Chords for Vince Gill playing our 1941 Gibson SJ-200 Rosewood | On The Couch at Norman's Rare Guitars
Tempo:
118.65 bpm
Chords used:
G
Bb
C
Ab
Gb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Hey everybody, Norm over here [B]
and we're sitting on the couch with [E] an old friend of mine that I've known for a long [C] time.
40 years!
That's right, [Em] the great Vince Gill.
We got Nick Dyess [G] over here and Mark Agnese.
And Vince is playing this crummy Rosewood.
[Abm] Sorry about the three issues.
These three issues are [D] all back to easy.
Really nailing it.
They're really getting it done, aren't they?
[Bb] Kind of a one of a kind with a [Ab] horseshoe on the end of the fingerboard.
Rosewood from [A] 1940.
1941.
[E] That's the guitar on the cover of Norm's new book right there.
That's the one Norm's holding on the cover of [G] the book.
Which I've read.
You read it?
Yeah, heck yeah.
Oh man.
Absolutely.
I'm telling you, I need an illiterary agent.
[G]
[Bb] So, and Vince is out here playing with this band you might not have ever heard of.
Just getting started.
The Eq-Bud.
A lot of promise.
I saw them last night.
It was a great show, man.
You had some good guitars out there.
How many did you bring?
Because I remember there was the Gold Top.
And the 59 Burst.
There was a [Ab] Burst and a Gold Top.
And the Tele.
There was the [G] Lake Placid Blue Series II Thinline Tele.
That actually is a Charles [Gb] Whitfield guitar.
Oh, [F] that was a cool guitar.
[C] And what, a triple O, a triple O 18?
[F] Quad-Os.
We got [E] one of those over there.
Yeah, those are cool.
They've got that Indian, no, what is it called?
What's the name of that wood?
Sinker.
Sinker [G] Mahogany he calls it.
They found this [Ab] wood from 100 years [B] ago [G]
and they're making some guitars out of it.
They sound good.
They really do.
There's [Bb] truth in the age of that wood.
It really makes a difference.
So there is something to this old guitar stuff.
[Gb] There sure is.
My ears haven't lied to me [Eb] yet.
[C]
So Mark, [Bb] what are you holding over here?
This is a 28 triple O 45.
[Bb] First year for Steel String.
[G] So this is when they really started getting hip. Started bracing.
Yeah, handled a big string.
And Nick over [Ab] there has an OM 18 from [G] 1932, shaded top.
Very unusual guitar.
Gorgeous, and it's [G] light as a feather.
[Gm] We're acoustic -ing it [Gb] out.
We're kumbaya-ing.
That's right.
So it's a guitar love kind of thing over here.
And it's great to [Bm] see you, and so you're enjoying the [G] Ziegels.
Oh man, it's unbelievable.
[D] Feel good [G] too.
How long is that set?
Was it two and a half?
Two and a half [Cm] hours.
It's just like one after another after another.
[B] Just when you think they're done, [G] then Joe does a couple solo [C] tunes,
and then Henley does a couple solo tunes.
[A] There's a lot of times I just look [G] over and go,
[D] what am I doing up here?
Well, you [Am] are the most laundry-clothed guy there ever was.
It's been a lot of fun.
Glenn was [C] a great friend of mine, 35, 40 years.
[Gb] And if you close your eyes, man, Deacon,
you [Ab] look just like him, it sounds just like him.
[G] Blood is blood, man, it's pretty cool.
[Eb]
That's great.
Yeah, it's been fun.
What a legacy to get to [Bb] carry on.
So do you carry a lot more guitars than what Mark saw there?
[A] I usually carry what I need.
[Gb] And my role [G] isn't that much guitar-oriented as much [N] as it is singing,
because they've got Stuart Smith, who's a world-class guitar player,
I've been playing with him for 18 years.
He had a bunch of stuff out too.
Yeah, Stuart's great.
He's played on my records over the years.
We've been [Bb] friends for over 30 years.
And him and Joe kind of handle the majority of the step-out stuff.
Although you ripped a couple.
I had a couple of them.
Let me have a couple.
[G] So now you've got a neighbor [Bb] in Nashville, Joe Bonamassa [G] moves down there.
Joe and I are friends, have been friends.
We're mutual friends, played in my band for a long time.
