Chords for Cross Canadian Ragweed Back To Tulsa Interview.mov

Randy's the one that really pursued.
_ [D] _ [E] He showed up at my house with his drums in the back of his truck and [A#] finally talked to [C] Santa.
We were more [G] concerned about going out at night instead [Em] of getting in a band.
[E] Then we went over to Randy's house [A#] and called Grady up.
He showed up the next night and we just rolled from there seven [Gm] nights a week.
We practiced.
[Cm] Until our [E] first gig.
Man, it was instant.
We knew that [E] we had something.
We just knew it was going to take a little time to get it right.
_ [D] _ _ We never really pursued a label.
_ We started getting phone [G#] calls when they were coming out to shows.
Because [E] it meant to us it was all about this.
It still is.
It's about [A#] playing.
It's not about record sales and stuff.
[Cm] It was Randy.
Randy Mercury.
We loved him.
We started getting phone calls that Mercury was going to come out one night.
_ Universal was coming out one night.
Dream was [A] coming out another night.
[D] Then we knew about the third record label that hopped on.
[Cm] We thought, yeah, this is going to happen.
[E] _ _ [E] Universal signed us in [F#m] Raleigh, North Carolina.
They didn't sign us, but they offered it to us.
The boss said, well, boys, I just offered you a record deal.
We went to the bar and got shit-faced.
_ _ [B] We've been doing it ever since.
We're still [F#m] celebrating.
[F#] When I first heard us on the radio, I think I was in my car or something, driving somewhere.
I thought it was somebody else doing our songs.
I'm like, who's this?
And this is us.
I'm [E] like, wow, we're on the radio.
[A] Cool.
We record albums or whatever.
Some of the songs that we do, we'll have in the can [E] for a year.
We know exactly [A] how we're going to arrange it.
We'll just go in there and knock it out real fast.
The last album we did, Garage, we had four songs.
[E] _
That [A] was it.
When we went in there, we basically came up with ten other songs while we were in the studio.
[E] We've kind of done it both ways.
I couldn't imagine doing anything [D] else, what we're doing on the [A] road.
It is tough sometimes, family.
[E] We all have [A] kids.
That's the toughest part.
But you get on the road and [F#m] start doing it, it's great.
One of the funniest times [E] that I have playing was here in Tulsa.
It's late, [D] we've had a lot of drinks.
We end the song [A] and come down on the cymbal, last note, big finish.
I guess I reached too far and I fell off the drum seat, knocked over a guitar and a bunch of drinks just started falling all over my head.
The entire crowd just erupted [E] and started laughing at me.
I [A] was pretty much convinced that I would probably be a truck driver for a long time.
[A] But I started playing bass and guitar.
_ [F#m] _ _ _ _ _ _ [E] _
_ [E] _ _ [A] Play all over the place.
It's always a novel idea in the back of my head.
Get [Em] loaded every night.
Get loaded every night.
[E] And now it's_
_ [A] _ Living a dream, I guess.
I guess that's really [F#m] the only way to put it.
_ The [E] coolest act recently that we opened for was the Hall & Furnace.
_ We were on one stage, they were on another, but we fell open for them.
That was one of them.
That's probably the best live band I've ever seen.
I, of course, love anywhere [F#m] but here.
_ It's because the solo, [E] everybody's intensity on that song, whatever we do at live, it's always the same.
[A] It's way up there.
Everybody just throws it all out there on the stage.
Give it a thousand percent.
That's impossible.
[F#] Not really.
We started off [E] playing for four hour gigs.
And then it started getting down to, well, the contract is 90 minutes.
[A] And there were some places that would want you to play 90 minutes and get out.
90 minutes is almost like an opening act.
_ [E] [A] We just love to play.