Chords for Redemption EPK - Behind The Scenes - Part 1
Tempo:
89.8 bpm
Chords used:
Bm
A
G
D
Am
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[A] [Am]
[G] [A] Yeah, I mean this is the third album in a row that we've done all [A#] original [A] and I like it like that
I mean, I like the challenge I like [Am] I've
[G] [A] met some great songwriters here in Nashville that kind of
Enjoy [A#] [Am] working outside of the parameters of this town, you know
I don't come here in search of [D] country hit, [A] you know, and I'm not going country
I just there just [Am] happens to be a lot of funky blues writers in [Em] town
[A]
[D] [A] I
Have no interest in it, I have no interest in any of [A#] that
[A]
[Am] [G] [A] While
[Am] recording with this fine group of musicians [D] we have really [A] very talented people
great session musicians
[A#] all of them
Some of them are in Joe's bad now.
[Am] That's on free gone drums.
We had like this instant rapport
We knew each other really well, we didn't have to feel each other out
[C] You know, we didn't have to discuss [G] music Michael [D] Rhodes on bass [F#m] and Reese Winans
[G] Stevie Ray [Am] Vaughan's old cohort on keyboards.
Yeah, that's what we were [C] just saying.
We have been playing [G] together now on the road [D] for
Two years [A] with this band it makes a huge difference, you know you [Am] play, you know
You make [A] adjustments other people make adjustments, but you don't have to talk about it
You just kind of do it because we know each other [D] so well
We comfortable with [A] each other and so was really great making a record like that because we also knew it was gonna [D] sound really great
[Am] Right when we started playing and then we added [Em] two extra [A] guitar players
You might say
Does Joe Bonamassa really need two extra guitar players and the truth is he doesn't need two extra guitar players
[Bm] but they filled out the sound and so I didn't rely on
double tracking and
Things like that and he also plays differently.
He's different as a reactive player than he [A] is when he's [Bm] just
Almost like a workhorse.
So he got to just play
[Bm]
[Bm]
[Bm]
[F#m] [Bm]
I
Didn't have a plan to introduce extra musicians into the band
Until we had actually set up and [G] then I thought
hmm
That's you know, [Bm] one of my ways I think I thought hmm.
I [E] know who could add [Bm] a good color to this song
So I called Doug Lancia and he came in.
[Em] I'm a huge fan of Joe
So being you know, [A] like I said going back to getting that call walking in [D] that room and going let's see here
Michael [G] Rose and Tom fig
Reassignments and [F#] Joe Bonamassa just stopped playing so I could walk in with my little and go [C#m] like oh man
[Bm] All right.
I gotta thank Kevin for that
[E] [D]
She [B] was a face
face in the [Bm] crowd
Me I'm like music was [A] [D] loud
[G] My heart
[Bm] So [F] [Bm] Just
Don't mean you should
Took [Em] it very [G] bad
[A] Yeah, and then I thought I'll get another [D] player and then I got Kenny Greenberg Bergen
[G] Kenny plays with Kenny Chesney [F#] and he's produced lots of hit records.
He's worked with Taylor [Bm] Swift and everybody anybody who's anybody
so I got these two great guitar players in and
They were wonderful
Really great Joe [Em] has a that's a full-time band with reason Michael and Anton
So we were [Bm] really playing more like a band and
Spending a lot more time on each song than we normally would
Which was also a lot of fun because you get to dig in [G] and come up with better [Bm] parts
You know, we really wish that more of Nashville sessions were like this where we spend a whole afternoon on one song
You know [Em] or the whole day on one song.
[Bm] I think it's a super band
loved the record really really really loved the record [G] and
[Bm] You can always just in [G] these things just blow smoke [Bm] up people's butts, but
They really it was just a brilliant session.
