Chords for Carlos Santana All Access with Paul Reed Smith

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_ [Dm] _ _ _ _ _ _ _
_ _ Outside of me being the one that's been making you guitars for a long time, what do you look
for in a guitar?
A lot of people that are watching this interview _ _ _ are trying to understand
what they're looking for in a guitar, right?
So when you're looking for a guitar, what
are you looking for?
Well, you know, when you catch a cold and you can't breathe [E] correctly _ _ and you feel,
and no, and it feels like you're congested and stuff.
Playing guitar, you don't [Am] feel
like that.
The best musicians that I've seen, they're not thinking [F] about it.
[E] It's one breath.
_ [Am] It's almost like it's not a [E] job or a burden [Am] to breathe in or breathe out.
All of a sudden
they forget about breathing.
_ They forget about what they're going to [D] play or where the finger
goes.
[Am] _ And so [Em] having the right guitar in your hands gives you [Am] clarity of [D] certainty [Am]
and confidence.
[E] You know, clarity of [C] certainty is [A] really, [Am] _
_ _ [G] it makes playing [Am] _ _
extremely fun.
[G] You know,
[D] when you [Am] hit the note and [D] you've got to tune the guitar or [Am] you don't know if [C] you're in
tune or [Dm] something's wrong and you [Am] spend the whole concert, you know, it's like grabbing
something and right before you grab it, you kick it and it goes further and you go grab
it again and try to [D] grab it and you kick it again and it goes further, [Am] you know?
[C] And you
spend [B] a whole concert or your [D] whole life [A] going on a journey to find something that you already
[D] had [Am] because playing music is not to be or not to be.
That's for Shakespeare.
_ _ If you
have to think to be or not to be, you have no business playing music.
[Fm] You know, when
music is just is, you go to that note and that note is there, as juicy as you want it
to be, as soulful as you want [N] it to be, as significant as you want it to be.
So you help
_ musicians, you know, musicians who grab a Paul Reed guitar, [E] it helps them with their
confidence to know that now you're the one that has to get your story together.
You're
the one that has to like, you know, excuses because the guitar is there _ _ and you make it
really easy for them, you know, to like wipe out [N] the excuses.
The guitar's in tune and
it's going to stay in tune.
What do you have to say that's meaningful, soulful, _ significant
_ and everlasting that you have to _ crystallize your existence?
Because that guitar that you
grab from Paul Reed, _ it's not about excuses anymore.
A lot of guitarists say, well, you
know, it's somewhere here and there, you know, like in an accoupie over here.
Whoa, you know,
you can't go on stage like that.
Right?
That's true.
If you have a guitar and it's giving
you, there are no more excuses.
You have to just be able to play.
The way I thought of
it when I started first making guitars was that it needed to feel like an old T-shirt.
As you put it on, you forgot you had it on.
Exactly.
_ And the whole idea was that you weren't
worried about how it played.
You didn't want to worry that the notes buzzed out.
You didn't
worry about it squealing or anything like it.
You just wanted to plug in, play, be done
with it.
And still to this day, when I give you a guitar, I get about five seconds where
you decide whether all those things are in line or not.
You know, I command you because
the army of people who is your body now, those people are your family.
You know, they,
_ _ you trust them and they trust you.
And you achieve something that very few people in
America actually _ [Fm] have retained and maintained.
It's called a standard.
You have integrity.
I'm just saying, man, there's, you started with this dream and you're right there with
all the best.
You still go to Baltimore and then you make, you see an army of beautiful
people _ with their hands [F] invested with passion in the sanding it, the shaping it, _ putting
the ear to make sure it stays in tune, you know, gluing the legs, [D] you know.
You have
[G] infused in _
[B] [A] people's psyche _ _ _ real, real genuine [G] concern for [F] [Eb] uphold of [F] standards.
You know,
_ don't, we're not [B] making excuses [G] and no man, when that guitar lands on your [A] house, you
open it up, [C] you smell it, you [Eb] play [A] it.
[C] The thing [Eb] screams [A] and sings and it's like it's
alive.
You know, Paul, I got to tell you this from [E] the center of my heart.
[A] I love that you
love to make guitars, man.
[E] You can send me [Em] a freaking ukulele at this point and I just
love, [Ab] and I just love it, man.
[D]
It's, [G] you have fulfilled all my expectations.
You have satisfied
all my needs over and over and over again.
And from one soul to another, I salute you
and I say to you, I am very, very grateful _ [Dm] _ [Am] for your passion for integrity [E] and there's
[D] nothing you can do for me other [A] than you _ _ retain your [Em] own _ clarity with good [Db] health [D] and your
[E] passion to make people happy by giving them an [Dm] instrument [A] that that instrument, oh, it's
going to get really deep [Em] now, that that instrument creates a song that reminds them [E] of the forgotten
song [Dm] inside them. _ _ _ _ _ _ _
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