Chords for The Gene Watson Interview Part 1
Tempo:
86.3 bpm
Chords used:
Ab
Abm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
There was something I touched on or something that touched me on each and every one of them
because what is extremely unusual about my career, since the beginning I've always had
the freedom to pick and choose my own material, which very few artists have had, especially early on.
But I did, I always picked my own material and everything.
And a lot of times it didn't take too much to spark an idea in my head.
And back there, if I ever heard a song, it seemed like I would hang on to that.
And even if there was something about the song I didn't care for, the good parts of
it would stick with me.
And I carried demos, I've recorded songs that I've carried the demos for five years, six
years, even ten years, I've carried old demos that there was something about this song
that I knew was great.
Maybe some of it wasn't, but that's the way it's been throughout my career.
I mean, because I always had to second guess myself, since I had the freedom to pick and
choose my own material.
I thought, well, you know, just because I like this, does that mean everybody's going
to like it?
So I had to back up and rethink it.
And I tried my best to put everything in perspective.
I've got to like the song, I've got to feel it, I've got to live it.
I've got to have the emotion in the song.
Can I do that when it's about someone else, about something that happened [N] to someone else,
about something that's never happened to me?
And so it's a real wild association, I guess, between the song and Gene Watson.
But I tried to use this process on just about every song that I heard.
Some of them were automatic.
I knew the minute I heard them that they were going to be good songs.
No one knows whether they're going to be a hit or not.
But it's a whole lot easier to record a song that you really, really like.
But on the other hand, it's kind of hard to, like Paper Rosie was, it's hard to record
one that you're not just in love with.
Well, Farewell Party.
I love that song.
It's sad and it's down as it was.
I love that song.
I was singing that song before I ever went in the recording studio to record it.
And I mean, I had so many people that told me, please don't record that song.
It's so morbid, you know, it's, I mean, don't.
And I had a lot of people tell me that.
In fact, [Ab] Jim Williams, the engineer on that [Abm] session, he thought it was a waste of tape.
But there again, Russ Reeder, my manager producer at the time, he knew if I wanted to do it,
he wasn't going to stand in my way because I was, you know, I was bound and determined
to do it.
So I took the tail end of a session when I recorded that song and recorded it in one take.
So that kind of made, you know, the tension easier.
I mean, people really kind of listened to it, you know, when I would say, hey, this
is my song, I want this song, you know.
Should I come home, should I go crazy, a Joe Allen song.
I thought that was a great song the first time I heard it.
And it's so funny because my producer had a habit of grading songs.
When he would listen to demos, he would grade them and try to pick them before I ever [N] heard them.
So he would kind of cut down on the field.
And he graded this song like a 35, which is don't get cut, you know.
I walked through and Joe was playing it for him and said, I really think, you know, this
is a good song.
Joe had recorded the song himself.
And I just heard the tail end of it.
And even though it was graded a 35, I said, hey, let me hear that.
I like that.
And I cut it on session the next day after I heard it.
And it was a number one song.
because what is extremely unusual about my career, since the beginning I've always had
the freedom to pick and choose my own material, which very few artists have had, especially early on.
But I did, I always picked my own material and everything.
And a lot of times it didn't take too much to spark an idea in my head.
And back there, if I ever heard a song, it seemed like I would hang on to that.
And even if there was something about the song I didn't care for, the good parts of
it would stick with me.
And I carried demos, I've recorded songs that I've carried the demos for five years, six
years, even ten years, I've carried old demos that there was something about this song
that I knew was great.
Maybe some of it wasn't, but that's the way it's been throughout my career.
I mean, because I always had to second guess myself, since I had the freedom to pick and
choose my own material.
I thought, well, you know, just because I like this, does that mean everybody's going
to like it?
So I had to back up and rethink it.
And I tried my best to put everything in perspective.
I've got to like the song, I've got to feel it, I've got to live it.
I've got to have the emotion in the song.