[D] It was a brilliant session [E] all [Bm] around
Everybody's got a [D] tale to [E] tell
[Bm]
So easy
[D] [E] Around
[G] [A] Yeah, I mean this is the third album in a row that we've done all [A#] original [A] and I like it like that
I mean, I like the challenge I like [Am] I've
[G] [A] met some great songwriters here in Nashville that kind of
Enjoy [A#] [Am] working outside of the parameters of this town, you know
I don't come here in search of [D] country hit, [A] you know, and I'm not going country
I just there just [Am] happens to be a lot of funky blues writers in [Em] town
[A]
[D] [A] I
Have no interest in it, I have no interest in any of [A#] that
[A]
[Am] [G] [A] While
[Am] recording with this fine group of musicians [D] we have really [A] very talented people
great session musicians
[A#] all of them
Some of them are in Joe's bad now.
[Am] That's on free gone drums.
We had like this instant rapport
We knew each other really well, we didn't have to feel each other out
[C] You know, we didn't have to discuss [G] music Michael [D] Rhodes on bass [F#m] and Reese Winans
[G] Stevie Ray [Am] Vaughan's old cohort on keyboards.
Yeah, that's what we were [C] just saying.
We have been playing [G] together now on the road [D] for
Two years [A] with this band it makes a huge difference, you know you [Am] play, you know
You make [A] adjustments other people make adjustments, but you don't have to talk about it
You just kind of do it because we know each other [D] so well
We comfortable with [A] each other and so was really great making a record like that because we also knew it was gonna [D] sound really great
[Am] Right when we started playing and then we added [Em] two extra [A] guitar players
You might say
Does Joe Bonamassa really need two extra guitar players and the truth is he doesn't need two extra guitar players
[Bm] but they filled out the sound and so I didn't rely on
double tracking and
Things like that and he also plays differently.
He's different as a reactive player than he [A] is when he's [Bm] just
Almost like a workhorse.
So he got to just play
[Bm]
[Bm]
[Bm]
[F#m] [Bm]
I
Didn't have a plan to introduce extra musicians into the band
Until we had actually set up and [G] then I thought
hmm
That's you know, [Bm] one of my ways I think I thought hmm.
I [E] know who could add [Bm] a good color to this song
So I called Doug Lancia and he came in.
[Em] I'm a huge fan of Joe
So being you know, [A] like I said going back to getting that call walking in [D] that room and going let's see here
Michael [G] Rose and Tom fig
Reassignments and [F#] Joe Bonamassa just stopped playing so I could walk in with my little and go [C#m] like oh man
[Bm] All right.
I gotta thank Kevin for that
[E] [D]
She [B] was a face
face in the [Bm] crowd
Me I'm like music was [A] [D] loud
[G] My heart
[Bm] So [F] [Bm] Just
Don't mean you should
Took [Em] it very [G] bad
[A] Yeah, and then I thought I'll get another [D] player and then I got Kenny Greenberg Bergen
[G] Kenny plays with Kenny Chesney [F#] and he's produced lots of hit records.
He's worked with Taylor [Bm] Swift and everybody anybody who's anybody
so I got these two great guitar players in and
They were wonderful
Really great Joe [Em] has a that's a full-time band with reason Michael and Anton
So we were [Bm] really playing more like a band and
Spending a lot more time on each song than we normally would
Which was also a lot of fun because you get to dig in [G] and come up with better [Bm] parts
You know, we really wish that more of Nashville sessions were like this where we spend a whole afternoon on one song
You know [Em] or the whole day on one song.
[Bm] I think it's a super band
loved the record really really really loved the record [G] and
[Bm] You can always just in [G] these things just blow smoke [Bm] up people's butts, but
They really it was just a brilliant session.