Michael Rhodes plays bass.
Michael's great.
He's an [Bb] amazing player.
Joe and I recorded something together.
He cut one of my [G] songs a few years ago.
[Gb] I went and played on a couple of songs on one of his records.
I can't remember the name of the record.
[F] But that's the real deal, boy.
He can play.
Yeah, it's fun.
I've known him since he was 12.
Really?
He was killing [B] at that point.
You can [Bb] tell.
It's in the midst, guys like that.
Absolutely.
So you were originally from Oklahoma, and [Eb] then you moved out here when you were how old? [Bb] 19.
I came out here and joined a bluegrass [Db] band with a fiddle player named Byron Berland.
He did the regs, too.
It took a lot of courage to be 19 years old and move here with a banjo.
[Ab] That's simple.
[G] But I stayed out here for about eight years.
I really loved it.
Played with Byron for a long time, played with Cure Prairie League for a few years,
and then started making my own records in the early 80s,
playing with other people like Rodney Crowell, Roseanne Cash, a little bit with Emmy.
[Ab] So that whole core people were all out here at the time.
Do you know Roseanne's husband?
Yeah, Johnny Levinthal.
He's a great guitar player, and he produced a record [Bb] that is one of my favorite records in the [Bb] last,
I don't know how many years, with a guy [F] who used to be with Stax, William Bell.
William [Bb] Bell.
Did you hear that record?
I don't know it, no.
But I know Johnny. It's [G] stunning.
The horns are like, you know, it sounds like old Stax horns, but it's very lean and clean,
and William Bell's one of the great singers of [Bbm] all time.
And he's hanging with a talented [N] guy.
John has a great mind for orchestration and arranging and just what's necessary.
[Eb] You know, it's funny.
I'm friends with Jimmy Vovino, [E] and when I heard that record, this William [Bbm] Bell record,
I immediately called Jimmy and I [Bb] said, hey, man, did you hear this record?
You're going to love this.
And then I said, this guy, John Levinthal, he says, ah, I'm buddies with John.
And he gave me John's [G] number, and I just called him up out of the blue.
I didn't know John at all, and I just said, man, I've got to congratulate you.
[Gb] Man, you did, you know, one of my all-time favorite records.
And he said he was really cool when he came out here and we met.
I think he gave everybody a [Ab] copy of that record.
[Gb] Yeah, yeah.
He was [Em] passing them out.
Yeah, I first came to know [E] John through his [Gm] association with Sean Coleman.
[G] He played on one of his early records, [B]
produced him, I think, I don't [G] know, a talented man.
[Bb] Well, one of the greats, and [A] just gets a tremendous tone.
He's got [Bbm] that telly with the humbucker in there.
[G] There's one on every corner, isn't there?
Yeah, sure [E] is.
That's what I tell everybody at home.
I said, be nice to that guy serving you breakfast.
He's probably better than you.
[Bb] Yeah, just never know.
Can you strum a little bit on that thing?
Oh, my God, yeah.
[G] The tone on this thing is.
It just blossoms into all sorts of tones.
I know, and there's nothing else you need to say.
And a great instrument [Gm] like that, the way you get to sit and hear it is, there's no other place.
I mean, it's pretty cool to sit in front of a guitar and hear it, too.
You hear it differently.
But when it's against you, man, you really speak.
You feel it, feel it breathe.
[C] Yeah.
[Am] [G]
[C] Wow.
And you hear great guitars like this, and a [F] lot of times people associate guitars that are [B] loud with being [N] great.
Volume and tone are two different [C]
concepts.
You can just hear how [G] good that would sound on a record, just with that length of that sustain.
[C]
It's like Spinal Tap.
I have to go to the gym to buy it.
I still don't.
It'd be better if I could tune it.
You're looking at the wrong guy, buddy.
You're looking at a mighty good good me.
[G] Well, I [C] just got to say thank you.
It's an honor, as always.
Nice to meet you, [D] buddy.
Nice to see you, boys.
[Bb] All right.
Great to meet you.
The great Vince Gill.
If you haven't seen The Eagles, you've got to go see them.
They've got the best of the best over [Gbm] here.
And the band has [E] got the best tunes.
[Bb] And they've got some really great singing and great playing.
And we'll see.
