Chords for PJ Morton Demonstrates his Writing Process

Thank you all for coming.
This is part of the master plan.
Alright, now I'm going to ask Mark Hibbard to play and show us his songwriting process. _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [G] _ _ _ _ _
_ [D] _ _ [A] _ _ I'll have [D] a melody and I'll play it and I'll know what I want to sing.
[G] And it's just kind of [A] mouthing.
It's not even saying [D] real words.
But I heard [G] Paul was saying, he had a dream and he woke up and he just kept [D] saying,
Cheese and eggs, cheese and eggs.
He just knew what he wanted it to sound like.
And eventually it became, yesterday all my [Bm] troubles seemed so far away.
You know what I'm saying?
So it's like, there's a [Ab] song I did.
I was in London and it's called Mary.
But [Bb]
it goes,
There was this girl, her name [Ab] was Mary Sue.
But it started off, I was just like,
Oh, no, dear, no, I don't even care.
And I had a camera with [C] me on that hole.
I was in London.
And I had never seen myself write before, you know, but it was kind of like, _
I wasn't saying anything at all, but I knew what I wanted it to feel like.
It's kind of like you mouth [A] certain things to see what it feels like, you know,
and sometimes [Gb] I'll have a whole kind of a pattern type of [C] thing.
I used to play this [A] all the time.
_ _ [Am] _ _ _ [Bb] _
I used to play it all the time, [A] like over and over.
And I knew it was [F] pretty, you know, but I didn't know [Cm] that I wanted to.
And then it became a song.
[D] I need to [F] know, will you be there?
Are you for sure?
Can't [Eb] take the pain.
Not [G] anymore.
I need to [Bb] know.
_ _ So sometimes it [Bb] comes where I have melody.
And I know what the song, even with the vocal melody is supposed to sound like, but don't have words yet.
And then then sometimes I just have because I'm [D] a musician and I'm playing all the time,
I'll come up with [G] little things and people are like, what song is that?
And I'm like, it's not a song yet.
So that also happens as well as _ sometimes.
And this is the rarest form for me.
But I'll hear something.
I'll hear somebody say something and I'll get out my phone or something like that and put it in the notes and just write a line and know that I want that to be in a chorus.
So I wanted to I want to talk about that, something like that.
And then eventually I'll revisit it and it'll become a song.
So those are really my three different approaches [F] to writing.
I have to say [G] there are there are some producers who give me tracks and whatnot, but I don't really do too well with that, I guess, because I wasn't there for the building of the track.
So it's kind of like I wasn't there for that experience.
And usually unless it's work music, like I tell you, where it's something I have to do because I got to pay [Bb] bills.
I'll make it work and I'll get inspired by the track and kind of get into it.
But that doesn't usually happen naturally. _ _ _ _
Would you mind playing this your favorite song?
My favorite song of mine?
_ _ _ _ I [Gb] still have a cold, but this this is my favorite.
I have favorite [Eb] songs for different reasons. _
And this is [N] my favorite song.
It's another song that I wrote while I was over in London.
I get really inspired when I'm over there.
I'm actually going there tomorrow to work on some stuff, but because it's a different place and it feels real far away, you know, and it kind of puts you in a certain space.
But this song is it's my favorite because it's a concept that I never heard anybody.
I almost felt like I didn't write it.
I was like, oh, man, it's a cool song.
It's a concept I never heard before.
And it's about kind of being in love with two different people being kind of being confused.
How the real story went was, you know, I was in love with this girl and it ended.
It ended and I moved on and thought that was really over, you know, and a lot of it was because she was kind of out of sight.
So I didn't really have to even visit that.
And then I moved on, got [Ab] another girlfriend, fell in love.
And _ my ex came and I saw her and I was like, man, I'm not quite over this.
And she was like, well, maybe we should try again or, you know, say it put me in a really [Gb] weird place.
But it's called Two Hearts.
[Bb] _ _ _ _
_ [Ebm] _ _ [Ebm] _ _ [Ab] I've got two [Ab] hearts in my hand.
What should I do?
[Ebm] I have to put one heart down [Gb] so I can have one in free.
_ [Ab] So I can love totally.
_ _ _ [Abm] I've got [Gb] two hearts in my [Ebm] hand.
Too much to choose.
And in this game, there is no [Gb] time.
It's no fun.
But one has to lose.
[Ab] No one [B] leaves [Gb] unbroken.
_ See, I have got [B] two [B]
hearts.
One [Gb] too many.
[Dbm] I have [B]
got two hearts.
Two is [Gb] plenty. _
_ [Bbm] But something's gotta get done.
Gotta get back to [Ab] one.
But I [Abm] just don't know where to [B] start with [Ebm] these two hearts.
_ _ [Ab] _ _ [Ebm] _ _ _ _
I've got [Ab] two hearts.
Unfortunately, [Ebm] it happened this [Ab] way.
And there's a [Ab] fork in the road [Gb] trying to choose which [B] way to go.
_ [Ab] _
[Gb] I just don't [Bbm] know.
_ _ [Gb] I've got two hearts.
Oh, [Ebm] doctor, please [Ab] remedy this.
The hearts have grown much too.
And soon they won't be [B] able to fit.
I can't handle [Bbm] it.
[Ab] See, I have [B] got two hearts.
One too many. _ _
I've got two hearts.
[Gb] Two is plenty.
_ _ But [Ebm] something's gotta [Bbm] get done.
Gotta [B] get back to one.
But [E] I just don't know [Abm] where to start [B] with these two [Ab] hearts. _ _ _ _