Chords for Rick Nelson Interview 1981
Tempo:
108.125 bpm
Chords used:
F#
E
G
F
B
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
You know, you just play good old-fashioned rock and roll, don't you?
Yeah, we try.
I know.
You know, somebody in your position, you could almost do personal appearances where you do
nostalgia, where you do I'm walking and all your great hits and not do anything new.
Why have you chosen to go this way?
Well, you know, I just never wanted to stop, you know, and I know what you mean.
You could just kind of lay back and not do much of anything.
[G#] Hard to believe, but we can now hold Rick Nelson up to the light, as I like to say,
and look back on 20 and 25 years of big, big records, and you could [F] go to Vegas with
lots of glitter and smoke and fire and just do one of those old-time shows and really
not work very hard.
Yeah, well, you know, that's hard work, too, but it's something that I'm really not interested
in, you know, the balloons and feathers.
[B]
What made you decide [G#] to make records?
You were very [N] successful as a young actor.
You had it going with the family and everything, and how did [D#] rock and roll or music come [A#] into your life?
Well, you know, music has [F#] always been, I've always been involved in music because of my folks.
My dad had an orchestra, yeah, and my mom [G#] was a vocalist [B] with the band, and it really
started with [F#] the idea to make a record was, it happened when I was going with a girl at
Hollywood High School, and [F] she was a year older, and she used to do things [C#] like I'd
take her home and she'd go out with a [F] friend of mine and I'd find out about it.
You know, she wasn't real [F#] thrilled with me.
[E] Anyway, so, and I [F#] was driving her home one night, and [F] Elvis's first record [G] came on the
radio, and she [D#] did this whole thing about Elvis, and I thought, [D] I have to do something.
I thought maybe she said, listen, if you make a record, then [F] we can, but if you don't make
a record, you got no shot.
That's [C] true, that's true.
No [B] way, you know.
And so [E] I said, well, you know, I'm going to make a [B] record, and she laughed a lot, and
so I [G] took her home and I thought, I'm going to make a [F] record, and just one record, and
hand it to her, and say, you know, [F#] there.
So I went back [E] and I did a [N] record on the show on [C#] the soundstage.
I used to record [A#] music for the [E] television show, and then we took that around as a demo,
and within about three days, [D#] and [E] subsequently I did it on the [B] TV show, like the next week,
and it was like really an afterthought, [F#] because nobody realized the power that television
[D#] had at that time.
You found out pretty fast, didn't you?
Yeah, yeah.
In those days, you could record a song on a Friday, and by a week from Friday, you'd
sold two million already of a single.
Yeah, it was a very [G#] kind of basic starting [F#] time for at least rock [B] and roll, for sure.
[F] And yeah, we used to record like on a [G] Friday night, and then Monday or Tuesday, it would
[F] be in the stores, and it didn't have to go [G#] through a whole corporate thing.
Can I try a theory on you?
Of course I can.
Do you think that you [Fm] helped to make rock [G#] and roll a little [G] bit more acceptable to older
[Fm] folks in this country?
[G] You had a show that was [F] geared, you and your mother and [E] father and your brother, was [F#] really
geared to the family audience, and a lot of adults watched, and all of a sudden, here
is Rick Nelson, at that time Ricky, doing rock and roll for the whole family.
And I was just thinking this afternoon, maybe you helped back off some parents on the evils
of rock and roll in the late 50s and early 60s.
Well, it was funny, though.
When I started, it was just [F#] evil.
The rock and roll was going to be out in two weeks, everybody thought, and it's a [G] fad and everything.
And [F#] we used to get letters, and oh, how can you let your [E] son play that terrible, evil music?
[G] And [G#] I played [E] places that [G] had never really heard rock and roll, and so it was really
exciting to be around [F] then, because you got all that clothes [F#] torn off, and that whole
physical end of it, too.
So it was whatever.
I don't know.
I know with my dad's show, he always meant it to just be entertainment.
It wasn't meant to be a guide to how to bring up [F] your kids or anything, and those were all
his [D#] values on that.
Funny you say that, because a lot of people took it as the opposite, that this was the
way all families should be, and we will [D] act as Mr.
Nelson does, and [N] all of our children
will behave as Rick and David do.