Thanks.
and we're sitting on the couch with [E] an old friend of mine that I've known for a long [C] time.
40 years!
That's right, [Em] the great Vince Gill.
We got Nick Dyess [G] over here and Mark Agnese.
And Vince is playing this crummy Rosewood.
[Abm] Sorry about the three issues.
These three issues are [D] all back to easy.
Really nailing it.
They're really getting it done, aren't they?
[Bb] Kind of a one of a kind with a [Ab] horseshoe on the end of the fingerboard.
Rosewood from [A] 1940.
1941.
[E] That's the guitar on the cover of Norm's new book right there.
That's the one Norm's holding on the cover of [G] the book.
Which I've read.
You read it?
Yeah, heck yeah.
Oh man.
Absolutely.
I'm telling you, I need an illiterary agent.
[G]
[Bb] So, and Vince is out here playing with this band you might not have ever heard of.
Just getting started.
The Eq-Bud.
A lot of promise.
I saw them last night.
It was a great show, man.
You had some good guitars out there.
How many did you bring?
Because I remember there was the Gold Top.
And the 59 Burst.
There was a [Ab] Burst and a Gold Top.
And the Tele.
There was the [G] Lake Placid Blue Series II Thinline Tele.
That actually is a Charles [Gb] Whitfield guitar.
Oh, [F] that was a cool guitar.
[C] And what, a triple O, a triple O 18?
[F] Quad-Os.
We got [E] one of those over there.
Yeah, those are cool.
They've got that Indian, no, what is it called?
What's the name of that wood?
Sinker.
Sinker [G] Mahogany he calls it.
They found this [Ab] wood from 100 years [B] ago [G]
and they're making some guitars out of it.
They sound good.
They really do.
There's [Bb] truth in the age of that wood.
It really makes a difference.
So there is something to this old guitar stuff.
[Gb] There sure is.
My ears haven't lied to me [Eb] yet.
[C]
So Mark, [Bb] what are you holding over here?
This is a 28 triple O 45.
[Bb] First year for Steel String.
[G] So this is when they really started getting hip. Started bracing.
Yeah, handled a big string.
And Nick over [Ab] there has an OM 18 from [G] 1932, shaded top.
Very unusual guitar.
Gorgeous, and it's [G] light as a feather.
[Gm] We're acoustic -ing it [Gb] out.
We're kumbaya-ing.
That's right.
So it's a guitar love kind of thing over here.
And it's great to [Bm] see you, and so you're enjoying the [G] Ziegels.
Oh man, it's unbelievable.
[D] Feel good [G] too.
How long is that set?
Was it two and a half?
Two and a half [Cm] hours.
It's just like one after another after another.
[B] Just when you think they're done, [G] then Joe does a couple solo [C] tunes,
and then Henley does a couple solo tunes.
[A] There's a lot of times I just look [G] over and go,
[D] what am I doing up here?
Well, you [Am] are the most laundry-clothed guy there ever was.
It's been a lot of fun.
Glenn was [C] a great friend of mine, 35, 40 years.
[Gb] And if you close your eyes, man, Deacon,
you [Ab] look just like him, it sounds just like him.
[G] Blood is blood, man, it's pretty cool.
[Eb]
That's great.
Yeah, it's been fun.
What a legacy to get to [Bb] carry on.
So do you carry a lot more guitars than what Mark saw there?
[A] I usually carry what I need.
[Gb] And my role [G] isn't that much guitar-oriented as much [N] as it is singing,
because they've got Stuart Smith, who's a world-class guitar player,
I've been playing with him for 18 years.
He had a bunch of stuff out too.
Yeah, Stuart's great.
He's played on my records over the years.
We've been [Bb] friends for over 30 years.
And him and Joe kind of handle the majority of the step-out stuff.
Although you ripped a couple.
I had a couple of them.
Let me have a couple.
[G] So now you've got a neighbor [Bb] in Nashville, Joe Bonamassa [G] moves down there.
Joe and I are friends, have been friends.
We're mutual friends, played in my band for a long time.
Michael Rhodes plays bass.
Michael's great.
He's an [Bb] amazing player.
Joe and I recorded something together.
He cut one of my [G] songs a few years ago.
[Gb] I went and played on a couple of songs on one of his records.
I can't remember the name of the record.
[F] But that's the real deal, boy.
He can play.
