Chords for John Rzeznik and Daryl Hall - Dinner (Live From Daryl's House).mp4

_ _ _ _ [C] _ I'd like to propose [D] a toast.
[G] Cheers to a great show, a great [D] set.
Thank you for letting [G] me be part of it.
Well, thank you, John, [B] for coming here.
Cheers, you guys.
_ [Dm]
Cheers, big ears.
_ [D] Cheers, big ears. _
_ _ _ _ [G] That's the genesis [D] of the Goo Goo Dolls.
[E] That's, [Gb] that's_
I don't know.
_ [D] We [Ab] need a gig.
We need it in five minutes.
_ You know, [A] that's what you win at a fair.
You throw the ball through the hoop.
You win a Goo Goo Doll.
Yeah, it's like_
The 1920s, one of the weird [D] dolls.
Yeah, you know, people are like,
so what is a Goo Goo Doll?
Well, it's _ kind of a mine that they used in Vietnam.
And they called it a Goo Goo Doll
because it had a little face on it.
And then you'd pop that down
and throw it into a bunker.
_ _ _ [G] I like that story, though.
That's better [D] than the fairgrounds.
_ _ I'm the guy that came up with the name.
I wanted [G] to change it as soon [D] as the first record came out.
But I was convinced not to
because [F] we had sold like 400 [G] albums.
And we had this fan [D] base.
_ They're not going _ to [F] know who to buy a record from.
[G] I was listening _
[D] to
_ a bunch of the CDs that you guys [D] sent me.
I was just [C] listening to the room.
[D] _
On those [C] albums.
_ _ [D] Just the sparseness of [C] it.
_ [D] Everything was in its place
in this weird way.
Every part serves a purpose.
And then it gets out of the way.
_ _ Oh, we've got to double that.
Truthfully, in those days,
[C] we never doubled shit.
_ [D]
Maybe vocals.
The background vocals.
And I heard you [F] don't warm up before you sing [G] all that crap.
And I'm like, I hate [D] you.
_ _ _ I'm grateful to be [F] here.
But I don't like it.
_ [G] _ He hasn't had to [D] reach into one song.
He sings everything in its original [F] shit. It's amazing.
_ _ [G] _ _ I'm [D]
amazed by that.
_ _ This is [F] my big pitch
with producers, now modern [G] producers.
_ _ [F] Is that,
No, we've got to be [G] emotional.
_ _ [F] Don't worry about it.
_ _ [G] _
I've got _ [C] to get it at least close.
[G] _
At least close.
_ And then
put a real light [C] schmear [D] of that.
_ _ _ [C] _ But,
but _
[D] you know, it's interesting though
because I was listening to my old Stones record.
And you're [Bb] like,
_ [G] the record's even in the same room.
It's like the tuning,
[D] the timing, everything.
_ Forget [C] it.
It _ [D] still [G] sounds better
_ than a lot of [D] stuff that came out.
I always find
records that had all those [Cm] imperfections
are the records [D]
I can keep listening
to over and over.
[F] You hear something different in those imperfections each [G] time.
You keep [D] going back to it.
That was one of the things
[F] we were talking about [G] just to do.
Being a big influence on my guitar [D] playing.
The problem with _ _ open tuning was
[G] and _ _ _
[D] those records sound like shit.
But every time you [G] hear it,
I'm hearing a different thing.
And it never [D] ended for me.
_ _ _ It's unbelievable.
[F] You listen to Leo Proctor.
_ [G] I've heard some [D] stuff that he's done
where it's just like jaw dropping.
Richie [F] Havens.
Richie Havens' _ [G] _ tune is so
[D] _ _ _ _ _ guttural.
[A] It's just awesome.
[C] I knew Richie [G] really well.
You do an [D] impersonation? _ _ Freedom! _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [A] _ _ _ [N] _