Can I do that when it's about someone else, about something that happened [N] to someone else,
about something that's never happened to me?
And so it's a real wild association, I guess, between the song and Gene Watson.
But I tried to use this process on just about every song that I heard.
Some of them were automatic.
I knew the minute I heard them that they were going to be good songs.
No one knows whether they're going to be a hit or not.
But it's a whole lot easier to record a song that you really, really like.
But on the other hand, it's kind of hard to, like Paper Rosie was, it's hard to record
one that you're not just in love with.
Well, Farewell Party.
I love that song.
It's sad and it's down as it was.
I love that song.
I was singing that song before I ever went in the recording studio to record it.
And I mean, I had so many people that told me, please don't record that song.
It's so morbid, you know, it's, I mean, don't.
And I had a lot of people tell me that.
In fact, [Ab] Jim Williams, the engineer on that [Abm] session, he thought it was a waste of tape.
But there again, Russ Reeder, my manager producer at the time, he knew if I wanted to do it,
he wasn't going to stand in my way because I was, you know, I was bound and determined
to do it.
So I took the tail end of a session when I recorded that song and recorded it in one take.
So that kind of made, you know, the tension easier.
I mean, people really kind of listened to it, you know, when I would say, hey, this
is my song, I want this song, you know.
Should I come home, should I go crazy, a Joe Allen song.
I thought that was a great song the first time I heard it.
And it's so funny because my producer had a habit of grading songs.
When he would listen to demos, he would grade them and try to pick them before I ever [N] heard them.
So he would kind of cut down on the field.
And he graded this song like a 35, which is don't get cut, you know.
I walked through and Joe was playing it for him and said, I really think, you know, this
is a good song.
Joe had recorded the song himself.
And I just heard the tail end of it.
And even though it was graded a 35, I said, hey, let me hear that.
I like that.
And I cut it on session the next day after I heard it.
And it was a number one song.
Key:
Ab
Abm
Ab
Abm
Ab
Abm
Ab
Abm
_ _ _ _ _ _ _ _
_ _ _ There was something I touched on or something that touched me on each and every one of them
because what is extremely unusual about my career, since the beginning I've always had
the freedom to pick and choose my own material, which very few artists have had, especially early on.
But I did, I always picked my own material and everything.
And a lot of times it didn't take too much to spark an idea in my head.
And back there, if I ever heard a song, it seemed like I would hang on to that.
And even if there was something about the song I didn't care for, the good parts of
it would stick with me.
And I carried demos, _ I've recorded songs that I've carried the demos for five years, six
years, even ten years, I've carried old demos that there was something about this song
that I knew was great.
Maybe some of it wasn't, but that's the way it's been throughout my career.
I mean, because I always had to second guess myself, since I had the freedom to pick and
choose my own material.
I thought, well, you know, just because I like this, does that mean everybody's going
to like it?
So I had to back up and rethink it.
And I tried my best to put everything in perspective.
I've got to like the song, I've got to feel it, I've got to live it.
I've got to have the emotion in the song.
Can I do that when it's about someone else, about something that happened [N] to someone else,
about something that's never happened to me?
And so it's a real wild association, I guess, between the song and Gene Watson.
But I tried to use this process on just about every song that I heard.
Some of them were automatic.
I knew the minute I heard them that they were going to be good songs.
No one knows whether they're going to be a hit or not.
But it's a whole lot easier to record a song that you really, really like.
But on the other hand, it's kind of hard to, like Paper Rosie was, it's hard to record
one that you're not just in love with. _ _ _ _
_ Well, Farewell Party.
I love that song.
It's sad and it's down as it was.
I love that song.
I was singing that song before I ever went in the recording studio to record it.
And I mean, I had so many people that told me, please don't record that song.
It's so morbid, you know, it's, I mean, don't.
And I had a lot of people tell me that.
In fact, [Ab] Jim Williams, the engineer on that [Abm] session, he thought it was a waste of tape. _
But there again, Russ Reeder, my manager producer at the time, he knew if I wanted to do it,
he wasn't going to stand in my way because I was, you know, I was bound and determined
to do it.
