Chords for Bourbon Masters: David Grissom

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_ [F] The songwriting process [G] is always different, but [C] consistently _ [F] I'll [G] have 20 times as [Fm] many
musical ideas as I do [G] lyric ideas.
I [C] guess _ [G] _ it's a blessing and a curse too that [Gb] I constantly have [Dm] music going through my head.
I went through a long period [A] of co-writing with some really good writers.
I had a publishing deal in [F] Nashville and wrote a bunch of [A] songs.
But I ended up writing a whole bunch of songs that I didn't want to put on my record. _
_ So it was a really invaluable experience to be able to write with some great writers.
Like I said, I'm not everyday.
I write a song everyday or sometimes I write a tune.
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So I think it's a skill like any [D] other skill.
Like practicing guitar or playing a sport or whatever you kind of do.
_ You've got to write a hundred bad songs before you get that much done.
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_ [C] Yeah, the hybrid picking thing for me started, I don't [D] even remember when it [A] started.
I think it was more when I started trying to get [Dm] into _ [D] _ [A] country _ _ [D] _
stuff that I do.
But also when I heard Albert Collins, that sound of hopping in the string.
[F] _ [D] And you can't really get that sound with a pick.
[C] You can sort of _ _ pull up [N] on it.
But what he was [C] doing really is _ he's pulling it up and [B] letting it snap back against the fret.
So to do that I use my middle finger.
And a lot of the, when I was learning to play blues, more the blues stuff, Albert Collins would do that.
Albert King, when he would milk a note.
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I'm just using my middle finger right here.
But there's a definite different sound of flesh hitting the strings than just a pick.
But, so, you know the real blues, I mean that's the real blues application for me is to be able to get that intensity and that variation in tone.
But in the country stuff, _ you pretty much have to do it to do any of the double [A] stop thing. _ _ _ _ _ _
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_ So, when you're doing that, I use the pick and then the second and third finger.
You have the [A] ability to _ _ _ [G] strike each string at the same [A] time as opposed to.
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So that just gives you a whole other, it's like a piano player.
You can never go like that.
_ _ And, you know, the idea of pedal tones, I'll play like a pedal tone with [A] my pick.
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_ [Ab] All those things, you know, I [D] can. _ _
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_ [N] There I am again, _ constantly popping that string.
It's very aggressive and I'm playing really sub light right now.
But that's another thing that I do when people are always, you know, if I do a clinic, I'll kind of walk around the room and I'll let people hear.
I won't plug in the guitar in and I'll let them hear what it sounds like the [G] way I'm playing the guitar and how I'm attacking the notes. _
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_ _ _ _ _ _ And they can basically hear what's coming out of the amp.
[Gb] And you [D] can't get [Dm] that kind of, I mean, I just, it's a very, I don't play aggressive all the time.
But it's very, you know, to me, [F] _ _ music is [G] very spiritual and emotional.
To [C] get that, [F] to connect with that, [G] I have to kind of be able to pick up the instrument.
[Am] [F] When I do that, when I play [G] without an amp, [C] people, they kind of go, [G] you know, it's kind of eye opening because they hear.
[D] Not, you know, I mean like [Dm] the attack on the string and [G] everything, but how sometimes [Dm] you can manipulate with your left hand to get what sort of harmonics [A] to even start to come [Dm] out.
The amp will pick up.
Having the right guitar and amp [D] really facilitate [A] the ability to [G] get what I hear in my head out of the speakers.
And so equipment is very [A] important.
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_ [C] _ I'm just [F] playing this DGT [A] that I've had for, _ [D] _ _ _ [Am] since [Dm]
2010.
[A] You know, I'm selfish about it because [F] I have a dream guitar.
I mean, literally [A] this guitar was 25 years old.
I've had this [N] since 1985.
And _ all the tweaks and changes, [Dm] _
_ all the, _ I _ _ wouldn't have a hard time [A] switching.
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_ [C] I'm playing into [G] this DG Custom 30s, 30 watts, [A] cathode dies, do a [D] 212 cabinet.
_ [G] Very, [Am] _ [G] really, really [A] versatile amp, but it's very simple at the same time.
It's single channel.
I've never had luck with double channel amps.
Clean channel is always too clean.
Dirty channel is always too dirty for me.
So I just prefer an amp.
I mean, both the guitar and the amplifier are really [Dm] coming from _ _ _ [B] what turns me on about [A] vintage amps and guitars.
[D] But at the same time, having the reliability and the flexibility [A] to _ have that character to them, _ _ _ perform a little more consistently.
And the amp is, this particular amp, this model, I use 95% of the time on recessions.
Every time I'm here, _ _ _ _ _ _ _ _ I'm at _ [Dm] _
_ [A] the point where I'm at the point where I'm at now with 30 watts, it's plenty. _
It's a beefy 30 watts.
I mean, _ _ it's a stout 30 watts.
We overbuilt both the 30 and the 50.
I'm [E] just trying to get a [Gm] little more low end out of [A] it and not make it a box blow. _ _ _
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