Chords for John Nemeth - Memphis Grease Promo

_ _ [Fm] _ _ [Eb] _ _ [Bb] _ _
[Fm] _ _ [Bb] _ _ _ _ [Fm] _ _
[Eb] _ _ _ _ [Bb] I'm originally from Boise, Idaho, born and raised.
[Ab] I got my start playing the Grub Steak [D] Saloon in a town called Horseshoe Bend, Idaho.
And then a cat named Junior Watson rolled into town and I opened a show for him.
[Bb] And he said, hey, you know, do you want to go out on tour with [Eb] me?
So I toured around the country and then after [Db] that my [Bb] girlfriend at the time decided she
was going to move to San Francisco.
_ I couldn't let the girl [F] go down there by herself, so I picked up and went down with her.
And _ we stayed in San Francisco and then we moved to Oakland.
We were [Bbm] there for about 10 or 11 years.
[Bb] And [Abm] then decided it was time to relocate, so [Bb] we moved out here to Memphis, Tennessee.
I'd first heard John Namath's music on [F] a radio station in Memphis called [Bb] WEVL FM 90.
I remember hearing it and thinking, man, this guy's really good.
You [F] know, it sounds maybe like it's an old [Dm] record, but it sounds new [Eb] at the same time.
I'm like, [Eb] I've got to find out who this [F] guy is.
Scott and I [Db] got hooked up through a publicist named Nick Los Eaton.
Nick had _ contacted me and [Bbm] said, hey, you ought to consider [Bb] going down to Memphis and making
a record with this cat, [Ab] Scott Bomar.
He has a band [Bb] called The Bo Keys.
And the timing was [F] impeccable because coincidentally I had been listening to a Bo Keys record
that my drummer at the time had been playing for us in the van.
And I remembered [F] hearing the drummer on the [Bbm] record.
And [D] the first time my drummer [Bbm] played it, I knew that that was [F] Howard Grimes.
I knew that was the [Bbm] same guy [Gb] on the Bo Keys record [Bb] that was on the O.B. Wright,
Syl [F] Johnson, [Bbm] and People's [Eb] records.
And Al Green.
[Bbm] And [F] so when Nick contacted me about this, I jumped at the chance.
I thought this was great.
I love the sound of the Bo [E] Keys records and love all the players and the way it's produced.
He [E] said, you know, I'm going to be moving to Memphis in a [D] couple of months.
And I'd love to come [G] in and do [E] my next record with you and have the Bo Keys back me up on it.
And I [Am] thought, you know, that sounds great.
And we kept in touch and he sent me his demos for the [A] record.
And I thought the songs [E] were all really great.
They took those demos, they listened to them, and they said, well, this is how we do it here in Memphis.
_ [Am] _ _ _
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_ _ _ _ [D] _ _ [G] _ _
[A] _ _ _ _ [Am] _ _ _ _
You're in a bottle, [C] _ [A] can't clean me up.
Everything I [Am] need is in that lovin' cup.
[A] Keep the lovin' [Am] _ comin'.
[A]
Yeah.
[Am] Keep the lovin' _ comin'.
_ _ Keep the lovin' [D] comin'.
[G] Everything will be alright.
[A] _ _ [Am] _ _
[Eb] John's [Db] record was [Eb] recorded all [Bbm] live.
And [Eb] his vocal takes [Bbm] are, I think for the most [Eb] part, the ones that [Db] were tracked live with the [Eb] band.
And the horns and the background [Ebm] vocals and the percussion [Ab] were overdubbed.
But [Eb] everything else, you know, was pretty [Bbm] much live and [Eb] all done [Db] down to a one-inch [Eb] eight-track tape machine.
And [Ab] what you hear on John's record is only eight tracks [Eb] on every song.
One [Db] thing I was impressed [Eb] about Scott's studio, [Db] Electrophonic, [Gb] was [Ab] after he'd cut the [Eb] song,
we'd [Gb] go in and take a listen to [Ab] it.
And [Gb] it just sounded [Eb] amazing on the [Gb] playback.
[Ab] And the great [B] thing about it is from [Ab] playback [B] to the final [Ab] master, [B] there isn't that big of a difference.
[Eb] So you know a guy's doing it right the first time.
[Ab] When it sounds like [Eb] you want it to sound when you go into the control room and listen to it,
I thought that was amazing.
That was a real [Db] shocker.
And he's got a great sound in [Ab] control room.
One of the things about [Eb] John's record and the process that I like so [Gb] much is how live [Ab] the record is.
[Eb] _ [Gb] And how it [Ab] was all recorded, [Gb] mixed, analog [Eb] all the way through.
[Gb] There are not a lot of records [Ab] these days that are done [B] on analog.
But [Ab] John's record, it was [B] entirely [Ab] recorded and [B] mixed on a one-inch eight-track.
All in all, man, I think [Bb] this is a slamming record.
[Db] _ _ [Ab] We cut it [Eb] all in just a [Bb] couple days [Db] of recording time.
[Ab] And the band just knocked it out.
_ I had a [Eb] great time working with the band and working in this studio.
[Db] Probably [Ab] the easiest studio experience I've ever had.
[E] _ _ _
[C] _ _ _ [Am] _ _ _ [F] _ _
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[Am] _ _ [Gm] _ _ [F] _ _ _ [C] _
You _ [Ab] live your life [Am] long and wide
[Gm] Walking [F] broke just [C] above the fire _
Your [E] candlelight's burning bright
[Gm] _ _ [F]
Someday it won't [C] burn the night
_ _ Living, [E] falling, [Am] loving, fast
_ [F] Someday that good [C] luck won't last
[A] _ [C] You're breaking [Am] many a