Univibe adds a layer of depth to the track.” It’s a very simple part and that Drop D tuning and the The Univibe and I dropped the low E to D which gave it a deep sound, like an It needed aĭeeper sonic bed to be there with the acoustic guitar. “I was just playing acoustic rhythm, and when I went back toĪdd the solos and other parts, I felt there was something missing. Shepherd went on to flesh out the song, giving it a gut-punchy tightness by layering a detuned electric guitar part and a classic guitar pedal sound. Like, ‘just one more take!’ So it almost didn’t get done.” They wereĪfraid they were going to miss their flight! Jerry Harrison (producer) was Layton was laying down the drums and trying to get up and walk away because theĬar that was taking them to the airport had been waiting for a while. “We had Double Trouble out there for the basic tracks. But the recording came down to the wire and almost fell apart. At this early point in his career, the young twenty year old guitar wizard had built up a loyal base of fans and musician friends, including Stevie Ray Vaughan’s rhythm section (Chris Layton, Tommy Shannon, Reese Wynans), who wound up recording the song with him. Though he knew they had written a pretty good song going into the recording session, it was the last song Shepherd recorded and almost didn’t get cut. “So basically,” Shepherd laughs, “Mark and I jamming together on this groove and Tia observing my shirt, which was a very ‘90s appropriate shirt, birthed the idea behind this very profound song!”īuy from Amazon Kenny Wayne Shepherd with his Fender Signature Stratocaster One side was blue, and one side was black!” The shirt that I had on was a blue and black shirt where the seam was goingĭown the middle. She said while we were jamming, she was feeling the vibe. “We thought it was great and I asked her where she got the A tear into a river is not elevating the level of the water significantly.Īnd adding blue to black- the black consumes the blue.” “She had a whole list of things that don’t amount to anĮffect when you put one against the other. After a few minutes of us jamming and creating this vibe, Tia said ‘what do you think about this? And she started rattling off this idea for a chorus: ‘Blue on black,’ ‘tears on a river’ and maybe some other ideas that didn’t make it into the song.”
“In typical fashion, Mark and I started jamming on the idea and Tia started scribbling away. Tia sitting across from the two guitarists who were jamming on a D-C-G riff that Sitting in a small room with the songwriting couple, probably the kitchen, with Where Tia and Mark had rented a place in the French Quarter. “Deja Voodoo.” The three writers had some time off and went to New Orleans, With Shepherd on his self-titled 1995 debut record, co-writing the album favorite Songwriter Sillers and Selby had previously collaborated
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