Chords for The Trishas: Behind the Scenes on The Texas Music Scene

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[G] _ _ _ _ _ _ _ _
_ _ _ [C] _ _ _ _ _
Welcome back, y'all.
[E] Here's our backstage conversation with Savannah, Jamie, Kelly, and [A] Liz, also known as the [E] Trishas.
They filled us in on their first full-length album, [Bm] High, Wide, and Handsome.
All about me.
Pretty sure.
So I'll drive _ _ [A] where you can't [E] find me.
_ Where those old wheels _ [B] call _
[E] me.
_ _ _ Where I don't see your face in the [A]
cold.
_ _ _ I'll hold steady down [Bm] this road.
[E] I'm all _ for you.
Our new record's called High, Wide, and Handsome, and we got that from a line in the lead-off song called Mother of Invention.
[E] It's kind of the [Dm] moment where everybody comes in and does the four [Gm]-part harmony for the [Cm] first time on the record.
High, wide, [Bb] and handsome.
_ _ [Gm] Taking pennies [Bb] from the jar.
_ _ _ In interesting condition.
You [Dm] discover who you [Cm] really are.
_ _ We [Bb] chose that because _ it's an old phrase [Eb] that just kind of means carefree.
_ And when [Bb] you're talking about a guy, like, oh, he's just high, wide, and handsome.
_ And [Eb] that's kind of how we got together, just _ _ on [Bb] a whim.
We recorded in Nashville at a studio called The Sound [Cm] Emporium with a producer and engineer named Mike Poole.
And we [Eb] had worked with him one other time on a demo session, and we all left there just agreeing that he was awesome.
And we [Bb] wanted to figure out how to work with him again someday, somehow.
[Eb] Some people ended up not being available, and Mike was with us the [Bb] whole time through that conversation and [Gm] really understood.
We felt like he really understood what we were trying to do and trying not to do.
And so we just decided to hand him the whole project and just let him produce it and engineer, and he's done great.
The only other thing that we had done was our mini album, so this was [Dm] our first major album.
Which, [Cm] that's really important that you really kind of get [Bb] what your sound is going to be.
[G] They have to really have an idea [D] of what your sound is from the very beginning, because they helped sculpt [Dm] that for the record.
[Gm] We were really grateful [Bb] that he just [Dm] completely got what we [A] wanted it to be and [D] got that vibe and got it across to the musicians as well.
If I had to choose between [G] liars and [D] fools, then I'd choose [A] the fools every time.
There are a few songs on the record that are co-writes with Jason Eady.
[D] The song that I [G] wrote with him is called Liars and Fools.
[D] You know, I've been both a liar and a fool, and so has [A] he.
So we were just trying to kind of figure out a way to say that in the song, you know.
Ultimately, to be the fool is [A] the way to go.
Savannah and I had the opportunity to write with Bruce Robison.
We have a lot of different favorite songwriters, but he's of course one of them.
It's called [D] Cheaters Game.
It's something we could all kind of [A] interject personal experiences into.
_ [D] It was just a lot of fun.
It was one of my favorite writing sessions.
[F] There's not a lot of co-writers that are [Gm] [Em] really good listeners, you know.
[C] They kind of want to be the [G] boss in the room, and he doesn't do that at all.
And [D] especially because I think both of us consider him sort [C] of a mentor.
And he didn't treat us like [G] that, you know.
It was really felt like equal ground.
_ [D] _
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_ _ [C] _ _ _ _ _ _
[G] _ _ _ I think that the [D] album is a real healthy mix of _ [G] _ the point of view of the songwriter,
you know, [F] it being a real personal [G] song or experience, and also [Em] completely not at all.
[C] I [G] mean, you know, there's a song that Jamie and I wrote [E] with John Eddy,
[Db] and it's from a man's perspective [Abm] who's been in an [Gb] unhappy marriage _ [E] for most of his life.
It's called [B] Strangers, and it's about feeling like a stranger in your own house.
And we don't know what that's like at all.
[B] _ _ _ [Abm] _ _ _ [Gb] _ _
_ _ [E] _ _ _ _ _ _
[Dbm] _ _ We're just [Gb] strangers to [B] me _ now.
We've been told that we [Gb] focus on the negative [Abm] aspects of relationships.
Yeah, [B] and we get people that are concerned that [Db] we're unhappy,
[E] and that we're, yeah, [B] you know, that we're in [B] unhappy situations.
And none of us are.
_ [Abm] You know, we are happy people, so you get the sad out.
Like, it's kind of like a therapeutic thing.
You get [E] all of your sadness and everything that you just lay [Gb] it out,
and then it's therapy.
You're done.
You're [Gb] good.
But it's [E] the people that write the happy songs that you [E] maybe worry about a little [D] bit.
[Eb] No matter how happy you are, everybody hears sad things.
And [Bb] it's just something that people are naturally drawn to more,
and they don't [Eb] feel so alone when they hear sad things too.
[C] Who doesn't like when you hear a song that somebody [Cm] has written
and put music to a feeling that you haven't [Eb] been able to put into words yet,
and they do it for you? _ _ _
[F] _ [Cm] _ _ _ _ [Eb] _ _ _
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_ [Bb] _ _ _ _ _ [Gm] _ _