So I took the tail end of a session when I recorded that song and recorded it in one take.
So that kind of made, you know, the tension easier.
I mean, people really kind of listened to it, you know, when I would say, hey, this
is my song, I want this song, you know.
Should I come home, should I go crazy, a Joe Allen song.
I thought that was a great song the first time I heard it.
And it's so funny because my producer had a habit of grading songs.
When he would listen to demos, he would grade them and try to pick them before I ever [N] heard them.
So he would kind of cut down on the field.
And he graded this song like a 35, which is don't get cut, you know.
_ I walked through and Joe was playing it for him and said, I really think, you know, this
is a good song.
Joe had recorded the song himself.
And I just heard the tail end of it.
And even though it was graded a 35, I said, hey, let me hear that.
I like that.
And I cut it on session the next day after I heard it.
And it was a number one song.
_ _ _ _ _ _ _ _
_ _ _ There was something I touched on or something that touched me on each and every one of them
because what is extremely unusual about my career, since the beginning I've always had
the freedom to pick and choose my own material, which very few artists have had, especially early on.
But I did, I always picked my own material and everything.
And a lot of times it didn't take too much to spark an idea in my head.
And back there, if I ever heard a song, it seemed like I would hang on to that.
And even if there was something about the song I didn't care for, the good parts of
it would stick with me.
And I carried demos, _ I've recorded songs that I've carried the demos for five years, six
years, even ten years, I've carried old demos that there was something about this song
that I knew was great.
Maybe some of it wasn't, but that's the way it's been throughout my career.
I mean, because I always had to second guess myself, since I had the freedom to pick and
choose my own material.
I thought, well, you know, just because I like this, does that mean everybody's going
to like it?
So I had to back up and rethink it.
And I tried my best to put everything in perspective.
I've got to like the song, I've got to feel it, I've got to live it.
I've got to have the emotion in the song.
Can I do that when it's about someone else, about something that happened [N] to someone else,
about something that's never happened to me?
And so it's a real wild association, I guess, between the song and Gene Watson.
But I tried to use this process on just about every song that I heard.
Some of them were automatic.
I knew the minute I heard them that they were going to be good songs.
No one knows whether they're going to be a hit or not.
But it's a whole lot easier to record a song that you really, really like.
But on the other hand, it's kind of hard to, like Paper Rosie was, it's hard to record
one that you're not just in love with. _ _ _ _
_ Well, Farewell Party.
I love that song.
It's sad and it's down as it was.
I love that song.
I was singing that song before I ever went in the recording studio to record it.
And I mean, I had so many people that told me, please don't record that song.
It's so morbid, you know, it's, I mean, don't.
And I had a lot of people tell me that.
In fact, [Ab] Jim Williams, the engineer on that [Abm] session, he thought it was a waste of tape. _
But there again, Russ Reeder, my manager producer at the time, he knew if I wanted to do it,
he wasn't going to stand in my way because I was, you know, I was bound and determined
to do it.
So I took the tail end of a session when I recorded that song and recorded it in one take.
So that kind of made, you know, the tension easier.
I mean, people really kind of listened to it, you know, when I would say, hey, this
is my song, I want this song, you know.
Should I come home, should I go crazy, a Joe Allen song.
I thought that was a great song the first time I heard it.
And it's so funny because my producer had a habit of grading songs.
When he would listen to demos, he would grade them and try to pick them before I ever [N] heard them.
So he would kind of cut down on the field.
And he graded this song like a 35, which is don't get cut, you know.
_ I walked through and Joe was playing it for him and said, I really think, you know, this
is a good song.
Joe had recorded the song himself.
And I just heard the tail end of it.
And even though it was graded a 35, I said, hey, let me hear that.
I like that.
And I cut it on session the next day after I heard it.
And it was a number one song.
_ _ _ _ _ _ _ _