Chords for The All-American Rejects - Inside The Hit Song: Gives You Hell
Tempo:
100 bpm
Chords used:
E
A
B
C#m
C#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
It was just this cheesy drum loop with this whirly, and that's what the whole song was built off of.
[C#m] [A]
[E] When we started writing Gives You [A] Hell, we were up in Vancouver in this [B] crazy sort of loft that overlooked [F#] the river there.
Let's just [A] call it the River Canada.
And [Em] it was crazy, because Nick and I sort of kidnapped [C#] each other and wouldn't let each other leave until we came [E] down from the mountain with a song.
And this little riff [A] bouncing on a Wurlitzer, I took over to Nick and [E] I was like, I don't know about this.
Those are always the good ones when you're weirded out by it.
[E] We almost [C#m] didn't put Gives You Hell on [C#] the record, that's how scared [A] of it we were.
That's [E] true.
We were all like, I don't think [C#m] this
We can't do the song, [A] we can't do the song, change the drum beat.
[E] Something's wrong with it.
[C#m] There's a fucking [A] guitar solo after the first chorus, this isn't gonna [E] work.
And then actually in Atlanta, [A] in this hotel I remember, didn't you have a phone [E] conversation with Jimmy Iovine?
[C#] Oh yeah, he liked it.
[A] And he goes, congratulations, you guys just wrote the songy [B] of careers.
And [C#m] so I think the next day we [E] went up to Eric and we were like, hey, [B] Jimmy Iovine said this.
And he's like, oh [A] great.
We're like, alright, I guess it's going on the [E] record then.
[C#m] [A]
Most of our songs start either on a piano, on a guitar, or in this case, Gives You Hell was just [E] Wurly in a drum loop.
[B] And then it's like, [A] alright, where does the guitar go?
[E] And then that's when you come up with stuff like this.
[F#m] [C]
[A] Because there's nothing [E] else.
Here, play the opening riff, because that's what I walked in with.
[A] I was like, there's something weird like,
When you see my face I'll forget [C#] you have, I'll forget [A] you have.
And [F#m] Nick was like, what's this about?
And I was like, [B] it's about this asshole.
[F#]
There's a breakdown in the middle where it's like, oh when you [B] see my face I'll forget you have.
And it's all yelling.
[A] And we were drinking Molson Canadian.
[E] We got really, you know, [A] in a fun sort of laffy drunk and yelled [F] our asses off.
And it was like midnight, [E] one maybe.
We were just thinking, [A] God, this lady next door.
[C#] When [B] [E] we recorded the song, we actually got to go up to Skywalker Ranch.
And I forget what the town is, but [A] it's Northern California.
We went fishing on Lake Ewok.
That's a thing.
Which is right outside of the John Williams Recording Studio, which is where we [E] recorded.
It was like a big, [C#m] gigantic, insane asylum for [A] King Kong and some shit.
[E] We did Gangboggle [B] in that room for the [E] record.
And we had a couple friends with us, you know, [C#m] the engineers, etc.
We literally [A] got a case of Kurz Light.
Cheers.
But we [C#m] literally made everybody shotgun a beer [C#] before every take.
We did.
We did.
[F#m] It was actually funny, like we did such a [B] good job on them being drunk.
We did them too [Bm] well.
We were so drunk we were [E] overthinking it.
So we re-recorded them, [D#] and we actually had to pretend to be sloppy drunk because that's how difficult it was.
[F#] Yeah, we did the drunk gang vocals completely sober in the middle of the day.
[E]
It's like Celine Dion might be the [A] best fucking singer in the world, but [C#m] you ask her to sing a flat note?
She [B] sucks.
[E]
You know, whether it's 15 little children singing in a choir, or a guy juicing at the [B] gym thinking about his ex [E]-girlfriend,
this song sort of transcended things for us that we never could have [B] imagined.
[E] But it was really cool.
That's the story of that song.
We really [B] did.
We told a story about [Em] it.