That's true.
That's true.
And I think that's a lot of the feedback.
It's almost the other people's problem.
I mean, we just, it [D#] was an extension of what our family was.
I know, but see, my parents always said to my brother and me, why can't you act more
like Ricky and David?
I said, because we're not getting 150,000 a week, is how come we don't?
[A] Yeah, right.
Yeah.
When the Beatles broke in the 1960s, how did that affect American rock music, and specifically Rick Nelson?
Well, I know how it affected [F#] me.
It kind of like put, you know, I was never heard [E] from for that.
What happened?
Yeah.
And, but it was actually, I was still recording.
I had a long-term contract [E] at the time with Decca at that time, and it just is a learning
[G] experience for me.
I never got the [F] chance to go out and really experiment.
You know, I mean, I started, [B] the first show I did was the Ohio State Fair to like 20,000
people, and I walked out there, man, [F] shaking all over. Really, truly.
[F#] Really.
And I thought, [Dm] what am I doing?
[G#] This is ridiculous.
I have a four-string guitar, and I just came [E] from the bathroom with all [G] the echo, you know.
It sounded [B] great in there.
To a stadium [C#] like this, I thought, this is nuts.
[Gm] And I got, made it through that show, [F#] and I started to [E] really like it.
You do fairs even now, do you not?
Yeah, we do a lot of fairs during the summer.
Do you still shake?
I [G] wonder about people who can stand up in front of 20,000, 25 [N],000 people.
I mean, I get nervous in a crowd of five.
I'm terrified here, because if these 200 decide to take over the room, they got it.
They got it, yeah.
I know.
By the way, folks, it ain't worth [G#m] taking.
I mean, it's not a lot.
[B] [E] I really don't.
I, sometimes, certain things make [G] me nervous.
If I don't think something's right, and it's always back there, [F#] you know, that little dark
cloud is back there.
But then I just go out and I say, well, you know, just try to smile, you know, and pretend
[F#] like you're having a great time, and see what happens from there, [D] you know.
Aren't you getting a little tired of the term comeback?
Rick Nelson comes back again.
I mean, I don't know where [G] he went away, but
Yeah, no, I've been around all the time, and I know what you mean.
Every time something I'm seeing on a [F#] show or something like that, it's always a comeback.
It's fine with me.
If I do, you know, you have to keep sort of, it's not submerging, emerging, you know. [C#] Forgive me.
What's David doing?
He's directing [D#] a film right now.
[A] Okay.
So he's doing very well.
Okay, that's terrific.
I just thought I'd ask.
Yeah.
All right.
Rick's going to do one more song for us, which is a, it's a redo of a song that you
did, what, 20 years ago?
That's right, yeah, I [F#] did.
And it was written by [G] a couple of friends of mine, Johnny and [F] Dorsey Burnett.
[G] And it's a three-chord rock and roll [F#] song.
It's called Believe What You Say.
[E] All right.
We'll believe it after this for our sponsors and [N] the NBC television station.
Rick [A] Nelson.
[D]
[A] [E]
[A] [C#]
[F#m] So, [B] hello, Mary [E] Lou.
[A] Goodbye, heart.
Yeah, we try.
I know.
You know, somebody in your position, you could almost do personal appearances where you do
nostalgia, where you do I'm walking and all your great hits and not do anything new.
Why have you chosen to go this way?
Well, you know, I just never wanted to stop, you know, and I know what you mean.
You could just kind of lay back and not do much of anything.
[G#] Hard to believe, but we can now hold Rick Nelson up to the light, as I like to say,
and look back on 20 and 25 years of big, big records, and you could [F] go to Vegas with
lots of glitter and smoke and fire and just do one of those old-time shows and really
not work very hard.
Yeah, well, you know, that's hard work, too, but it's something that I'm really not interested
in, you know, the balloons and feathers.
[B]
What made you decide [G#] to make records?
You were very [N] successful as a young actor.
You had it going with the family and everything, and how did [D#] rock and roll or music come [A#] into your life?
Well, you know, music has [F#] always been, I've always been involved in music because of my folks.
