Chords for Dr Hook - "Inteview and Happy Trails" From Soundstage 1979

We were bankrupt at the time of Only 16.
That was right after that.
Only 16 was one of about five or six tracks that Ron Haffner, our producer, and the band
pulled our money [D] together and went to Chinatown in San Francisco.
Went to Chinatown.
And made_
Yeah, we cut those five things just to keep feeling like a band and a producer.
And Only 16 took how long?
An hour and a half?
Two or three hours.
Just to cut the thing and put it down.
The reason for that, though, we had been playing Only 16 in the bars.
Like, that was one of our bar songs.
Sam Cooke.
The way that it came about.
And Dennis did a lot of Bee Gees songs back then, too.
But the way it came about_
They don't need us doing them anymore.
The way it came about was this [Ab] leather patch.
_ I wear a little surgical patch underneath there and it tears.
And when, like, if I'm on stage too long, I have to leave and go change this little patch underneath here.
And I tell Dennis, I've got to go change my patch to sing something.
And that's been going on for ten years, ever since I've known him.
And that happened, I think it was in Copenhagen.
Everything seems to happen in Copenhagen.
I think it was in Copenhagen.
And I had to go change my patch and I turned and said, Dennis, sing a song.
And I split.
And from the dressing room I heard he did Only 16 and it got a great response.
People thought of it as not a ballad so much as a piece of lechery.
The way he looked at that time, his beard was down to here.
I spent my whole childhood as my own grandfather.
[D] So we just kept doing it.
We said, you know, leave it in, it's good.
And so we kept doing it and Ronnie [F] heard it and he said, let's record it.
And it [D] was very easy to record because we'd done it so [Dm] many times.
I myself first heard his records [Bm] at a party.
[Eb] Some crazy records about the Mermaid or Bury Me in My [Bb] Shade, some old albums of Shell.
And then when we [Dm] first met Shell, we met him through Ron Hafton, our producer.
It's strange, Ronnie ain't here.
He was sick.
We wanted him to be here.
We wanted to drag him here with us.
Because he's sort of the guy in the middle of everything.
We would have never understood Shell had it not been for Ronnie.
Ronnie was friends with Shell for about 12 years before we met either of them.
And they were doing a movie together.
Ronnie was the musical director and Shell had written the score.
Who was Harry Kelvin or what is he saying to us?
Terrible things about me.
And they were looking for an unknown group.
And we were really unknown.
I've been an unknown image too for about three years.
_ And that's how we [Bm] met Shell.
Red Winged [D] Blackbird.
That was a song [Em] off of a solo album.
That your [G] doctor wrote.
Right, that my doctor wrote.
It's really true.
[D] _
Joel [Ab] Jaffe is [D] my doctor and my songwriter.
He wrote four songs on my solo album.
[Dm] I put out a country album.
Because it's just something that I wanted [Ebm] to do.
I wanted [Ab] to do it all my life.
Went in Nashville and used all the Nashville musicians.
Just made a country album.
[N] And Joel wrote Red Winged Blackbird and three more songs on the album.
But that's the way Blackbird came out.
Joel was the doctor that saved Ray's life a couple of years ago.
Actually, actually did save my life.
I was like I said, I don't know if I did say before, but I was in a car wreck.
Automobile accident.
I had terrible headaches. _
It went on for three or four years.
Long time with these headaches.
I had gone to all the doctors that I could find all over the place.
All over the United States.
And nobody seemed to be able to help me.
So we went to California.
At that time is when we moved the band from New York to California.
And we went to Oakland.
And there was two hippie doctors with hair down to here.
This was seven years ago.
And had it tied back.
I had never seen a doctor like that before.
And so I went in.
I had never seen many doctors.
Being from Alabama.
But anyway, I went in and it was Joel.
And Joel _ said that he had to operate on my head here.
And he did.
And saved my life.
Really.
He said that I would have been dead [D] or something bad would have happened.
And he wrote that song on Ray's forehead.
With his scalp.
_ _ _ _ I had to say that.
Can I add it?
I think one of the most satisfying things about our band.
Is that when we play to audiences.
They're not.
It's not a whole audience of just cowboys.
A whole [Dm] audience of red freaks.
A whole audience of grandmothers.
You know what I mean?
It's everybody's in there.
Cowboy red freaks come with their grandmothers.
You know.
And really the [F] best thing is.
When you get a little old lady over here.
[B] Yelling for get my rocks off.
For a freakers ball.
And some biker screaming for only 16.
Then you know that you're sort of bridging it.
And I guess you can have it all.
I guess [Dm] we want it all.
It's like putting salt on your ice cream.
I mean our next album is called Pleasure and Pain.
And we're going directly for that.
Because some of it is funky.
And some of it is ballads.
Well as a matter of fact.
[Bb] In the very beginning Dennis.
From Sylvia's mother.
We had a choice to go and do [Gb] another ballad.
As a matter of fact we had a ballad.
That we followed it up.
A thing entitled The Things I Didn't Say.
Which I should have said.
Maybe I could have got Sylvia.
Yeah it was perfect.
It was a perfect [D] second song.
But we chose not to go that way.
We chose to go cover Rolling Stone.
And we had no idea we'd get any airplay on it.
That's definitely FM.
So you went from one to the other right [Bb] there.
The reason we did that was for the image.
We didn't want to be labeled as Sylvia's mother.
And for people to think that that's what they were going to hear [Eb] when they came.
That's all they were going to hear.
[G] That's part of it too though.
You know [Bb] the Sylvia's mother.
Plus we wanted them to know that we covered Rolling Stone [D] and Freakish Ball.
We didn't want to have a string of four big hits.
Formula hits.
And then we would have been over six years ago.
You know we have too much energy.
We've been on the road 300 days a year for eight years.
Can't they tell?
Obviously too hyperactive to want to have been over six years ago.
_ [A] _ _ _ _ _ _
_ [Dm] We'd like to give one more drink now.
We must say something to [D] you before we leave.
_ Happy trails to _ you
Until we [A] meet again
[C] Happy trails _ [D] to you
Keep smiling until _ then
[Bb] You'll wake up on a bluebird
And be wishing on [D] the moon
Them damn midgets.
Hold it. _ _ _ _
_ _ _ [Gb] _ _ [D] _ _ _
_ _ _ [B] _ _ _ _ _
_ _ _ _ _ [D] Funding for Soundstage has been provided by this station and by other public television stations. _ _
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