Chords for Brent Mason Master Guitar Clinic

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_ _ _ 2, 3, 4. _ _ _ _
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_ Whooooooooooooooooooooooooooooooo _ _ _
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_ _ _ _ Whooooooooooooooooooooooooooooooo
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[D] We were talking about Jerry Reed some you know you're talking about Reed and stuff like that
so that's where I started _ [B] my playing my dad _ played fingerstyle and I've always kept even
though I've you know in sessions and do a lot of different things I've always kept this
this finger style thumb pick thing.
It was pretty much thumb first finger.
_ [E] You know, _ _
_ _ _ _ [Em] _ _
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[A] that kind of thing.
So that's where I got it, I was just watching him.
Then he had bought some Chet Atkins, Jerry Reid albums.
And then I heard that song called The Claw. _ _ _
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Jerry? _ _ _ _ _
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_ [D#] _ _ [F#] _ [C#] He asked me to improvise a lot in the studio.
In Nashville, they give us a lot of creative room there.
And our _ _ identity and character goes in a lot of those records. _
We come up with hook licks and stuff.
We all do. _ _ _
It is a guitar town.
It seems like they're all guitar intros.
Somehow the guitar is always the king of the hill there.
Well, takes.
_ _ I like to do a solo _ and then maybe three or four takes on a solo.
_ Because, _ again, like I was saying over there, it's like a record.
It is a record, not like a record.
It is a record. _ _
You don't want to spend ten minutes on a quick solo.
You'll go home and go, I'm going to hear this over and over.
And I knew I could have played this one cool thing better. _
I'll do different takes, maybe four different tracks on a solo.
We'll cut the song.
We'll go over the song.
Maybe we'll cut two songs, maybe one song a session, three-hour session, two, if it clicks.
It's always good to go with that instinct you have on a song.
You get the emotion from it right away.
I find that you try to play things that you already played that you liked on the other one,
and you should have kept the other one.
So fix the other one [C] more than anything.
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_ [B] _ _ [Em] It's got a good reaction with these pedals.
That's a [C] hot word.
And, you know, there's so many distortion pedals now, but, you know, you've got like the fuzz face,
which is more like the, you know, what Hendrix used.
And Eric Johnson has designed his own where there's little switches inside where you can add,
take the high end and low end, and they're great pedals.
And then you've got the plexi sounding ones, you know, the ones that sound like Marshall.
And then you've got the tube screamers that have that nice warm mid-range.
You've got different kinds, you know. _
This one's kind of a blend of that, like a tube that has that [D] plexi thing plus a little _ _ mid-range thing.
And it's got a [G] bass boost on it, which I think is really cool.
[Dm] If you're using an open back, you know, sometimes you use a closed back,
you get that push, that bass push out of a Marshall stack or something.
_ And this one, you can flip the switch on normal,
but if you're using a closed back like this, you can flip it on fatter,
and it gives you that, _ you know, that big bass push. _ _ _ _ _
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And then this new one's got the clean blend on it. _ _ _ _ _
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_ _ [E] _ _ Thank you.
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