My dad had an orchestra, yeah, and my mom [G#] was a vocalist [B] with the band, and it really
started with [F#] the idea to make a record was, it happened when I was going with a girl at
Hollywood High School, and [F] she was a year older, and she used to do things [C#] like I'd
take her home and she'd go out with a [F] friend of mine and I'd find out about it.
You know, she wasn't real [F#] thrilled with me.
[E] Anyway, so, and I [F#] was driving her home one night, and [F] Elvis's first record [G] came on the
radio, and she [D#] did this whole thing about Elvis, and I thought, [D] I have to do something.
I thought maybe she said, listen, if you make a record, then [F] we can, but if you don't make
a record, you got no shot.
That's [C] true, that's true.
No [B] way, you know.
And so [E] I said, well, you know, I'm going to make a [B] record, and she laughed a lot, and
so I [G] took her home and I thought, I'm going to make a [F] record, and just one record, and
hand it to her, and say, you know, [F#] there.
So I went back [E] and I did a [N] record on the show on [C#] the soundstage.
I used to record [A#] music for the [E] television show, and then we took that around as a demo,
and within about three days, [D#] and [E] subsequently I did it on the [B] TV show, like the next week,
and it was like really an afterthought, [F#] because nobody realized the power that television
[D#] had at that time.
You found out pretty fast, didn't you?
Yeah, yeah.
In those days, you could record a song on a Friday, and by a week from Friday, you'd
sold two million already of a single.
Yeah, it was a very [G#] kind of basic starting [F#] time for at least rock [B] and roll, for sure.
[F] And yeah, we used to record like on a [G] Friday night, and then Monday or Tuesday, it would
[F] be in the stores, and it didn't have to go [G#] through a whole corporate thing.
Can I try a theory on you?
Of course I can.
Do you think that you [Fm] helped to make rock [G#] and roll a little [G] bit more acceptable to older
[Fm] folks in this country?
[G] You had a show that was [F] geared, you and your mother and [E] father and your brother, was [F#] really
geared to the family audience, and a lot of adults watched, and all of a sudden, here
is Rick Nelson, at that time Ricky, doing rock and roll for the whole family.
And I was just thinking this afternoon, maybe you helped back off some parents on the evils
of rock and roll in the late 50s and early 60s.
Well, it was funny, though.
When I started, it was just [F#] evil.
The rock and roll was going to be out in two weeks, everybody thought, and it's a [G] fad and everything.
And [F#] we used to get letters, and oh, how can you let your [E] son play that terrible, evil music?
[G] And [G#] I played [E] places that [G] had never really heard rock and roll, and so it was really
exciting to be around [F] then, because you got all that clothes [F#] torn off, and that whole
physical end of it, too.
So it was whatever.
I don't know.
I know with my dad's show, he always meant it to just be entertainment.
It wasn't meant to be a guide to how to bring up [F] your kids or anything, and those were all
his [D#] values on that.
Funny you say that, because a lot of people took it as the opposite, that this was the
way all families should be, and we will [D] act as Mr.
Nelson does, and [N] all of our children
will behave as Rick and David do.
That's true.
That's true.
And I think that's a lot of the feedback.
It's almost the other people's problem.
I mean, we just, it [D#] was an extension of what our family was.
I know, but see, my parents always said to my brother and me, why can't you act more
like Ricky and David?
I said, because we're not getting 150,000 a week, is how come we don't?
[A] Yeah, right.
Yeah.
When the Beatles broke in the 1960s, how did that affect American rock music, and specifically Rick Nelson?
Well, I know how it affected [F#] me.
It kind of like put, you know, I was never heard [E] from for that.
What happened?
Yeah.
And, but it was actually, I was still recording.
I had a long-term contract [E] at the time with Decca at that time, and it just is a learning
[G] experience for me.
I never got the [F] chance to go out and really experiment.
You know, I mean, I started, [B] the first show I did was the Ohio State Fair to like 20,000
people, and I walked out there, man, [F] shaking all over. Really, truly.
[F#] Really.
And I thought, [Dm] what am I doing?
[G#] This is ridiculous.
I have a four-string guitar, and I just came [E] from the bathroom with all [G] the echo, you know.
It sounded [B] great in there.
To a stadium [C#] like this, I thought, this is nuts.
[Gm] And I got, made it through that show, [F#] and I started to [E] really like it.