Yeah.
[C#m] [A]
[E] When we started writing Gives You [A] Hell, we were up in Vancouver in this [B] crazy sort of loft that overlooked [F#] the river there.
Let's just [A] call it the River Canada.
And [Em] it was crazy, because Nick and I sort of kidnapped [C#] each other and wouldn't let each other leave until we came [E] down from the mountain with a song.
And this little riff [A] bouncing on a Wurlitzer, I took over to Nick and [E] I was like, I don't know about this.
Those are always the good ones when you're weirded out by it.
[E] We almost [C#m] didn't put Gives You Hell on [C#] the record, that's how scared [A] of it we were.
That's [E] true.
We were all like, I don't think [C#m] this
We can't do the song, [A] we can't do the song, change the drum beat.
[E] Something's wrong with it.
[C#m] There's a fucking [A] guitar solo after the first chorus, this isn't gonna [E] work.
And then actually in Atlanta, [A] in this hotel I remember, didn't you have a phone [E] conversation with Jimmy Iovine?
[C#] Oh yeah, he liked it.
[A] And he goes, congratulations, you guys just wrote the songy [B] of careers.
And [C#m] so I think the next day we [E] went up to Eric and we were like, hey, [B] Jimmy Iovine said this.
And he's like, oh [A] great.
We're like, alright, I guess it's going on the [E] record then.
[C#m] [A]
Most of our songs start either on a piano, on a guitar, or in this case, Gives You Hell was just [E] Wurly in a drum loop.
[B] And then it's like, [A] alright, where does the guitar go?
[E] And then that's when you come up with stuff like this.
[F#m] [C]
[A] Because there's nothing [E] else.
Here, play the opening riff, because that's what I walked in with.
[A] I was like, there's something weird like,
When you see my face I'll forget [C#] you have, I'll forget [A] you have.
And [F#m] Nick was like, what's this about?
And I was like, [B] it's about this asshole.
[F#]
There's a breakdown in the middle where it's like, oh when you [B] see my face I'll forget you have.
And it's all yelling.
[A] And we were drinking Molson Canadian.
[E] We got really, you know, [A] in a fun sort of laffy drunk and yelled [F] our asses off.
And it was like midnight, [E] one maybe.
We were just thinking, [A] God, this lady next door.
[C#] When [B] [E] we recorded the song, we actually got to go up to Skywalker Ranch.
And I forget what the town is, but [A] it's Northern California.
We went fishing on Lake Ewok.
That's a thing.
Which is right outside of the John Williams Recording Studio, which is where we [E] recorded.
It was like a big, [C#m] gigantic, insane asylum for [A] King Kong and some shit.
[E] We did Gangboggle [B] in that room for the [E] record.
And we had a couple friends with us, you know, [C#m] the engineers, etc.
We literally [A] got a case of Kurz Light.
Cheers.
But we [C#m] literally made everybody shotgun a beer [C#] before every take.
We did.
We did.
[F#m] It was actually funny, like we did such a [B] good job on them being drunk.
We did them too [Bm] well.
We were so drunk we were [E] overthinking it.
So we re-recorded them, [D#] and we actually had to pretend to be sloppy drunk because that's how difficult it was.
[F#] Yeah, we did the drunk gang vocals completely sober in the middle of the day.
[E]
It's like Celine Dion might be the [A] best fucking singer in the world, but [C#m] you ask her to sing a flat note?
She [B] sucks.
[E]
You know, whether it's 15 little children singing in a choir, or a guy juicing at the [B] gym thinking about his ex [E]-girlfriend,
this song sort of transcended things for us that we never could have [B] imagined.
[E] But it was really cool.
That's the story of that song.
We really [B] did.
We told a story about [Em] it.
Yeah.
Key:
E
A
B
C#m
C#
E
A
B
_ _ _ _ _ _ _
It was just this cheesy drum loop with this whirly, and that's what the whole song was built off of.
