.
You know, you [Abm] look at the [G] lyrics and you see who wrote the song and then I would want to see who the band was, of course.
And you'd see the guitar player, the singer, the [N] guitar player, the guys in the band, but [Em] then there'd always be these other guys,
these other players, and you'd see [G] these guys' names on _ various albums, all these different albums, and I'd look and there'd be Lucather [A] again,
or there'd be Jay Graydon, [B] _ and [G] those guys became my heroes.
I was like, the artists are great, but the artists come and go, but these guys stay.
They're playing on [A] everybody's records.
I want to be like them.
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[E] I was almost forced to take piano lessons and I reluctantly did [Dbm] it.
[C] And then as I went through school in [Bm] fourth grade, I wanted to join a band, so [C] I tried my luck at trumpet, went through various other instruments, French horn, saxophone, flute,
kind of learned a little bit of everything, but then I kind of landed on a guitar.
When I held the guitar, it just felt like home, _ and I knew that was my [N] instrument.
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SIR was this big [G] rehearsal studio [N] where everybody would rehearse.
You'd look up on _ the board there and _ foreigners in Studio A, George Benson is over on the [E] soundstage,
_ [G] village people are over [E] in the other room, [A] and there was a [E] constant flow of [Dm] the top artists.
KISS [Em] would be on the soundstage for two weeks rehearsing to go on the [B] road.
[E] _ _ [D] _ _ [G] _ I started working at [A] SIR [G] as a rehearsal technician, [E] and [G] I got to know everybody, basically.
[A] I'd be setting [Bb] up equipment for [Bm] Blondie, _ became friends with the guys from _ [Em] Foreigner, Aerosmith would come through.
All of a sudden, here I [A] was, working and [Bb] [E] setting up the gear, _ [G] and micing up and running the [A] PA for these top [G] bands.
There was this one band called Atlantic Star that was rehearsing there,
and I became really good friends with them. _
They had a new tour that was coming up, and they were like, well, we need somebody to play _ second guitar and then any kind of [Gb] keyboard, utility keyboard.
Basically, they gave me my first [G] _ big break [Em] _
_ to go on tour with them in 1982.
_ [E] _ _ Meanwhile, _ I had already been playing [B] with this young [D] female singer named Madonna, who was unsigned, doing [G] clubs [E] in Brooklyn or just playing around Manhattan, trying to get something going.
[Bm] On the bus [E] ride home, _ they turned the radio on, several of us [Bm] were up, and we turned on the radio, and there [Em] was Madonna singing this song, Everybody.
_ _ _ I'm like, that's Madonna.
That's Madonna.
They're like, who, what, _ who's Madonna?
[N] _ I contacted her, I said, [E] I heard you sing on the radio, it's amazing.
_ She said, well, [B] good, because I'm recording the rest of the album, and I need you to play on at least two songs. _
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I really owe a [B] lot of _ my career as a session musician [E]
to my association with [B] various other musicians. _
I made a reputation [Gb] just by playing in the [E] studio, working on Madonna stuff.
[G] I just _ loved being in the studio, [E] as you can [Bm] tell.
I live in one.
_ _ I kind of [G] made a name for myself, and Darryl was [A] very _ [Bm] aware of who [G] were the up-and-coming new [D] players, or who's this, we've got to check this [A] kid out.
[Bm] I went and did the session, [G] and then I got a call from Tommy [Em] Notola.
_ _ _ [A] Darryl [Bm] wants you to be in Hall & [C] Oates.
_ _ [G] _ _ _ [D] _
_ [Em] _ [D] Live from Darryl's House, I became the [Em] MD and guitarist for [A] Live from Darryl's House, [E] which [G] was _ a web [E] show, but recently [A] it's now [B] on television, [D] Thursday nights at [G] 10 o'clock [Em] on Palladium.
_ _ A typical day, I'll have a meeting with Darryl, and I'll say, Darryl, these are the songs, this is [F] their new single, these are the [Dm] most popular songs, [Bb] and then we listen through [F] them.
Darryl will go, well, [A] I really [Em] like this, I like that, [G] _ I don't know about that.
The instructions that we [F] give to _ [Bb] the artists when they're deciding, because we allow them [F] to choose, we'll say, well, give [Am] us your choice of Darryl's songs, Hall & Oates, or Darryl Hall's solo.
_ And the usual instruction is to [G] dig deep, [Bb] don't go for the obvious choice.
We don't want to repeat, and [C] Darryl doesn't want to repeat songs.
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Oftentimes, if we do have [C] to do something we've done before, we'll figure out a [Am] different way to play it.
[Dm] _ [Bm] _ _ _
[E] It's _ [B] _ _ _ _ [A] _
funny, [B] they started with _ very [Dbm] simple, two camcorders, [B]
but it's evolved into _ _ this amazing show that really is appreciated by many.
[Am]
In a way, I [Em] look at it as [Am] it's kind of our job to offer [G] up the organic [F] variety of music.
[D]
A lot of the pop [Bb] music, [Fm] the Gagas, _ [A] the [Em] Katy Perrys, _ [Am] that _ [G] _ music is kind [F] of like McDonald's to me.
[Dm] _ _ _ Everybody loves it, but if [Em] that's all you eat every day, it's not the most [G] healthy thing for [A] you.
[Em] _ But, if you go to Whole [F] Foods, that's what I think [G] Live [Bb] From Darryl's House is.
We're like [F] the Whole Foods of the [C] music world.
We're offering up the organic [Bb] variety of music [C] performance.
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