[D] It was a brilliant session [E] all [Bm] around
Everybody's got a [D] tale to [E] tell
[Bm]
So easy
[D] [E] Around
Key:
Bm
A
G
D
Am
Bm
A
G
_ [A] _ _ _ _ _ _ [Am] _
[G] _ [A] _ _ _ Yeah, I mean this is the third album in a row that we've done all [A#] original [A] and I like it like that
I mean, I like the challenge I like [Am] I've
[G] [A] met some great songwriters here in Nashville that kind of
Enjoy [A#] [Am] working outside of the parameters of this town, you know
I don't come here in search of [D] country hit, [A] you know, and I'm not going country
I just there just [Am] happens to be a lot of funky blues writers in [Em] town
[A] _ _ _ _
_ _ _ _ [D] _ [A] I
Have no interest in it, I have no interest in any of [A#] that
[A] _ _ _
_ _ _ _ _ _ _ _
[Am] _ _ _ [G] [A] While _ _ _
[Am] recording with this fine group of musicians [D] we have really [A] very talented people
great session musicians
[A#] all of them
Some of them are in Joe's bad now.
[Am] That's on free gone drums.
We had like this instant rapport
We knew each other really well, we didn't have to feel each other out
[C] You know, we didn't have to discuss [G] music Michael [D] Rhodes on bass [F#m] and Reese Winans
[G] Stevie Ray [Am] Vaughan's old cohort on keyboards.
Yeah, that's what we were [C] just saying.
We have been playing [G] together now on the road [D] for
Two years [A] with this band it makes a huge difference, you know you [Am] play, you know
You make [A] adjustments other people make adjustments, but you don't have to talk about it
You just kind of do it because we know each other [D] so well
We comfortable with [A] each other and so was really great making a record like that because we also knew it was gonna [D] sound really great
_ [Am] Right when we started playing and then we added [Em] two extra [A] guitar players
You might say
Does Joe Bonamassa really need two extra guitar players and the truth is he doesn't need two extra guitar players
[Bm] but they filled out the sound and so I didn't rely on
double tracking and
Things like that and he also plays differently.
He's different as a reactive player than he [A] is when he's [Bm] just
Almost like a workhorse.
So he got to just play
_ _ _ [Bm] _
_ _ _ _ _ _ _ [Bm] _
_ _ _ [Bm] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [F#m] _ [Bm] _ _ _ _
_ I
Didn't have a plan to introduce extra musicians into the band _
Until we had actually set up and [G] then I thought _ _
hmm
That's you know, [Bm] one of my ways I think I thought hmm.
I [E] know who could add [Bm] a good color to this song _ _
So I called Doug Lancia and he came in.
[Em] I'm a huge fan of Joe
So being you know, [A] like I said going back to getting that call walking in [D] that room and going let's see here
Michael [G] Rose and Tom fig
Reassignments and [F#] Joe Bonamassa just stopped playing so I could walk in with my little and go [C#m] like oh man
[Bm] All right.
I gotta thank Kevin for that
_ _ [E] _ [D] _ _ _ _
_ She [B] was a face
face in the [Bm] crowd
Me I'm like _ music was [A] [D] loud
_ [G] My _ heart
_ _ [Bm] _ So _ _ _ _ [F] [Bm] Just
_ _ Don't mean you should
Took [Em] it very [G] bad
[A] Yeah, and then I thought I'll get another [D] player and then I got Kenny Greenberg Bergen
[G] _ Kenny plays with Kenny Chesney [F#] and he's produced lots of hit records.
He's worked with Taylor [Bm] Swift and everybody anybody who's anybody
so I got these two great guitar players in _ and
They were wonderful
Really great Joe [Em] has a that's a full-time band with reason Michael and Anton
So we were [Bm] really playing more like a band and
Spending a lot more time on each song than we normally would
Which was also a lot of fun because you get to dig in [G] and come up with better [Bm] parts
You know, we really wish that more of Nashville sessions were like this where we spend a whole afternoon on one song
You know [Em] or the whole day on one song.
[Bm] I think it's a super band
loved the record really really really loved the record [G] _ and _
[Bm] You can always just in [G] these things just blow smoke [Bm] up people's butts, but
They really it was just a brilliant session.