Yeah, it's fun.
I've known him since he was 12.
Really?
He was killing [B] at that point.
You can [Bb] tell.
It's in the midst, guys like that.
Absolutely.
So you were originally from Oklahoma, and [Eb] then you moved out here when you were how old? [Bb] 19.
I came out here and joined a bluegrass [Db] band with a fiddle player named Byron Berland.
He did the regs, too.
It took a lot of courage to be 19 years old and move here with a banjo.
[Ab] That's simple.
[G] But I stayed out here for about eight years.
I really loved it.
Played with Byron for a long time, played with Cure Prairie League for a few years,
and then started making my own records in the early 80s,
playing with other people like Rodney Crowell, Roseanne Cash, a little bit with Emmy.
[Ab] So that whole core people were all out here at the time.
Do you know Roseanne's husband?
Yeah, Johnny Levinthal.
He's a great guitar player, and he produced a record [Bb] that is one of my favorite records in the [Bb] last,
I don't know how many years, with a guy [F] who used to be with Stax, William Bell.
William [Bb] Bell.
Did you hear that record?
I don't know it, no.
But I know Johnny. It's [G] stunning.
The horns are like, you know, it sounds like old Stax horns, but it's very lean and clean,
and William Bell's one of the great singers of [Bbm] all time.
And he's hanging with a talented [N] guy.
John has a great mind for orchestration and arranging and just what's necessary.
[Eb] You know, it's funny.
I'm friends with Jimmy Vovino, [E] and when I heard that record, this William [Bbm] Bell record,
I immediately called Jimmy and I [Bb] said, hey, man, did you hear this record?
You're going to love this.
And then I said, this guy, John Levinthal, he says, ah, I'm buddies with John.
And he gave me John's [G] number, and I just called him up out of the blue.
I didn't know John at all, and I just said, man, I've got to congratulate you.
[Gb] Man, you did, you know, one of my all-time favorite records.
And he said he was really cool when he came out here and we met.
I think he gave everybody a [Ab] copy of that record.
[Gb] Yeah, yeah.
He was [Em] passing them out.
Yeah, I first came to know [E] John through his [Gm] association with Sean Coleman.
[G] He played on one of his early records, [B]
produced him, I think, I don't [G] know, a talented man.
[Bb] Well, one of the greats, and [A] just gets a tremendous tone.
He's got [Bbm] that telly with the humbucker in there.
[G] There's one on every corner, isn't there?
Yeah, sure [E] is.
That's what I tell everybody at home.
I said, be nice to that guy serving you breakfast.
He's probably better than you.
[Bb] Yeah, just never know.
Can you strum a little bit on that thing?
Oh, my God, yeah.
[G] The tone on this thing is.
It just blossoms into all sorts of tones.
I know, and there's nothing else you need to say.
And a great instrument [Gm] like that, the way you get to sit and hear it is, there's no other place.
I mean, it's pretty cool to sit in front of a guitar and hear it, too.
You hear it differently.
But when it's against you, man, you really speak.
You feel it, feel it breathe.
[C] Yeah.
[Am] [G]
[C] Wow.
And you hear great guitars like this, and a [F] lot of times people associate guitars that are [B] loud with being [N] great.
Volume and tone are two different [C]
concepts.
You can just hear how [G] good that would sound on a record, just with that length of that sustain.
[C]
It's like Spinal Tap.
I have to go to the gym to buy it.
I still don't.
It'd be better if I could tune it.
You're looking at the wrong guy, buddy.
You're looking at a mighty good good me.
[G] Well, I [C] just got to say thank you.
It's an honor, as always.
Nice to meet you, [D] buddy.
Nice to see you, boys.
[Bb] All right.
Great to meet you.
The great Vince Gill.
If you haven't seen The Eagles, you've got to go see them.
They've got the best of the best over [Gbm] here.
And the band has [E] got the best tunes.
[Bb] And they've got some really great singing and great playing.
And we'll see.
Thanks.
Key:
G
Bb
C
Ab
Gb
G
Bb
C
_ _ _ Hey everybody, Norm over here [B]
and we're sitting on the couch with [E] an old friend of mine that I've known for a long [C] time.
40 years!
That's right, [Em] the great Vince Gill.
We got Nick Dyess [G] over here and Mark Agnese.
