Chords for Sandra Boynton's THE MAKING OF ONE SHOE BLUES starring B.B. King

_ _ _ _ I wrote the words, Mike and I wrote the music, and the amazing BB King performed it.
And now we've made a short film of it.
This is the first movie I've ever directed, so as a film director, I feel I have a responsibility
to comment on the significance _ of the work. _
My vision for this film _ is _ loss _ and _ redemption _ and _ _ _ sock puppets. _ _ _
_ _ _ _ _ [C] _ _ _
_ [B] _ _ _ _ _ _ _
[Gm] _ _ _ _ _ _ _ _
_ _ _ _ _ [Am] _ [Gm] _ _
_ _ _ _ _ [G] _ _ _
_ _ _ _ _ _ _ _
[E] _ _ [Gm] _ _ _ _ I'm singing this sad song.
[C] _ _ [G] _ _
_ [B] _ [Gm] Working with BB was great.
[Ab] He's of course an [Gbm] astonishing musician.
[E] He's [Gb] also friendly and focused and remarkably good-natured.
_ And he got along easily with the [B] socks, who are well-meaning but can [F] sometimes be kind of high [G]-maintenance.
_ _ [F] _ _ BB had never worked with sock puppets before, and so we [N] were a little concerned.
We especially wondered if he'd be intimidated by working opposite the renowned actress and jazz [Fm] legend, [Bb] Mom Sock.
_ _ [D] _ _ [G] _ _
But BB's [Em] an easy-going [G] person, and in this film, you discover what a fine actor he is.
_ [C] Watch BB and [G] Mom Sock in this tense, dramatic [Em] encounter.
Did [E] you look carefully [A] in the [C] closet _ [G] and [Bb] under [Em] the [G] bed? _
Yes, yes I did.
[D] Go on, take where you left it.
[C] That's what my mom [G] said.
Most any movie takes a lot of preparation.
[D] _ The [Bm] filming was scheduled for the fall of 2008,
so we were steadily preparing for the shoot on a comfortable three-month lead.
But on July 3rd, I suddenly got a call from BB's manager, saying that their fall schedule was getting crowded,
so Mr.
King would like to shoot on July 18th in Las Vegas.
_ Thank you so much for calling.
Fortunately, I had no idea that this was, in fact, impossible.
It's July 18th?
No way!
_ So here is our quickly-assembled team of Wiley experts, picking Vegas by surprise.
_ Ocean's Eleven [E] Sunday.
_ [Gm] _
[B] Mike [E] Ford, _ [Gm] [Bm] music [E] genius.
[G] _
Mike is my songwriting, music [B] producing, [E] and now film editing partner.
Brian Wilcox, [E] _ unflappable director of photography.
[D] _ [Em] Dave Stoddard, master electrician known also [E] as the Gaffer.
_ [A] _ _ [Bm] _ [Em] _ _ _ _
_ _ [Bb] _ [Em] Chad Davis, _ _
_ _ [Bb] _ [Bm] _ [E] [Gb] James Creekey, [Em] stealth puppeteer.
I've known him since he was a kid. _ _
_ _ [B] Chris Tergesen, [E] ultimate sound engineer.
Mike [Bm] and I have worked [B] intensively with Chris on all our [E] albums.
Mark Vance, [Em] assistant director [Bb] with Nerves [Em] of Steel.
_ He's been first AD on over [Bb] 600 [E] music videos.
_ [Gb] [E] And at the center of the [Bb] whole [Bm] thing,
[E] Russ Kendall, operations mastermind,
and Micah Merrill, [Bb] noble post-production leader.
_ [G] _ [Em] Russ and Micah own Kaleidoscope Pictures,
a Utah-based production company that knows how to [N] get things done.
_ _ _ _ [Em] Because of the [Am] gloriously ridiculous time frame,
[G] Mike and I abruptly left New England for Salt Lake [D] City
to go work fast and furiously [G] alongside Kaleidoscope.
_ [C] For the warm, somewhat vintage [G] feel we wanted for this short movie,
we had decided to shoot to film, not video.
So the colors and lighting of the set were especially [D] critical. _
The set construction and furniture acquisition [G] took place right there in Utah
so that between other production meetings,
we could [Bm] review and adjust the design.
The paint [C] wasn't yet dry, [A] literally,
when everything [G] was loaded into a Las Vegas-bound truck.
[D] The entire production team caravaned along,
[G] and we [Bb] reconvened [D] _ [C] optimistically at Dream Vision Studios. _ _ _
_ [Gb] _ _ It's now the evening of July 17th.
We have about 18 hours until B.B. [B] King arrives on set.
_ For most of [Gb] the night, the crew reassembles the entire stage set they had built in Utah.
_ Starting early the next morning, the team of relentless overachievers
works diligently to prepare the lights, two cameras, sound, and wind,
[N] though the sock puppets seem strangely unmotivated. _
B.B. arrived promptly at 3 o'clock,
[E] and as soon as his faithful guitar [N] Lucille was in his hands, he was ready to go. _
_ _ _ _ [G] _ To _ me, this was the coolest [F] moment of the shoot,
[B] when all the [Bm] busyness of preparation subsided,
and suddenly the [G] set is just right, and B.B. King [C] begins [G] to sing and play.
[C] _
_ _ _ [D] _ _ [G] _ _ _
_ _ _ _ _ _ _ _
_ [C] _ [Gm] _ [G] It _ [Em] _ _
_ _ was a glorious three hours with a brilliant and generous performer.
[C] _ _ [Gm] _ [Em] _ _ _
[A] When the _ [Gm] last [C] take was done, [D] B.B. stayed a little [B] while to shake hands,
autograph sneakers, [Gm] [G] and pose for a photo [Ab] with the entire production team.
[Gb] Everyone was so relieved and exhilarated with the success of the day.
[Gm] _ _
_ And after B.B. had gone, we gathered up our socks and made our way back home to New England.
_ And then, at the end of the summer, we filmed the last few puppet shots
in a [G] 1930s garden shed at Mike's house,
that, with a little attention, became [Em] surprisingly compatible with our Las Vegas set.
[Bb] _ [C] We also [Em] filmed the exterior establishing shots here at home.
In real life, this building is Studio [A] Mike,
the place where Mike and I wrote this [D] song,
and where, through November, we [Bb] did the film editing [A] on [Bm] this most enjoyable project.
[Gm] _
_ _ [A] _ [G] _ _ [Gm] One Shoe Blues [C] _ _ will [Gm] _ [B] _
_ [E] be released in October of 2009 by Workman Publishing.
It's on DVD [Em] and it's packaged inside a nifty storyboard book.
_ _ This was such a cool project to be part of.
_ I'm amazed that I got to work with the great B.B. King.
_ The sock puppets, not so much. _ _ _ _ _
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