Chords for The Making of Chickenfoot III - Part 2/3 (Official)

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You know Sam is [G#] very prolific
But he doesn't [G#m] always
_ [G#m] Since we've been together as [C#] chicken foot.
He doesn't always bring in the whole [C#] thing.
He likes to sit back [D#] and
[G#m] Like all of us and sort of be part of the magic [D#] of the band _
[D#m] But when he does bring in a part
_ [G#m] It's good.
And the reason why I respect it so much is because it comes with [G#] a vocal attitude
[C#] Lyric idea and a vocal [G#m] performance all at [G#] once which is really hard because you know, you can bring a nice [C#m] core progression
But if the story and the [G#m] attitude and the performance on there, then what is it, you know, especially if it's for a band
So for him to come even if he's just got two bars of [C#] something
I love it because I can work from there knowing that he's already decided [G#m] on the story and the attitude and how he wants to sing
[D#] _ _ _ _ _ _ _ _
_ _ _ [G#] _ _ [A#] Oh baby, [C#] _ you don't have [G#] to go
I _ _ _ [D#] won't leave you down [F] the road I [G#] go _ _ _ _
_ _ _ _ _ _ No, Chad shit.
I grew to everything that Chad does because believe me that guy, you know, it's like, okay wait, wait
_ I'm wired in if I could jump out of this chair.
I could give you a good impersonation of Chad
Like this is the way he comes to studio every day _ _
_ _ And every time you look back when we're playing every time I look back at him
It's funny because it looks like he's almost laughing with me.
It's like good
you like okay, come on, we're gonna lay it down now, you know and
_ It was almost like every single song that we played Chad and I just locked in I like [F#] Bigfoot
_ You know, it's just like a heavy straightforward groove, you know locked straight into it and at this point now Chad and I
you [B] know, I can almost tell me he's gonna do certain [F#] fills or whatever and
[F#m] It was great
We fell into a lot of things will do you know
He'd do [C#] a love roll and I could roll right into it [B] playing some different fills [F#m] and it just was like very comfortable _ _ _
[F#m] _ _ _ [F#] _ _ _ [E] _ _
[F#] _ _ _ _ _ _ _ _
[F#m] _ _ _ [F#] _ _ _ _ _
[B] _ _ _ _ [A] _ _ _ _
[B] I
_ _ _ _ [F#] _ _
[B] _ _ _ _ [A] _ _ [F#] _ _
[C#] _ _ _ _ [E] _ _ _ _
[F#] _ _ _ _ [F#m] _ _ _ _
_ _ _ _ _ _ [B] _ _
[F#m] _ Just the sound of Chad he's so crazy the way he's hitting the drums in this on this record
He it's so much more [B] powerful than [F#m] the way he was hitting drums on last year
He knows that we love him and he played his snare.
[A] He every time he hits that snare he goes Chad
_ [E] You know, it's the way he's playing it.
He's like he's he's making his statement as a band you know
we track all this stuff live all the live performances wind up as part of the
The record and then we we overdub stuff on top of it.
So it's essential that we really
Get a take where there's magic on it and everyone's looking at each other
Everyone's sort of standing on their toes
Sitting on the edge of their part, you know waiting to see
What how the other guy's gonna play it Glenn Johns once said about overdubbing he said, you know, you can never return to a party
Once the party's over it's over.
So he was always saying overdubs be careful about those
But you know
I understand that because that's why you need to keep
All of the live pieces there on the track if you're gonna do a live track
You've got to keep those all those pieces there because that's the glue that that creates the magic _ _ _ _
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