You do fairs even now, do you not?
Yeah, we do a lot of fairs during the summer.
Do you still shake?
I [G] wonder about people who can stand up in front of 20,000, 25 [N],000 people.
I mean, I get nervous in a crowd of five.
I'm terrified here, because if these 200 decide to take over the room, they got it.
They got it, yeah.
I know.
By the way, folks, it ain't worth [G#m] taking.
I mean, it's not a lot.
[B] [E] I really don't.
I, sometimes, certain things make [G] me nervous.
If I don't think something's right, and it's always back there, [F#] you know, that little dark
cloud is back there.
But then I just go out and I say, well, you know, just try to smile, you know, and pretend
[F#] like you're having a great time, and see what happens from there, [D] you know.
Aren't you getting a little tired of the term comeback?
Rick Nelson comes back again.
I mean, I don't know where [G] he went away, but
Yeah, no, I've been around all the time, and I know what you mean.
Every time something I'm seeing on a [F#] show or something like that, it's always a comeback.
It's fine with me.
If I do, you know, you have to keep sort of, it's not submerging, emerging, you know. [C#] Forgive me.
What's David doing?
He's directing [D#] a film right now.
[A] Okay.
So he's doing very well.
Okay, that's terrific.
I just thought I'd ask.
Yeah.
All right.
Rick's going to do one more song for us, which is a, it's a redo of a song that you
did, what, 20 years ago?
That's right, yeah, I [F#] did.
And it was written by [G] a couple of friends of mine, Johnny and [F] Dorsey Burnett.
[G] And it's a three-chord rock and roll [F#] song.
It's called Believe What You Say.
[E] All right.
We'll believe it after this for our sponsors and [N] the NBC television station.
Rick [A] Nelson.
[D]
[A] [E]
[A] [C#]
[F#m] So, [B] hello, Mary [E] Lou.
[A] Goodbye, heart.
Key:
F#
E
G
F
B
F#
E
G
_ _ _ _ _ _ _ _
_ _ _ _ _ _ You know, you just play good old-fashioned rock and roll, don't you?
Yeah, we try.
I know.
You know, somebody in your position, you could almost do personal appearances where you do
nostalgia, where you do I'm walking and all your great hits and not do anything new.
Why have you chosen to go this way?
Well, you know, I just never wanted to stop, you know, and I know what you mean.
You could just kind of lay back and not do much of anything.
[G#] Hard to believe, but we can now hold Rick Nelson up to the light, as I like to say,
and look back on 20 and 25 years of big, big records, and you could [F] go to Vegas with
lots of glitter and smoke and fire and just do one of those old-time shows and really
not work very hard.
Yeah, well, you know, that's hard work, too, but it's something that I'm really not interested
in, you know, the balloons and feathers.
[B] _
What made you decide [G#] to make records?
You were very [N] successful as a young actor.
You had it going with the family and everything, and how did [D#] rock and roll or music come [A#] into your life?
Well, you know, music has [F#] always been, I've always been involved in music because of my folks.
My dad had an orchestra, yeah, and my mom [G#] was a vocalist [B] with the band, and it really
started with [F#] the idea to make a record was, it happened when I was going with a girl at
Hollywood High School, and [F] she was a year older, and she used to do things [C#] like I'd
take her home and she'd go out with a [F] friend of mine and I'd find out about it.
You know, she wasn't real [F#] thrilled with me.
[E] Anyway, so, and I [F#] was driving her home one night, and [F] Elvis's first record [G] came on the
radio, and she [D#] did this whole thing about Elvis, and I thought, [D] I have to do something.
I thought maybe she said, listen, if you make a record, then [F] we can, but if you don't make
a record, you got no shot.
That's [C] true, that's true.
No [B] way, you know.
And so [E] I said, well, you know, I'm going to make a [B] record, and she laughed a lot, and
so I [G] took her home and I thought, I'm going to make a [F] record, and just one record, and
hand it to her, and say, you know, [F#] there.
So I went back [E] and I _ did a [N] record on the show on [C#] the soundstage.
I used to record [A#] music for the [E] television show, and then we took that around as a demo,
and within about three days, [D#] and [E] subsequently I did it on the [B] TV show, like the next week,
and it was like really an afterthought, [F#] because nobody realized the power that television
[D#] had at that time.