[D] It was a brilliant session [E] all [Bm] around
_ _ Everybody's got a [D] tale to [E] tell
[Bm] _
_ So easy
_ [D] _ [E] Around
[G] _ [A] _ _ _ Yeah, I mean this is the third album in a row that we've done all [A#] original [A] and I like it like that
I mean, I like the challenge I like [Am] I've
[G] [A] met some great songwriters here in Nashville that kind of
Enjoy [A#] [Am] working outside of the parameters of this town, you know
I don't come here in search of [D] country hit, [A] you know, and I'm not going country
I just there just [Am] happens to be a lot of funky blues writers in [Em] town
[A] _ _ _ _
_ _ _ _ [D] _ [A] I
Have no interest in it, I have no interest in any of [A#] that
[A] _ _ _
_ _ _ _ _ _ _ _
[Am] _ _ _ [G] [A] While _ _ _
[Am] recording with this fine group of musicians [D] we have really [A] very talented people
great session musicians
[A#] all of them
Some of them are in Joe's bad now.
[Am] That's on free gone drums.
We had like this instant rapport
We knew each other really well, we didn't have to feel each other out
[C] You know, we didn't have to discuss [G] music Michael [D] Rhodes on bass [F#m] and Reese Winans
[G] Stevie Ray [Am] Vaughan's old cohort on keyboards.
Yeah, that's what we were [C] just saying.
We have been playing [G] together now on the road [D] for
Two years [A] with this band it makes a huge difference, you know you [Am] play, you know
You make [A] adjustments other people make adjustments, but you don't have to talk about it
You just kind of do it because we know each other [D] so well
We comfortable with [A] each other and so was really great making a record like that because we also knew it was gonna [D] sound really great
_ [Am] Right when we started playing and then we added [Em] two extra [A] guitar players
You might say
Does Joe Bonamassa really need two extra guitar players and the truth is he doesn't need two extra guitar players
[Bm] but they filled out the sound and so I didn't rely on
double tracking and
Things like that and he also plays differently.
He's different as a reactive player than he [A] is when he's [Bm] just
Almost like a workhorse.
So he got to just play
_ _ _ [Bm] _
_ _ _ _ _ _ _ [Bm] _
_ _ _ [Bm] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [F#m] _ [Bm] _ _ _ _
_ I
Didn't have a plan to introduce extra musicians into the band _
Until we had actually set up and [G] then I thought _ _
hmm
That's you know, [Bm] one of my ways I think I thought hmm.
I [E] know who could add [Bm] a good color to this song _ _
So I called Doug Lancia and he came in.
[Em] I'm a huge fan of Joe
So being you know, [A] like I said going back to getting that call walking in [D] that room and going let's see here
Michael [G] Rose and Tom fig
Reassignments and [F#] Joe Bonamassa just stopped playing so I could walk in with my little and go [C#m] like oh man
[Bm] All right.
I gotta thank Kevin for that
_ _ [E] _ [D] _ _ _ _
_ She [B] was a face
face in the [Bm] crowd
Me I'm like _ music was [A] [D] loud
_ [G] My _ heart
_ _ [Bm] _ So _ _ _ _ [F] [Bm] Just
_ _ Don't mean you should
Took [Em] it very [G] bad
[A] Yeah, and then I thought I'll get another [D] player and then I got Kenny Greenberg Bergen
[G] _ Kenny plays with Kenny Chesney [F#] and he's produced lots of hit records.
He's worked with Taylor [Bm] Swift and everybody anybody who's anybody
so I got these two great guitar players in _ and
They were wonderful
Really great Joe [Em] has a that's a full-time band with reason Michael and Anton
So we were [Bm] really playing more like a band and
Spending a lot more time on each song than we normally would
Which was also a lot of fun because you get to dig in [G] and come up with better [Bm] parts
You know, we really wish that more of Nashville sessions were like this where we spend a whole afternoon on one song
You know [Em] or the whole day on one song.
[Bm] I think it's a super band
loved the record really really really loved the record [G] _ and _
[Bm] You can always just in [G] these things just blow smoke [Bm] up people's butts, but
They really it was just a brilliant session.
[D] It was a brilliant session [E] all [Bm] around
_ _ Everybody's got a [D] tale to [E] tell
[Bm] _
_ So easy
_ [D] _ [E] Around