Chords for Holy Trinities — Guitar (feat. Jack Stratton)

_ _ _ [D] Recently, over drinks, a [G] friend of mine told me something _ amazing.
[D] _ [Dm] I was just talking to this guy, she said.
He thinks he's figured out [N] the three best of everything. _ _ _ _ _
_ The next morning, I went to [G] see him.
_ _ _ [D] And when I got to the top of a set of crooked stairs, _ he [Cm] was waiting for me.
[Gm] _ _ _ _ _ _
_ _ _ Welcome, he said.
_ [G] _ _ _ [C] _ Welcome [Dm]
to Holy _ _ Trinity's _ _ _ _ _ _ _ _ guitar.
_ _ _ [D] _ _ [Ab] _ _ _
_ _ [B] _ _ _ _ _ _
[Dm] _ _ _ _ _ _ _ _
[Cm] _ _ _ _ _ _ _ _
_ _ _ These are [Dm] my three favorite _ guitars.
I measure that by how much they want _ to make me pick up the guitar.
[Ab] _ _ It's not about a lead [F]
thing.
[Eb] You know, guitar [Ab] _ [Bb] is_
I think of it [Eb] as a tambourine with a ton of [N] _ different pitches.
And a very strange looking _ _ _ tambourine, more or less.
_ _ _ _ _ _ _
It's not a _ lead thing.
It took me a while to get there, because all the [Bb] guitar god thing.
It's [G] all lead players.
I never _ connected with that.
These are the rhythm players. _
Honorable mention, [B] Prince and Al McKay, of course.
_ [Gm] _ Greatest _ [Cm] rhythm players ever.
But I [Ab] _ had to go with three. _ _ _ _ _
_ Number one, David Williams. _
[Dm] _ _ [Am] _ _ _ [Bb] _ _ [G] _
_ _ [Gm] _ _ [A] _ [F] _ _ _
_ _ _ _ [G] _ _ _ _
[Bb] _ [A] _ _ [C] David Williams!
Good evening, David.
Good evening, how are you, Ray?
_ _ _ Stratocaster, [Bm] _ Ibanez of some sort.
_ [Gm] [F] And boom, fourth _ position.
_ [G] _
_ _ You're really [A] playing a [N] _
big, big wrist motion, but only hitting one string.
Let's have a look at you doing something.
Don't [Bm] stop till you get enough. _ _ _ _ _ _
_ [E] _ _ _ _ _ _ _
_ _ [Gbm] _ _ _ _ What David Williams did in his own words, is take that rhythm _ [Abm] style_
I have a rhythm style.
And make it the hook of the song, all those Michael Jackson songs.
_ _ _ _ _ Rhythm solos.
_ [N] _ _ _ _
That was all just rhythm guitar, until David Williams.
Took it from the background _ to the front, of being the solo part of the record.
_ _ _ Huge. _
_ _ _ _ David Williams, thank you, David. _ _ _ _ _ _ _
_ _ _ _ _ _ Number two, Nile Rodgers.
_ _ [C] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
Please [G] _ _ _ _ _ _ [Am] _
_ _ _ _ [D] _ _ _ [F] _
_ _ _ [E] give a warm welcome to Mr.
Nile Rodgers.
_ _ _ Currently designing his own [A] beret.
_ _ _ And, _ _ _ uh_
_ It's a lot of work, according to him.
_ _ [C] _ _
_ _ _ _ _ _ _ [F] _
_ _ _ _ _ _ _ [A]
Nile Rodgers is so funky.
Nile Rodgers is so funky.
_ _ _ [D] _ _ _ [N] _
_ _ David, do you think I made this too funky? _ _ _ _
Nile, darling, _ is there such a thing? _
_ _ _ _ _ _ _ _
If we can ever reach that point of being too funky, we go to _ Nirvana.
_ _ I bought this guitar because of Nile Rodgers.
_ _ And, we're gonna go from fourth position, _ into the neck position for Nile.
_ _ Nine gauge strings, low action.
Very classical harmony, very classical harmony.
I mean, I grew up on classical music.
_ Very diatonic also, very diatonic.
I want things to be harmonically interesting.
A lot of rhythm funk guitar, it's all kind of centered around that James Brown _ harmony.
Not [E] Nile Rodgers.
_ _ _ [B] _ _ He's [E] Mozart.
_ I am not a three [B] chord rock guy.
I'm a two [E] chord disco guy.
[B] _ _
_ _ _ _ _ _ _ _
[Gbm] _ [Em] You know, there is one thing that Nile Rodgers and David Williams have in common.
And, it's that eleven chord.
_ _ [A] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [E] Once you get that in your fingers, you can't stop [N] playing it.
Thank you, Nile.
Thank you, Nile.
_ _ Thank you, bro. _ _ _
_ [Gm] _ _ _ [C] _ _ [Ab] _ _
[Bm] Number three, David T.
Walker.
_ [Em] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ Wawa Watson said, _ any recording from the 70's that was funky, it's Wawa.
If it's pretty, it's David T. _
_ My personal favorite, Never Can Say [G] Goodbye. _ _ _ _ _ _ _
_ _ _ _ There's a strip mix on Spotify.
Where [Em] you can really hear David T.
_ _ _ _ _ _ _ _
_ _ _ That's the thing about David T.
_ Is you don't even, he's not very loud in those original mixes.
But, he's kind [G] of making the track.
_ David T.,. of course, the Gibson Birdland. This [N] is some weird _ _ 2013 _ _ _ _ Kalamazoo Midtown thing or whatever. _ But, _ _ my oh my, do I _ _ get so much joy from this instrument. _ I liken it to the day I got my Jamerson P-Bass. And, put the labellas on it and played Jamerson lines. You know, it's very much about the instrument. _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [F] _
_ _ _ [C] _ It's very rare in [Dbm] history to [Dm] find those _ [C] mini moments [B] where someone [Am] altered the [G] course of it. [F] Like when Marley Marle [E] _ sampled _ [Ab] _ drums. [Am] Or, when [Gm] Kevin _ Systrom [Fm] _ did the double [Em] tap like [Dm] on Instagram. _ [C] _ One of those moments [Em] was [B] David T. Walker's _ [E] Pinky. _ _ _ _ _ _ _ _ _ _
One of my favorite sounds is [Gbm] the Harp. _ _ _ [E] _ _ _ _ _ _
_ _ _ _ _ Now a staple of _ any soul. _ _ _ _ _ That was David T. _ _ Can you imagine doing something like that? I [Bb] can't. _ [F] _ _ _ _ _ _ _ _ _
_ _ _ [Gm] _ _ [F] _ _ _
_ See, a guitar like this, you gotta get out of the house. You gotta get out of your comfort zone. I went to a house show in LA. _ [Bb] _ _ Very high pressure [F] situation. Very high [Gm] pressure. [F] _ _ _ _ You know, _ _ dirty eyes and what not. [C] _ _ And, after the show, _ this band Inc. [F] was playing. Blew my mind. After the show, I said, it blew my mind. He said, I want to show you [Cm] a guitar. [Bb] He showed me this Gibson. [F] And, I went home and bought it. Because it's like a Birdland and it's not $10,000. [Dm] _ [Am] Moral of the story, _ [C] get out of the [Fm] house. Go to that show. You never know. _ Okay, you gotta get out of the house. [F] _ _ _ I'm talking to myself. _ _ [Am] _ _ _ _ [Bb] _ _
_ _ _ _ _ [F] _ _ _
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[C] _ _ _ [Gm] _ _ _ _ [F] _
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