You found out pretty fast, didn't you?
Yeah, yeah.
In those days, you could record a song on a Friday, and by a week from Friday, you'd
sold two million already of a single.
Yeah, it was a very [G#] kind of basic starting [F#] time for at least rock [B] and roll, for sure.
[F] And yeah, we used to record like on a [G] Friday night, and then Monday or Tuesday, it would
[F] be in the stores, and it didn't have to go [G#] through a whole corporate thing.
Can I try a theory on you?
Of course I can.
Do you think that you [Fm] helped to make rock [G#] and roll a little [G] bit more acceptable to older
[Fm] folks in this country?
[G] You had a show that was [F] geared, you and your mother and [E] father and your brother, was [F#] really
geared to the family audience, and a lot of adults watched, and all of a sudden, here
is Rick Nelson, at that time Ricky, doing rock and roll for the whole family.
And I was just thinking this afternoon, maybe you helped back off some parents on the evils
of rock and roll in the late 50s and early 60s.
Well, it was funny, though.
When I started, it was just [F#] evil.
The rock and roll was going to be out in two weeks, everybody thought, and it's a [G] fad and everything.
And [F#] we used to get letters, and oh, how can you let your [E] son play that terrible, evil music?
[G] And [G#] I played [E] places that [G] had never really heard rock and roll, and so it was really
exciting to be around [F] then, because you got all that clothes [F#] torn off, and that whole
physical end of it, too.
So it was whatever.
I don't know.
I know _ with my dad's show, he always meant it to just be entertainment.
It wasn't meant to be a guide to how to bring up [F] your kids or anything, and those were all
his [D#] values on that.
Funny you say that, because a lot of people took it as the opposite, that this was the
way all families should be, and we will [D] act as Mr.
Nelson does, and [N] all of our children
will behave as Rick and David do.
That's true.
That's true.
And I think that's a lot of the feedback.
It's almost the other people's problem.
I mean, we just, it [D#] was an extension of what our family was.
I know, but see, my parents always said to my brother and me, why can't you act more
like Ricky and David?
I said, because we're not getting 150,000 a week, is how come we don't?
[A] Yeah, right.
Yeah.
_ When the Beatles broke in the 1960s, how did that affect American rock music, and specifically Rick Nelson?
Well, I know how it affected [F#] me.
It kind of like put, you know, I was never heard [E] from for that.
What happened?
Yeah.
And, but it was actually, I was still recording.
I had a long-term contract [E] at the time with Decca at that time, and it just is a learning
[G] experience for me.
I never got the [F] chance to go out and really experiment.
You know, I mean, I started, [B] the first show I did was the Ohio State Fair to like 20,000
people, and I walked out there, man, [F] shaking all over. Really, truly.
[F#] Really.
And I thought, [Dm] what am I doing?
[G#] This is ridiculous.
I have a four-string guitar, and I just came [E] from the bathroom with all [G] the echo, you know.
It sounded [B] great in there.
To a stadium [C#] like this, I thought, this is nuts.
[Gm] And I got, made it through that show, [F#] and I started to [E] really like it.
You do fairs even now, do you not?
Yeah, we do a lot of fairs during the summer.
Do you still shake?
I [G] wonder about people who can stand up in front of 20,000, 25 [N],000 people.
I mean, I get nervous in a crowd of five.
I'm terrified here, because if these 200 decide to take over the room, they got it.
They got it, yeah.
I know.
By the way, folks, it ain't worth [G#m] taking.
I mean, it's not a lot.
[B] _ _ [E] I really don't.
I, sometimes, certain things make [G] me nervous.
If I don't think something's right, and it's always back there, [F#] you know, that little dark
cloud is back there.
But then I just go out and I say, well, you know, just try to smile, you know, and pretend
[F#] like you're having a great time, and see what happens from there, [D] you know.
Aren't you getting a little tired of the term comeback?
Rick Nelson comes back again.
I mean, I don't know where [G] he went away, but_
Yeah, no, I've been around all the time, and I know what you mean.
Every time something I'm seeing on a [F#] show or something like that, it's always a comeback.