_ _ And Vince is playing this crummy _ Rosewood.
[Abm] Sorry about the three issues.
These three issues are [D] all back to easy.
Really nailing it.
They're really getting it done, aren't they?
[Bb] Kind of a one of a kind with a [Ab] horseshoe on the end of the fingerboard.
Rosewood from [A] 1940.
1941.
[E] That's the guitar on the cover of Norm's new book right there.
That's the one Norm's holding on the cover of [G] the book.
Which I've read.
You read it?
Yeah, heck yeah.
Oh man.
Absolutely.
I'm telling you, I need an illiterary agent.
_ [G] _ _
_ _ _ _ [Bb] So, and Vince is out here playing with this band you might not have ever heard of.
Just getting started.
The Eq-Bud.
A lot of promise. _ _
I saw them last night.
It was a great show, man.
You had some good guitars out there.
How many did you bring?
Because I remember there was the Gold Top.
And the 59 Burst.
There was a [Ab] Burst and a Gold Top.
And the Tele.
There was the _ _ [G] Lake Placid Blue Series II Thinline Tele.
That actually is a Charles [Gb] Whitfield guitar.
Oh, [F] that was a cool guitar.
_ [C] _ And what, a triple O, a triple O 18?
[F] Quad-Os.
_ We got [E] one of those over there.
Yeah, those are cool.
They've got that Indian, no, what is it called?
_ What's the name of that wood?
Sinker.
Sinker [G] Mahogany he calls it.
They found this [Ab] wood from 100 years [B] ago _ [G]
and they're making some guitars out of it.
They sound good.
They really do.
There's [Bb] _ truth in the age of that wood.
It really makes a difference.
So there is something to this old guitar stuff.
[Gb] There sure is.
My ears haven't lied to me [Eb] yet.
_ [C] _ _
So Mark, [Bb] what are you holding over here?
This is a 28 triple O 45. _
[Bb] First year for Steel String.
[G] So this is when they really started getting hip. Started bracing.
Yeah, handled a big string.
And Nick over [Ab] there has an OM 18 from [G] 1932, shaded top.
Very unusual guitar.
Gorgeous, and it's [G] light as a feather.
_ _ _ [Gm] _ We're acoustic _ -ing it [Gb] out.
We're kumbaya-ing.
That's right.
So it's a guitar love kind of thing over here.
_ And it's great to [Bm] see you, and so you're enjoying the [G] Ziegels.
Oh man, it's unbelievable.
[D] _ Feel good [G] too.
How long is that set?
Was it two and a half?
Two and a half [Cm] hours.
It's just like one after another after another.
[B] Just when you think they're done, [G] then Joe does a couple solo [C] tunes,
and then Henley does a couple solo tunes.
[A] There's a lot of times I just look [G] over and go,
[D] what am I doing up here?
Well, you [Am] are the most laundry-clothed guy there ever was.
It's been a lot of fun.
Glenn was [C] a great friend of mine, _ 35, 40 years.
[Gb] And if you close your eyes, man, Deacon,
you [Ab] look just like him, it sounds just like him.
[G] Blood is blood, man, it's pretty cool.
[Eb]
That's great.
Yeah, it's been fun.
What a legacy to get to [Bb] carry on.
So do you carry a lot more guitars than what Mark saw there?
[A] I _ usually carry what I need.
[Gb] And my role [G] isn't that much guitar-oriented as much [N] as it is singing,
because they've got Stuart Smith, who's a world-class guitar player,
I've been playing with him for 18 years.
He had a bunch of stuff out too.
Yeah, Stuart's great.
He's played on my records over the years.
We've been [Bb] friends for over 30 years.
And him and Joe kind of handle the majority of the step-out stuff.
_ Although you ripped a couple.
I had a couple of them.
Let me have a couple. _ _
[G] So now you've got a neighbor [Bb] in Nashville, Joe Bonamassa [G] moves down there.
Joe and I are friends, have been friends.
We're mutual friends, played in my band for a long time.
Michael Rhodes plays bass.
Michael's great.
He's an [Bb] amazing player.
Joe and I recorded something together.
He cut one of my [G] songs a few years ago.
[Gb] I went and played on a couple of songs on one of his records.
I can't remember the name of the record.
[F] But that's the real deal, boy.
He can play.
