Chords for Doyle Bramhall II Lessons from The Legends part2b

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_ _ So nothing [Db] really applied [Eb] technically to the way I played.
I couldn't read music because the finger system is 1, 2, 3, 4, 5.
Mine was backwards.
So I couldn't really do that.
I couldn't make chords like right-handers or people that played left-handed.
And sort of a [D] misconception is that [Ab] Hendrix played like I did, left-handed upside down,
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but he actually strung the guitar left-handed, which made it easy for him to be able to read.
And I think that Hendrix [Eb] could do that _ as well, even though he played [Ab] mostly with feel.
He had [Eb] a real knowledge of guitar and music theory and that kind of thing as well.
[A] When I hear people [Bb] playing using scales, they know everything about scales.
I'm [D] not feeling it because it's all so analytical.
But I'm feeling it because [A] it's a really profound [D] experience, which is cool.
But you've got to [C] have _ [Gb] John Clayton, if you have that kind [G] of _ [Eb] music _ [N] theory and technique
mixed with his _ extreme passion, that's where you get it.
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You _ _ _ _ _ _ _
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_ _ [Bb] _ _ _ played with Roger Waters, you played with Snowy White, a second guitar player.
How was that?
[Ab] Actually, we had three guitar players [Eb] in the Roger Waters tour.
It was Andy Fever-Lillo, Snowy White and myself.
_ _ And we needed every one of us, all three guitar players, to pull off all the Pink Floyd and Roger records and the songs.
It was almost like being in a play.
[A] And so you would [Ab] step out, [Bbm] play the role you wanted [Eb] to, and then you'd step back
and then somebody else would play their role and it would keep changing.
There was a lot to it, and you had to really be [A] alert [Eb] to [A] not miss all your cues and that [F] kind of thing.
But Roger was great because he also [Eb] _ told me that he wanted me to play like me.
So I would just start with a [A] melody and do my [Eb] own thing.
And that's sort of what he liked about it, because he wasn't really trying to _ copy the Pink Floyd thing.
He wanted to bring out everything he could get in those artists that were on stage.
I _ _ _
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_ started writing on a little four-track in my room and realizing that I actually [Gm] had this voice [Ab] that I knew nothing _ about.
I didn't know that I sang until I hit 17 years [Eb] old.
And then I started singing and writing these songs that weren't really that bluesy.
My [Ab] first gig singing _ was the drummer in my band said,
You've got to sing.
And I said, I can't.
And he said, Why not?
I said, Well, [F] there's no way I'd be able to do that in front of people.
I can't be seen in front of people singing.
That would be too [Ab] embarrassing for me.
And so he made it OK.
He's like, No, you can do it.
I have complete faith in you.
You've got to do it.
You have an unbelievable voice.
And I remember the [Eb] first gig was this little club where we had to rig up this [Ab] mic stand.
[Eb] _ And I had to put [Ab] a towel _ sort of hiding the microphone so you couldn't see my face.
All you saw was sort of hair, the [Gm] 80s hair _ and [Eb] a towel like this.
And I sang behind that thing all night.
_ And that was sort [Ab] of my introduction into it.
[N] After the first gig, I sang and people didn't boo me.
So I figured I could take the towel away now.
And _ [Eb] I've been singing ever since. _ _
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Your rig is really extensive on the ground.
I [Gb] want to know if you could explain some of it, [Dbm] what you're doing with it.
[Gb] Well, [Ab] let's see.
_ _ [Eb] I hardly ever look at this thing.
When I got to rehearsals for the Eric Clapton gig, [Ab] _ and [Eb] Eric's not a very fussy guy when it comes to this stuff.
He doesn't like [C] pedals.
He doesn't like a lot of that.
He came over and looked at [Abm] this [Eb] mothership of a board.
_ And after, I think, second or third rehearsal, he says,
I just want you to know [G] that _ if you miss a pedal on a song and you don't hit that button in time,
[F] or if there's anything that goes wrong with this [Eb] pedal, I'm going to have it [Eb] offstage.
So [Abm]
that was sort of the [Gb] first _ _ _ time.
And [Bb] _ then sort [Db] of all of a sudden, when [Eb] he said that, it got really much bigger than it was.
And a lot more pedals. _
I mean, [Bb] I sort of have my standard [D] pedals that I've always used, [Db] which are Octavia, Fuzz Face, the Wah Wah, [Ab] _
[Cm] Univibe.
And I've been using a Line [Eb] 6 pedal as well for a [Db] delay.
Other [Ebm] than that, those are the main ones I use.
[F] I'm sort of a tone [Eb] freak.
Tone, to me, _ matters [A] more than [Db] technique.
I like to feel it more than anything.
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_ To walk [A] in into a [Eb] recording studio, _ out of the blue, _ [Ab] having BB King, Eric Clapton,
and people that I listened [Db] to growing up playing my song, inviting me out to play [Ab] with them,
[Eb] made me feel more validated than I've ever felt in this business, [C] ever.
Because it wasn't validating me for [Eb] anything other than _ [Eb] my artistry, and me as a human being, even.
[Ab] They respected me. _ _ _ _ _
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