It's fine with me.
If I do, you know, you have to keep sort of, it's not submerging, emerging, you know. [C#] Forgive me.
What's David doing? _
He's directing [D#] a film right now.
[A] Okay.
So he's doing very well.
Okay, that's terrific.
I just thought I'd ask.
Yeah.
All right.
Rick's going to do one more song for us, which is a, it's a redo of a song that you
did, what, 20 years ago?
That's right, yeah, I [F#] did.
And it was written by [G] a couple of friends of mine, Johnny and [F] Dorsey Burnett.
_ [G] And it's a three-chord rock and roll [F#] song.
It's called Believe What You Say.
[E] All right.
We'll believe it after this for our sponsors and [N] the NBC television station.
Rick [A] Nelson. _
_ _ _ [D] _ _ _ _ _
[A] _ _ _ _ [E] _ _ _ _
_ [A] _ _ _ _ [C#] _ _ _
[F#m] So, [B] hello, Mary [E] Lou.
[A] Goodbye, heart.
_ _ _ _ _ _ You know, you just play good old-fashioned rock and roll, don't you?
Yeah, we try.
I know.
You know, somebody in your position, you could almost do personal appearances where you do
nostalgia, where you do I'm walking and all your great hits and not do anything new.
Why have you chosen to go this way?
Well, you know, I just never wanted to stop, you know, and I know what you mean.
You could just kind of lay back and not do much of anything.
[G#] Hard to believe, but we can now hold Rick Nelson up to the light, as I like to say,
and look back on 20 and 25 years of big, big records, and you could [F] go to Vegas with
lots of glitter and smoke and fire and just do one of those old-time shows and really
not work very hard.
Yeah, well, you know, that's hard work, too, but it's something that I'm really not interested
in, you know, the balloons and feathers.
[B] _
What made you decide [G#] to make records?
You were very [N] successful as a young actor.
You had it going with the family and everything, and how did [D#] rock and roll or music come [A#] into your life?
Well, you know, music has [F#] always been, I've always been involved in music because of my folks.
My dad had an orchestra, yeah, and my mom [G#] was a vocalist [B] with the band, and it really
started with [F#] the idea to make a record was, it happened when I was going with a girl at
Hollywood High School, and [F] she was a year older, and she used to do things [C#] like I'd
take her home and she'd go out with a [F] friend of mine and I'd find out about it.
You know, she wasn't real [F#] thrilled with me.
[E] Anyway, so, and I [F#] was driving her home one night, and [F] Elvis's first record [G] came on the
radio, and she [D#] did this whole thing about Elvis, and I thought, [D] I have to do something.
I thought maybe she said, listen, if you make a record, then [F] we can, but if you don't make
a record, you got no shot.
That's [C] true, that's true.
No [B] way, you know.
And so [E] I said, well, you know, I'm going to make a [B] record, and she laughed a lot, and
so I [G] took her home and I thought, I'm going to make a [F] record, and just one record, and
hand it to her, and say, you know, [F#] there.
So I went back [E] and I _ did a [N] record on the show on [C#] the soundstage.
I used to record [A#] music for the [E] television show, and then we took that around as a demo,
and within about three days, [D#] and [E] subsequently I did it on the [B] TV show, like the next week,
and it was like really an afterthought, [F#] because nobody realized the power that television
[D#] had at that time.
You found out pretty fast, didn't you?
Yeah, yeah.
In those days, you could record a song on a Friday, and by a week from Friday, you'd
sold two million already of a single.
Yeah, it was a very [G#] kind of basic starting [F#] time for at least rock [B] and roll, for sure.
[F] And yeah, we used to record like on a [G] Friday night, and then Monday or Tuesday, it would
[F] be in the stores, and it didn't have to go [G#] through a whole corporate thing.
Can I try a theory on you?
Of course I can.
Do you think that you [Fm] helped to make rock [G#] and roll a little [G] bit more acceptable to older
[Fm] folks in this country?
[G] You had a show that was [F] geared, you and your mother and [E] father and your brother, was [F#] really
geared to the family audience, and a lot of adults watched, and all of a sudden, here
is Rick Nelson, at that time Ricky, doing rock and roll for the whole family.