Yeah, it's fun.
I've known him since he was 12.
Really?
He was killing [B] at that point.
You can [Bb] tell.
_ It's in the midst, guys like that.
Absolutely.
_ So you were originally from Oklahoma, _ and [Eb] then you moved out here when you were how old? [Bb] 19.
I came out here and joined a bluegrass [Db] band with a fiddle player named Byron Berland.
He did the regs, too.
It took a lot of courage to be 19 years old and move here with a banjo.
_ [Ab] That's simple.
_ _ [G] But I stayed out here for about eight years.
I really loved it.
Played with Byron for a long time, played with Cure Prairie League for a few years,
and then started making my own records in the early 80s,
playing with other people like Rodney Crowell, Roseanne Cash, a little bit with Emmy.
[Ab] So that whole core people were all out here at the time.
Do you know Roseanne's husband?
Yeah, Johnny Levinthal.
He's a great guitar player, and he produced a record [Bb] that is one of my favorite records in the [Bb] last,
I don't know how many years, _ _ with a guy [F] who used to be with Stax, William Bell.
William [Bb] Bell.
Did you hear that record?
I don't know it, no.
But I know Johnny. It's [G] stunning.
The horns are like, you know, it sounds like old Stax horns, but it's very lean and clean,
and William Bell's one of the great singers of [Bbm] all time.
And he's hanging with a talented [N] guy.
John has a great mind for orchestration and arranging and just what's necessary.
[Eb] You know, it's funny.
I'm friends with Jimmy Vovino, [E] and when I heard that record, this William [Bbm] Bell record,
I immediately called Jimmy and I [Bb] said, hey, man, did you hear this record?
You're going to love this.
And then I said, this guy, John Levinthal, he says, ah, I'm buddies with John. _
And he gave me John's [G] number, and I just called him up out of the blue.
I didn't know John at all, and I just said, man, I've got to congratulate you.
[Gb] Man, you did, you know, one of my all-time favorite records.
And he said he was really cool when he came out here and we met.
I think he gave everybody a [Ab] copy of that record.
[Gb] Yeah, yeah.
He was [Em] passing them out.
Yeah, I first came to know [E] John through his [Gm] association with Sean Coleman.
_ [G] He played on one of his early records, [B]
produced him, I think, I don't [G] know, a talented man.
[Bb] Well, one of the greats, and [A] just gets a tremendous tone.
He's got [Bbm] that telly with the humbucker in there.
[G] There's one on every corner, isn't there?
Yeah, sure [E] is. _
That's what I tell everybody at home.
I said, be nice to that guy serving you breakfast.
He's probably better than you.
_ _ [Bb] Yeah, just never know.
Can you strum a little bit on that thing?
Oh, my God, yeah.
[G] The tone on this thing is. _ _ _ _
_ _ _ _ It just blossoms into all sorts of tones.
I know, and there's nothing else you need to say. _ _
_ _ _ And a great instrument [Gm] like that, the way you get to sit and hear it is, there's no other place.
I mean, it's pretty cool to sit in front of a guitar and hear it, too.
You hear it differently.
But when it's against you, _ man, you really speak.
You feel it, feel it breathe.
[C] Yeah.
_ _ _ [Am] _ _ [G] _ _
[C] _ _ _ Wow.
And you hear great guitars like this, and a [F] lot of times people associate guitars that are [B] loud with being [N] great.
Volume and tone are two different [C] _
concepts.
You can just hear how _ [G] good that would sound on a record, _ just with that length of that sustain.
[C] _
It's like Spinal Tap.
I have to go to the gym to buy it.
I still don't. _
_ _ _ It'd be better if I could tune it. _
You're looking at the wrong guy, buddy.
You're looking at a mighty good good me.
_ [G] _ Well, I [C] just got to say thank you.
It's an honor, as always.
Nice to meet you, [D] buddy.
Nice to see you, boys.
[Bb] All right.
Great to meet you.
The great Vince Gill.
If you haven't seen The Eagles, you've got to go see them.
They've got the _ best of the best over [Gbm] here.
And the band has [E] got the best tunes.
[Bb] And they've got some really great singing and great playing.
And we'll see.
Thanks. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
and we're sitting on the couch with [E] an old friend of mine that I've known for a long [C] time.
40 years!
