Chords for Gene Cornish Interview

_ [A] _ _ [G] When _ [G] I _ _ [A] _ _ [D] _ _ [A] _ [G] _
_ play Good Lovin', [D] I call it cowboy chords.
I only play the top four strings.
[A] _ _ [G] And then [D] save the low strings for_
[A] _ [F#] So I've got some dynamics, somewhere to go.
That little lick that I play originally with the [D] piano went_
_ [G] _ _
[D] _ _ _ _ _ [Dm] I played it exactly like that until the day of the recording.
And I got frustrated, I got like, so into the track,
instead of going_
[A] I _
_ _ [G] _ _ _ _ [A] _ _
[F#] went_
I put that little lick in there, only once.
Only one take that I throw that_
[F] on the second break.
_ And years later, I didn't realize what I had done
until I talked about it.
It's like my little hats off to James Burton.
It's a James Burton lick.
_ [C] _ _
_ _ [F] _ You [C] should see
What [Dm] a lovely, lovely [Am] world it would be _ _
First of all, I'm a big View fan.
And Whoopi Goldberg is the reason why I watch it.
And she came to see us in Tribeca Grill two and a half years ago.
So she came backstage and we talked and we talked
and it wound up that she wanted us to play
for her birthday [E] on the View.
And of course, we hadn't done any television at all,
just the Tony Awards.
_ Which I used my Johnny A model on the Tony Awards.
_ _ [D] _ _ [A] _ _
_ [D] _ _ _ _ _ _ _
[E] So when we got together with Steve Van Zandt
for the Once Upon a Dream tour
we did our first time in 42 years,
Stevie said,
[G] _
Anything you want?
And I [D] _ [F#] said_
Well, I said, I'd love to have a Johnny A model.
So we [G] got on the phone with Henry.
And they talked for about 15 minutes
and all of a sudden, [E] I was getting a Johnny A model.
So I called Johnny and I said,
Hey [D] Johnny,
_ _ They want to give me a guitar, a white one.
Could you help facilitate moving it [E] right along?
Because I was [A] showing respect to Johnny.
And Johnny said,
Well, they need my permission anyway,
so I hope I have it.
I said, Absolutely.
[F#] So Johnny got the guitar made for me,
[Em] along with of course Henry.
He moved it along for three weeks and I got the guitar.
And I use it [D] in special parts of the show.
I use it for People Gotta Be Free, _
[G] which is like the climax of the show.
I save it.
I have like eight guitars [D] I play.
[Bm] This is the climax of [D] the show.
This is the eye candy.
[A] Everybody goes, [D] What is that?
And it's the best sounding guitar I have in the [C] show. _ _
[F] You, _ _ [D] you, you, you, you, you.
On that video, you see me playing my very first Marnie Kessel,
which was Off The Rack, Cherry Sunburst.
Gauge strings were 12s,
because there were no gauges in those days.
And you just bought Gibson sonomatic strings.
I was totally a Gibson man.
I had the Gibson strings, I had the Gibson guitar,
[C] even had a Gibson strap.
Since I fell [F] _ _
for [Dm] you.
_ [Gm] _ _ _ _
I don't know what this all [Fm] _ about.
_ _ _ [Gm] _ I was playing my black [Fm] Marnie Kessel in that one.
I had, [A#] originally I bought one Off The Rack.
I fell in love with it.
It was a double cutaway, first of all.
[D#] Nobody had that.
George Harrison had his country gentleman.
Paul McCartney with [F] the Hofner bass
and John with [A#] the Rickenbacker.
I had to have my own.
And I fell in love with the guitar.
It was my first Gibson, really.
_ I [Gm] wound up owning 36 Gibsons in a five year period.
Well, first of all, I was kind of like,
_ [D#] _
_ [G] wow, it's a three quarter size Marnie Kessel,
this is a cutaway.
I found out it was modeled for Johnny A.
[F] I said, who is Johnny A?
[C] We became immediate friends.
And I said to Johnny when I first saw him,
I said, you got my guitar, mate.
He laughed about it,
because he knew about the Marnie Kessel.
I really liked it, you know,
and it sounded great, it sounded terrific.
I've _ _ gained a couple of pounds,
so it's a lot easier to play here.
And it [G] doesn't feed back like [D] a Marnie Kessel would at this point.
_ _ [G] _ _
_ _ [A] _ [G] _ _ _ [B] _ _
[E] _ _ _ _ Even though I've got a collection of [D] guitars now,
almost every single one of them are workhorses.
They go to work with me.
_ _ [G] So I was never into putting something in a box
and saying, that's mine.
That's like putting the head of a deer on the wall.
[B] _ _ I can't [F] pet the deer, he's dead.
[G] So the guitar, I've got to play them, I've got to work them.
We'd finish at three in the morning,
and Dino would [E] all go home.
Dino was an insomniac.
He would [A] watch [B] TV at four or five in the morning,
and they would put on Spanky and Argyle and Little Rascals,
and they were wearing knickers.
He came up with a name, and we said, no, get [G] out of here.
That sounds [D] silly.
That sounds like a Las Vegas circus act, the Rascals.
[G] What are we going to do, acrobats?
We're going to do spinning plates?
_ _ And so what he did was,
he made about a [D] hundred fortune cookie papers,
like about an inch and a half, with the word Rascals.
He put them on the guitar, put them on the [F#] mics,
put them in the shirts and [E] our shoes, backstage, on the organ.
[D] No matter where we were, we saw this thing, friggin' [G] Rascals.
We [D] finally gave in.
We [G] called ourselves the Rascals.
_ [D] _ _ _ _ _ _ [E] _
_ _ [D] _ _ [E] We did 17 singles,
17 singles and 8 albums in 5 years,
and the record company said we were lazy.
People say, and everybody say,
wow, when's the band going to [N] get back together?
I would say for the Pope's wedding,
because it was like it wasn't going to happen.
Everybody was out, everybody was every which way.
[F] Not being with the Rascals for 42 years,
[G] _ _
not having their life,
_ _ _ _ not being Gene Cornish [F] to yourself,
it hurts. _ _
_ _ [F#] _ _ _ _ _ _