And I was just thinking this afternoon, maybe you helped back off some parents on the evils
of rock and roll in the late 50s and early 60s.
Well, it was funny, though.
When I started, it was just [F#] evil.
The rock and roll was going to be out in two weeks, everybody thought, and it's a [G] fad and everything.
And [F#] we used to get letters, and oh, how can you let your [E] son play that terrible, evil music?
[G] And [G#] I played [E] places that [G] had never really heard rock and roll, and so it was really
exciting to be around [F] then, because you got all that clothes [F#] torn off, and that whole
physical end of it, too.
So it was whatever.
I don't know.
I know _ with my dad's show, he always meant it to just be entertainment.
It wasn't meant to be a guide to how to bring up [F] your kids or anything, and those were all
his [D#] values on that.
Funny you say that, because a lot of people took it as the opposite, that this was the
way all families should be, and we will [D] act as Mr.
Nelson does, and [N] all of our children
will behave as Rick and David do.
That's true.
That's true.
And I think that's a lot of the feedback.
It's almost the other people's problem.
I mean, we just, it [D#] was an extension of what our family was.
I know, but see, my parents always said to my brother and me, why can't you act more
like Ricky and David?
I said, because we're not getting 150,000 a week, is how come we don't?
[A] Yeah, right.
Yeah.
_ When the Beatles broke in the 1960s, how did that affect American rock music, and specifically Rick Nelson?
Well, I know how it affected [F#] me.
It kind of like put, you know, I was never heard [E] from for that.
What happened?
Yeah.
And, but it was actually, I was still recording.
I had a long-term contract [E] at the time with Decca at that time, and it just is a learning
[G] experience for me.
I never got the [F] chance to go out and really experiment.
You know, I mean, I started, [B] the first show I did was the Ohio State Fair to like 20,000
people, and I walked out there, man, [F] shaking all over. Really, truly.
[F#] Really.
And I thought, [Dm] what am I doing?
[G#] This is ridiculous.
I have a four-string guitar, and I just came [E] from the bathroom with all [G] the echo, you know.
It sounded [B] great in there.
To a stadium [C#] like this, I thought, this is nuts.
[Gm] And I got, made it through that show, [F#] and I started to [E] really like it.
You do fairs even now, do you not?
Yeah, we do a lot of fairs during the summer.
Do you still shake?
I [G] wonder about people who can stand up in front of 20,000, 25 [N],000 people.
I mean, I get nervous in a crowd of five.
I'm terrified here, because if these 200 decide to take over the room, they got it.
They got it, yeah.
I know.
By the way, folks, it ain't worth [G#m] taking.
I mean, it's not a lot.
[B] _ _ [E] I really don't.
I, sometimes, certain things make [G] me nervous.
If I don't think something's right, and it's always back there, [F#] you know, that little dark
cloud is back there.
But then I just go out and I say, well, you know, just try to smile, you know, and pretend
[F#] like you're having a great time, and see what happens from there, [D] you know.
Aren't you getting a little tired of the term comeback?
Rick Nelson comes back again.
I mean, I don't know where [G] he went away, but_
Yeah, no, I've been around all the time, and I know what you mean.
Every time something I'm seeing on a [F#] show or something like that, it's always a comeback.
It's fine with me.
If I do, you know, you have to keep sort of, it's not submerging, emerging, you know. [C#] Forgive me.
What's David doing? _
He's directing [D#] a film right now.
[A] Okay.
So he's doing very well.
Okay, that's terrific.
I just thought I'd ask.
Yeah.
All right.
Rick's going to do one more song for us, which is a, it's a redo of a song that you
did, what, 20 years ago?
That's right, yeah, I [F#] did.
And it was written by [G] a couple of friends of mine, Johnny and [F] Dorsey Burnett.
_ [G] And it's a three-chord rock and roll [F#] song.
It's called Believe What You Say.
[E] All right.
We'll believe it after this for our sponsors and [N] the NBC television station.
Rick [A] Nelson. _
_ _ _ [D] _ _ _ _ _
[A] _ _ _ _ [E] _ _ _ _
_ [A] _ _ _ _ [C#] _ _ _
[F#m] So, [B] hello, Mary [E] Lou.
[A] Goodbye, heart.