That's right, [Em] the great Vince Gill.
We got Nick Dyess [G] over here and Mark Agnese.
_ _ And Vince is playing this crummy _ Rosewood.
[Abm] Sorry about the three issues.
These three issues are [D] all back to easy.
Really nailing it.
They're really getting it done, aren't they?
[Bb] Kind of a one of a kind with a [Ab] horseshoe on the end of the fingerboard.
Rosewood from [A] 1940.
1941.
[E] That's the guitar on the cover of Norm's new book right there.
That's the one Norm's holding on the cover of [G] the book.
Which I've read.
You read it?
Yeah, heck yeah.
Oh man.
Absolutely.
I'm telling you, I need an illiterary agent.
_ [G] _ _
_ _ _ _ [Bb] So, and Vince is out here playing with this band you might not have ever heard of.
Just getting started.
The Eq-Bud.
A lot of promise. _ _
I saw them last night.
It was a great show, man.
You had some good guitars out there.
How many did you bring?
Because I remember there was the Gold Top.
And the 59 Burst.
There was a [Ab] Burst and a Gold Top.
And the Tele.
There was the _ _ [G] Lake Placid Blue Series II Thinline Tele.
That actually is a Charles [Gb] Whitfield guitar.
Oh, [F] that was a cool guitar.
_ [C] _ And what, a triple O, a triple O 18?
[F] Quad-Os.
_ We got [E] one of those over there.
Yeah, those are cool.
They've got that Indian, no, what is it called?
_ What's the name of that wood?
Sinker.
Sinker [G] Mahogany he calls it.
They found this [Ab] wood from 100 years [B] ago _ [G]
and they're making some guitars out of it.
They sound good.
They really do.
There's [Bb] _ truth in the age of that wood.
It really makes a difference.
So there is something to this old guitar stuff.
[Gb] There sure is.
My ears haven't lied to me [Eb] yet.
_ [C] _ _
So Mark, [Bb] what are you holding over here?
This is a 28 triple O 45. _
[Bb] First year for Steel String.
[G] So this is when they really started getting hip. Started bracing.
Yeah, handled a big string.
And Nick over [Ab] there has an OM 18 from [G] 1932, shaded top.
Very unusual guitar.
Gorgeous, and it's [G] light as a feather.
_ _ _ [Gm] _ We're acoustic _ -ing it [Gb] out.
We're kumbaya-ing.
That's right.
So it's a guitar love kind of thing over here.
_ And it's great to [Bm] see you, and so you're enjoying the [G] Ziegels.
Oh man, it's unbelievable.
[D] _ Feel good [G] too.
How long is that set?
Was it two and a half?
Two and a half [Cm] hours.
It's just like one after another after another.
[B] Just when you think they're done, [G] then Joe does a couple solo [C] tunes,
and then Henley does a couple solo tunes.
[A] There's a lot of times I just look [G] over and go,
[D] what am I doing up here?
Well, you [Am] are the most laundry-clothed guy there ever was.
It's been a lot of fun.
Glenn was [C] a great friend of mine, _ 35, 40 years.
[Gb] And if you close your eyes, man, Deacon,
you [Ab] look just like him, it sounds just like him.
[G] Blood is blood, man, it's pretty cool.
[Eb]
That's great.
Yeah, it's been fun.
What a legacy to get to [Bb] carry on.
So do you carry a lot more guitars than what Mark saw there?
[A] I _ usually carry what I need.
[Gb] And my role [G] isn't that much guitar-oriented as much [N] as it is singing,
because they've got Stuart Smith, who's a world-class guitar player,
I've been playing with him for 18 years.
He had a bunch of stuff out too.
Yeah, Stuart's great.
He's played on my records over the years.
We've been [Bb] friends for over 30 years.
And him and Joe kind of handle the majority of the step-out stuff.
_ Although you ripped a couple.
I had a couple of them.
Let me have a couple. _ _
[G] So now you've got a neighbor [Bb] in Nashville, Joe Bonamassa [G] moves down there.
Joe and I are friends, have been friends.
We're mutual friends, played in my band for a long time.
Michael Rhodes plays bass.
Michael's great.
He's an [Bb] amazing player.
Joe and I recorded something together.
He cut one of my [G] songs a few years ago.
[Gb] I went and played on a couple of songs on one of his records.