_ _ _ _ [C#m] _ _ [A] _
_ _ _ [E] _ When we started writing Gives You [A] Hell, we were up in Vancouver in this [B] crazy sort of loft that overlooked [F#] the river there.
Let's just [A] call it the River Canada.
And [Em] it was crazy, because Nick and I sort of kidnapped [C#] each other and wouldn't let each other leave until we came [E] down from the mountain with a song.
And this little riff [A] bouncing on a Wurlitzer, I took over to Nick and [E] I was like, I don't know about this.
Those are always the good ones when you're weirded out by it.
[E] We almost [C#m] didn't put Gives You Hell on [C#] the record, that's how scared [A] of it we were.
That's [E] true.
We were all like, I don't think [C#m] this_
We can't do the song, [A] we can't do the song, change the drum beat.
[E] Something's wrong with it.
[C#m] There's a fucking [A] guitar solo after the first chorus, this isn't gonna [E] work.
And then actually in Atlanta, [A] in this hotel I remember, didn't you have a phone [E] conversation with Jimmy Iovine?
[C#] Oh yeah, he liked it.
[A] And he goes, congratulations, you guys just wrote the songy [B] of careers.
_ And [C#m] so I think the next day we [E] went up to Eric and we were like, hey, [B] Jimmy Iovine said this.
And he's like, oh [A] great.
We're like, alright, I guess it's going on the [E] record then.
_ [C#m] _ _ [A] _
Most of our songs start either on a piano, on a guitar, or in this case, Gives You Hell was just [E] Wurly in a drum loop.
[B] And then it's like, [A] alright, where does the guitar go?
[E] And then that's when you come up with stuff like this.
_ [F#m] _ _ [C] _
[A] Because there's nothing [E] else.
Here, play the opening riff, because that's what I walked in with.
_ _ [A] _ I was like, there's something weird like,
When you see my face I'll forget [C#] you have, I'll forget [A] you have.
And [F#m] Nick was like, what's this about?
And I was like, [B] it's about this asshole.
_ _ [F#]
There's a breakdown in the middle where it's like, oh when you [B] see my face I'll forget you have.
And it's all yelling.
[A] And we were drinking Molson Canadian.
[E] We got really, you know, [A] in a fun sort of laffy drunk and yelled [F] our asses off.
And it was like midnight, [E] one maybe.
We were just thinking, [A] God, this lady next door.
[C#] When _ [B] _ [E] we recorded the song, we actually got to go up to Skywalker Ranch.
And I forget what the town is, but [A] it's Northern California.
We went fishing on Lake Ewok.
That's a thing.
Which is right outside of the John Williams Recording Studio, which is where we [E] recorded.
It was like a big, [C#m] gigantic, insane asylum for [A] King Kong and some shit.
_ [E] We did Gangboggle [B] in that room for the [E] record.
And we had a couple friends with us, you know, [C#m] the engineers, etc.
We literally [A] got a case of Kurz Light.
Cheers.
But we [C#m] literally made everybody shotgun a beer [C#] before every take.
We did.
We did.
[F#m] It was actually funny, like we did such a [B] good job on them being drunk.
We did them too [Bm] well.
We were so drunk we were [E] overthinking it.
So we re-recorded them, [D#] and we actually had to pretend to be sloppy drunk because that's how difficult it was.
[F#] Yeah, we did the drunk gang vocals completely sober in the middle of the day.
[E] _
It's like Celine Dion might be the [A] best fucking singer in the world, but [C#m] you ask her to sing a flat note?
She [B] sucks.
_ [E] _ _ _ _
You know, whether it's 15 little children singing in a choir, or a guy juicing at the [B] gym thinking about his ex [E]-girlfriend,
this song sort of transcended things for us that we never could have [B] imagined.
_ [E] But it was really cool.
That's the story of that song.
We really [B] did.
We told a story about [Em] it.
Yeah. _ _ _ _
It was just this cheesy drum loop with this whirly, and that's what the whole song was built off of.
_ _ _ _ [C#m] _ _ [A] _
_ _ _ [E] _ When we started writing Gives You [A] Hell, we were up in Vancouver in this [B] crazy sort of loft that overlooked [F#] the river there.
Let's just [A] call it the River Canada.
And [Em] it was crazy, because Nick and I sort of kidnapped [C#] each other and wouldn't let each other leave until we came [E] down from the mountain with a song.
And this little riff [A] bouncing on a Wurlitzer, I took over to Nick and [E] I was like, I don't know about this.
Those are always the good ones when you're weirded out by it.
[E] We almost [C#m] didn't put Gives You Hell on [C#] the record, that's how scared [A] of it we were.
That's [E] true.
We were all like, I don't think [C#m] this_
We can't do the song, [A] we can't do the song, change the drum beat.
[E] Something's wrong with it.
[C#m] There's a fucking [A] guitar solo after the first chorus, this isn't gonna [E] work.
And then actually in Atlanta, [A] in this hotel I remember, didn't you have a phone [E] conversation with Jimmy Iovine?
[C#] Oh yeah, he liked it.
[A] And he goes, congratulations, you guys just wrote the songy [B] of careers.
_ And [C#m] so I think the next day we [E] went up to Eric and we were like, hey, [B] Jimmy Iovine said this.
And he's like, oh [A] great.
We're like, alright, I guess it's going on the [E] record then.
_ [C#m] _ _ [A] _
Most of our songs start either on a piano, on a guitar, or in this case, Gives You Hell was just [E] Wurly in a drum loop.
[B] And then it's like, [A] alright, where does the guitar go?
[E] And then that's when you come up with stuff like this.
_ [F#m] _ _ [C] _
[A] Because there's nothing [E] else.
Here, play the opening riff, because that's what I walked in with.
_ _ [A] _ I was like, there's something weird like,
When you see my face I'll forget [C#] you have, I'll forget [A] you have.
And [F#m] Nick was like, what's this about?
And I was like, [B] it's about this asshole.
_ _ [F#]
There's a breakdown in the middle where it's like, oh when you [B] see my face I'll forget you have.
And it's all yelling.
[A] And we were drinking Molson Canadian.
[E] We got really, you know, [A] in a fun sort of laffy drunk and yelled [F] our asses off.
And it was like midnight, [E] one maybe.
We were just thinking, [A] God, this lady next door.
[C#] When _ [B] _ [E] we recorded the song, we actually got to go up to Skywalker Ranch.
And I forget what the town is, but [A] it's Northern California.
We went fishing on Lake Ewok.
That's a thing.
Which is right outside of the John Williams Recording Studio, which is where we [E] recorded.
It was like a big, [C#m] gigantic, insane asylum for [A] King Kong and some shit.
_ [E] We did Gangboggle [B] in that room for the [E] record.
And we had a couple friends with us, you know, [C#m] the engineers, etc.
We literally [A] got a case of Kurz Light.
Cheers.
But we [C#m] literally made everybody shotgun a beer [C#] before every take.
We did.
We did.
[F#m] It was actually funny, like we did such a [B] good job on them being drunk.
We did them too [Bm] well.
We were so drunk we were [E] overthinking it.
So we re-recorded them, [D#] and we actually had to pretend to be sloppy drunk because that's how difficult it was.
[F#] Yeah, we did the drunk gang vocals completely sober in the middle of the day.
[E] _
It's like Celine Dion might be the [A] best fucking singer in the world, but [C#m] you ask her to sing a flat note?
She [B] sucks.
_ [E] _ _ _ _
You know, whether it's 15 little children singing in a choir, or a guy juicing at the [B] gym thinking about his ex [E]-girlfriend,
this song sort of transcended things for us that we never could have [B] imagined.
_ [E] But it was really cool.
That's the story of that song.
We really [B] did.
We told a story about [Em] it.
Yeah. _ _ _ _