Chords for RIVAL SONS: Talk to Whispering Bob Harris at Google HQ, London

[G] _ [Dm] _ _ _ [Am] _ [Em] _ _ [Dm] _
_ [Gb] _ _ [G] _ _ _ _ [N] _
_ [D] _ _ [A] _ _ [F] _ _ [D] _
_ _ _ [C] So we're here at Google headquarters in central London [D] with Scott and Jay from Rival Sons
and I have in my hand a copy of the new album.
This is really a fantastic album.
It's got so much power to it.
_ _ _ [Am] _ _ _
[F] Choice of Nashville then as the location for the recording of [C] this record?
[D] For the last two records we've gone to Nashville [Gm] because our producer that we [D] like to work
with [Em] who's done all of our [Dm] records, Dave Cobb, he moved [Bm] out to Nashville [D] and he took all
of his toys with him.
[Am]
So [Dm] that's where we go to make records now.
_ _ One of the things that I know about [C] Nashville is that the music business infrastructure
still [Ab] exists there, doesn't it, in a way that possibly [Dm] it doesn't exist in other cities?
Sure, I think a little bit of that.
_ But I like the whole, there's just obviously the huge history that we're [C] connected to,
the huge history of music that comes from that area.
Even this time while I was there making this record I took a trip to [F] Memphis, which is
just right outside anyway, so I kind of connect Memphis and Nashville.
They're right there, you know?
I went to Graceland, saw Sun Records and Stax is there and I think we're really connected
to all of that and it's just a beautiful part of the country.
Whenever we go there to make records, we're in such lockdown mode that [D] there's very little
going out and even [Am] seeing the city, [D] you know, but in six weeks, but just a couple of times
during Super Bowl Sunday, it's got to go down, you [Ab] know, during that weekend.
[Dm] So then I stayed in Nashville for those two days.
Ike Eowyns came in and we took care of Keys, you know, all of the Keys at that time and
he killed it.
He's a very well established player from the Mars Volta to now he plays with Jack White
and he's from Long Beach and Long Beach is a ball star.
Sure, yeah, and I think this is a testament to what [G] you're saying about Nashville.
It's like we go there [Dm] and our buddy is there already.
The music lands.
So here's our buddy that's from where we live, he's out there working [C] too.
And we recruited another fella named Mike Webb who plays with the Black Crows to do
[Am] a little piano and Hammond and stuff.
[G] He was around the corner, literally.
Well, this is what I love about Nashville, the sense of [F] community you get there because
nobody's more than about 20 minutes away, are they?
You can certainly find [G] somebody in there in the studio.
And the [Dm] Southern Comfort thing, it really exists there.
It seems very mythological, like you would think, there's no way that still exists.
That's some old West myth, you know, and [C] you show up there and from the person who checks
you out at the [G] grocery store to the person who sits you down at the restaurant to the
[F] fella at the studio or whatever, they're all super wonderful.
And nice.
Yeah, it's okay to strike up a conversation with the person that's checking your groceries.
That's [A] right, that's exactly right.
And they're delightful.
[Gm] They're like amazing people, [Eb] it's cool.
Hey.
[C] Hello.
[G] Oh, hi.
[C] Welcome, we've been waiting for you, [G] man.
[Eb] So here you [B] go.
[Em] This little tiny area is where we'll be.
I'm standing [C] here, [Eb] NASA Control Center.
[C] So then the sound of this album, because, you know, I've already used the word, but
the power of the sound of this album, it's a big, big sound, isn't it?
So in a sense, it's Rival Sons plus, isn't it?
So what were your thoughts, you know, when you're thinking, right, what sound do we want?
How are we going to put these songs into a music [G] casing?
I think, you know, like, I think there's a number of factors [F] there.
Well, sure, it's been a progression.
Yeah, if you're going to talk about power, Michael Miley, [C] _ his playing on this record
to me is his best.
Watching him play every day was a delight because it seemed that his attack was ultra-musical [F] this time.
Just something [Ab] a little bit different, [C] and I think that switching things up and bringing
Dave Bestie [Ebm] in can definitely contribute to that.
That's definitely a factor.
From my standpoint, I knew [Am] guitar-wise what I've been molding each record.
I've kind of gone into the studio with an [A] idea of a few tones and a few angles and how
I wanted things to push and kind of how I wanted the sonic landscape to be.
We used a different engineer [G] this time as well, John Nettie, who was great.
Fantastic.
He was just great.
The tones we were working with in the studio, just like Scott said, just pushing [C] everything
a little bit [G] harder, even when it came to mixing.
So song [D] selection [G] for the album, did you all come into this record with a, you know, how
did the [F] songwriting process take [C] place?
Well, we talked to you last time.
Last time we were on the show and [G] we spoke, it's the same way, actually.
We have ideas, but the band doesn't share [Bb] ideas.
If I have [C] ideas, I don't share them.
This riff I was telling you about for Playful, never shared it.
I know Jay writes constantly on the road and when we're at home, I don't hear anything at all.
So we don't share anything until we get together, because what we're trying to do is capture immediacy.
We're trying to capture the spark, the moment creation happens and we get inspired.
The moment he plays me something, how I'm feeling and what I want to contribute, it
happens right there.
If I play something good, he'll react and how all the four of us are doing.
We want to capture that.
So then for tour date information, _
[Gm] basically we just Google Rival Songs tour date.
Because [C] there are dates in the book in America already, aren't there?
And over here in Europe as well.
[G] In about early June we begin.
[F] We're in Scandinavia and we're over here in the UK and all over [C] the place in Europe and
back in America and in Canada.
So it'll start in June and probably [F] just won't end ever.
[C] Do you have a session for my radio show?
Of course, looking forward to that.
And [G] the songs that you're about to do now in performance here, just tell us about the two songs.
We're going to do one song that is the current single rolling in Europe and the States.
[Am] It's called Open My [G] Eyes.
[C] We've actually just kind of come up with an improvised kind [A] of version because I'm playing
it in an [G] alternate tuning.
We're just going to kind of make it up as we go.
It's really interesting.
I'm not exactly sure what we're going to get.
It's really going to be [Am] very off the cuff there.
And then we're going to do another [G] song.
It's called Where I've Been.
And it's a song that's later in the track listing on the record.
It's a slower, [F]
soulful ballad.
[D] [C] It's like a country waltz.
Well, yeah.
It's a waltz.
[G] It's about, you know, allowing yourself to be loved despite your nefarious [F] past, I guess.
_ _ _ [C] _ It's the Rival Sons [G] here, playing for Google.
And we'll see you back in the UK really soon.
Great to see you, Bob.
Thank you so much, Bob.
Yeah, it was [F] good.