I can't remember the name of the record.
[F] But that's the real deal, boy.
He can play.
Yeah, it's fun.
I've known him since he was 12.
Really?
He was killing [B] at that point.
You can [Bb] tell.
_ It's in the midst, guys like that.
Absolutely.
_ So you were originally from Oklahoma, _ and [Eb] then you moved out here when you were how old? [Bb] 19.
I came out here and joined a bluegrass [Db] band with a fiddle player named Byron Berland.
He did the regs, too.
It took a lot of courage to be 19 years old and move here with a banjo.
_ [Ab] That's simple.
_ _ [G] But I stayed out here for about eight years.
I really loved it.
Played with Byron for a long time, played with Cure Prairie League for a few years,
and then started making my own records in the early 80s,
playing with other people like Rodney Crowell, Roseanne Cash, a little bit with Emmy.
[Ab] So that whole core people were all out here at the time.
Do you know Roseanne's husband?
Yeah, Johnny Levinthal.
He's a great guitar player, and he produced a record [Bb] that is one of my favorite records in the [Bb] last,
I don't know how many years, _ _ with a guy [F] who used to be with Stax, William Bell.
William [Bb] Bell.
Did you hear that record?
I don't know it, no.
But I know Johnny. It's [G] stunning.
The horns are like, you know, it sounds like old Stax horns, but it's very lean and clean,
and William Bell's one of the great singers of [Bbm] all time.
And he's hanging with a talented [N] guy.
John has a great mind for orchestration and arranging and just what's necessary.
[Eb] You know, it's funny.
I'm friends with Jimmy Vovino, [E] and when I heard that record, this William [Bbm] Bell record,
I immediately called Jimmy and I [Bb] said, hey, man, did you hear this record?
You're going to love this.
And then I said, this guy, John Levinthal, he says, ah, I'm buddies with John. _
And he gave me John's [G] number, and I just called him up out of the blue.
I didn't know John at all, and I just said, man, I've got to congratulate you.
[Gb] Man, you did, you know, one of my all-time favorite records.
And he said he was really cool when he came out here and we met.
I think he gave everybody a [Ab] copy of that record.
[Gb] Yeah, yeah.
He was [Em] passing them out.
Yeah, I first came to know [E] John through his [Gm] association with Sean Coleman.
_ [G] He played on one of his early records, [B]
produced him, I think, I don't [G] know, a talented man.
[Bb] Well, one of the greats, and [A] just gets a tremendous tone.
He's got [Bbm] that telly with the humbucker in there.
[G] There's one on every corner, isn't there?
Yeah, sure [E] is. _
That's what I tell everybody at home.
I said, be nice to that guy serving you breakfast.
He's probably better than you.
_ _ [Bb] Yeah, just never know.
Can you strum a little bit on that thing?
Oh, my God, yeah.
[G] The tone on this thing is. _ _ _ _
_ _ _ _ It just blossoms into all sorts of tones.
I know, and there's nothing else you need to say. _ _
_ _ _ And a great instrument [Gm] like that, the way you get to sit and hear it is, there's no other place.
I mean, it's pretty cool to sit in front of a guitar and hear it, too.
You hear it differently.
But when it's against you, _ man, you really speak.
You feel it, feel it breathe.
[C] Yeah.
_ _ _ [Am] _ _ [G] _ _
[C] _ _ _ Wow.
And you hear great guitars like this, and a [F] lot of times people associate guitars that are [B] loud with being [N] great.
Volume and tone are two different [C] _
concepts.
You can just hear how _ [G] good that would sound on a record, _ just with that length of that sustain.
[C] _
It's like Spinal Tap.
I have to go to the gym to buy it.
I still don't. _
_ _ _ It'd be better if I could tune it. _
You're looking at the wrong guy, buddy.
You're looking at a mighty good good me.
_ [G] _ Well, I [C] just got to say thank you.
It's an honor, as always.
Nice to meet you, [D] buddy.
Nice to see you, boys.
[Bb] All right.
Great to meet you.
The great Vince Gill.
If you haven't seen The Eagles, you've got to go see them.
They've got the _ best of the best over [Gbm] here.
And the band has [E] got the best tunes.
[Bb] And they've got some really great singing and great playing.
And we'll see.
Thanks. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _