Chords for Toby Keith - Hope On The Rocks (Behind The Scenes)
Tempo:
93.95 bpm
Chords used:
Bb
Eb
D
F
Ebm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[D] [Bb] [C]
[Bb] [D]
[Eb] [Ebm]
[Bb] the song.
[Dm] The characters in this [C] song, [G] Hope on the Rocks, were [Ab] derived out of my imagination, but [Eb] I
[Bb] had to come up with eight or ten characters.
I had a little bitty windows I could write [F] about them, [Gm] and that's why it took so long
for me to write the song longer than usual, because you only had a little line or two
to tell [Eb] about each person.
You wanted the listener to know what they looked [Gm] like, where they came from, and why
they were [Eb] there.
It was such a good song [F] that I wanted it not to have [Eb] a hole in it anywhere.
But no, these characters are all [Gb] people that [Bbm] were in [F] desperation.
[Bb]
[D]
[Eb] The first house I owned, there [Ebm] was a couple that lived two or three doors down, [Bb] and I
remember twice a year or something we'd [D] get together, play cards or [Eb] eat dinner, barbecue
together or something.
[C] They got a divorce, and [Bb] she instantly went [G] seeing other [F] guys, and he kind of disappeared
[B] a couple years ago.
Somebody [Gm] asked me about him, and I remembered the name, but I couldn't remember where I
knew him from.
[Bb] They said, whatever happened to that guy?
He got a divorce, kind of disappeared.
[Dm] And I thought about people in your [Am] life, that [G] that happens all the time.
You're at Starbucks, [Eb] or you're at a cafe, and you [Bb] see somebody talk football in the
weather, and they're in there all the [Dm] time, and they don't give their two weeks notice or nothing.
They're just gone, and you [Gm] really don't know they're gone.
They're not here today, and they're not here tomorrow, and you just kind of forget about them.
[Eb] And then time passes, [Bb] something happened in their life, and they disappeared.
[Eb] This bartender in this song is telling you where they go.
[F] They come here.
[Eb] The reason I picked [Bb] Hope on the Rocks for singles, I pulled Hope on the Rocks [F] from the
last album, Clancy's Tavern, because we had Made [C] in America going [Bb] number one, Red Solo
Cup was going to blow up, [D] and then I knew they were going to go up-tempo with Beers [Eb] Ago next.
I didn't want [Ebm] Hope on the Rocks to miss, [Bb] so we put it on this album, and I made sure
it [D] got its shot.
But it's my [Eb] favorite song I've written in maybe my [C] career, and it's a songwriter's
[Bb] song, and I wanted it to be heard.
[F]
[Bb] Years ago, [A] [Dm] I started working with Mike Solomon.
[Eb] He was the third or fourth [Ebm] director I'd used, and [Bb] he nailed my personality, [F] what we
want to reflect in our videos.
He nailed that [Ebm] personality.
And after two or three awards, and [Bb] Comfort Zone kicked in, and we started [D] winning lots
of awards [Eb] and having a lot of success with [Ebm] videos, were a big part of my early [Bb] career
as anything was.
[D] And I know I can trust him.
I can just [Eb] call him up and say, Mike, I want a black and white [C] video.
I want it to look dingy.
I want it to look dark.
[Bb] We want everybody to look real, [F] and I know we're going [Bb] to get what we're getting today.
So the end result, [D] I know I'm always going [Eb] to get what I want from Mike.
[Ebm] [Bb]
[Bb] [D]
[Eb] [Ebm]
[Bb] the song.
[Dm] The characters in this [C] song, [G] Hope on the Rocks, were [Ab] derived out of my imagination, but [Eb] I
[Bb] had to come up with eight or ten characters.
I had a little bitty windows I could write [F] about them, [Gm] and that's why it took so long
for me to write the song longer than usual, because you only had a little line or two
to tell [Eb] about each person.
You wanted the listener to know what they looked [Gm] like, where they came from, and why
they were [Eb] there.
It was such a good song [F] that I wanted it not to have [Eb] a hole in it anywhere.
But no, these characters are all [Gb] people that [Bbm] were in [F] desperation.
[Bb]
[D]
[Eb] The first house I owned, there [Ebm] was a couple that lived two or three doors down, [Bb] and I
remember twice a year or something we'd [D] get together, play cards or [Eb] eat dinner, barbecue
together or something.
[C] They got a divorce, and [Bb] she instantly went [G] seeing other [F] guys, and he kind of disappeared
[B] a couple years ago.
Somebody [Gm] asked me about him, and I remembered the name, but I couldn't remember where I
knew him from.
[Bb] They said, whatever happened to that guy?
He got a divorce, kind of disappeared.
[Dm] And I thought about people in your [Am] life, that [G] that happens all the time.
You're at Starbucks, [Eb] or you're at a cafe, and you [Bb] see somebody talk football in the
weather, and they're in there all the [Dm] time, and they don't give their two weeks notice or nothing.
They're just gone, and you [Gm] really don't know they're gone.
They're not here today, and they're not here tomorrow, and you just kind of forget about them.
[Eb] And then time passes, [Bb] something happened in their life, and they disappeared.
[Eb] This bartender in this song is telling you where they go.
[F] They come here.
[Eb] The reason I picked [Bb] Hope on the Rocks for singles, I pulled Hope on the Rocks [F] from the
last album, Clancy's Tavern, because we had Made [C] in America going [Bb] number one, Red Solo
Cup was going to blow up, [D] and then I knew they were going to go up-tempo with Beers [Eb] Ago next.
I didn't want [Ebm] Hope on the Rocks to miss, [Bb] so we put it on this album, and I made sure
it [D] got its shot.
But it's my [Eb] favorite song I've written in maybe my [C] career, and it's a songwriter's
[Bb] song, and I wanted it to be heard.
[F]
[Bb] Years ago, [A] [Dm] I started working with Mike Solomon.
[Eb] He was the third or fourth [Ebm] director I'd used, and [Bb] he nailed my personality, [F] what we
want to reflect in our videos.
He nailed that [Ebm] personality.
And after two or three awards, and [Bb] Comfort Zone kicked in, and we started [D] winning lots
of awards [Eb] and having a lot of success with [Ebm] videos, were a big part of my early [Bb] career
as anything was.
[D] And I know I can trust him.
I can just [Eb] call him up and say, Mike, I want a black and white [C] video.
I want it to look dingy.
I want it to look dark.
[Bb] We want everybody to look real, [F] and I know we're going [Bb] to get what we're getting today.
So the end result, [D] I know I'm always going [Eb] to get what I want from Mike.
[Ebm] [Bb]
Key:
Bb
Eb
D
F
Ebm
Bb
Eb
D
[D] _ [Bb] _ _ _ _ _ _ [C] _
[Bb] _ _ _ _ [D] _ _ _ _
[Eb] _ _ _ _ [Ebm] _ _ _ _
[Bb] _ _ the song.
[Dm] The characters in this [C] song, [G] Hope on the Rocks, were [Ab] derived out of my imagination, but [Eb] I
[Bb] had to come up with eight or ten characters.
I had a little bitty windows I could write [F] about them, [Gm] and that's why it took so long
for me to write the song longer than usual, because you only had a little line or two
to tell [Eb] about each person.
You wanted the listener to know what they looked [Gm] like, where they came from, and why
they were [Eb] there.
It was such a good song [F] that I wanted it not to have [Eb] a hole in it anywhere.
But no, these characters are all [Gb] people that [Bbm] were in [F] desperation.
_ _ _ _ _ _ [Bb] _
_ _ _ _ [D] _ _ _
[Eb] The first house I owned, there [Ebm] was a couple that lived two or three doors down, [Bb] and I
remember twice a year or something we'd [D] get together, play cards or [Eb] eat dinner, barbecue
together or something.
[C] They got a divorce, and [Bb] she instantly went [G] seeing other [F] guys, and he kind of disappeared
[B] a couple years ago.
Somebody [Gm] asked me about him, and I remembered the name, but I couldn't remember where I
knew him from.
[Bb] They said, whatever happened to that guy?
He got a divorce, kind of disappeared.
[Dm] And I thought about people in your [Am] life, that [G] that happens all the time.
You're at Starbucks, [Eb] or you're at a cafe, and you [Bb] see somebody talk football in the
weather, and they're in there all the [Dm] time, and they don't give their two weeks notice or nothing.
They're just gone, and you [Gm] really don't know they're gone.
They're not here today, and they're not here tomorrow, and you just kind of forget about them.
[Eb] And then time passes, [Bb] something happened in their life, and they disappeared.
[Eb] This bartender in this song is telling you where they go.
[F] They come here. _ _ _
[Eb] _ _ The reason I picked [Bb] Hope on the Rocks for singles, I pulled Hope on the Rocks [F] from the
last album, Clancy's Tavern, because we had Made [C] in America going [Bb] number one, Red Solo
Cup was going to blow up, [D] and then I knew they were going to go up-tempo with Beers [Eb] Ago next.
I didn't want [Ebm] Hope on the Rocks to miss, [Bb] so we put it on this album, and I made sure
it [D] got its shot.
But it's my [Eb] favorite song I've written in maybe my [C] career, and it's a songwriter's
[Bb] song, and I wanted it to be heard.
[F] _ _ _ _
[Bb] _ Years ago, _ [A] [Dm] I started working with Mike Solomon.
[Eb] He was the third or fourth [Ebm] director I'd used, and [Bb] he nailed my personality, [F] what we
want to reflect in our videos.
He nailed that [Ebm] personality.
And after two or three awards, and _ [Bb] Comfort Zone kicked in, and we started _ [D] _ winning lots
of awards [Eb] and having a lot of success with [Ebm] videos, were a big part of my early [Bb] career
as anything was.
_ _ [D] And I know I can trust him.
I can just [Eb] call him up and say, Mike, I want a black and white [C] video.
I want it to look dingy.
I want it to look dark.
[Bb] We want everybody to look real, [F] and I know we're going [Bb] to get what we're getting today.
So the end result, [D] _ I know I'm always going [Eb] to get what I want from Mike.
_ [Ebm] _ _ _ _ [Bb] _ _ _ _ _ _ _ _
[Bb] _ _ _ _ [D] _ _ _ _
[Eb] _ _ _ _ [Ebm] _ _ _ _
[Bb] _ _ the song.
[Dm] The characters in this [C] song, [G] Hope on the Rocks, were [Ab] derived out of my imagination, but [Eb] I
[Bb] had to come up with eight or ten characters.
I had a little bitty windows I could write [F] about them, [Gm] and that's why it took so long
for me to write the song longer than usual, because you only had a little line or two
to tell [Eb] about each person.
You wanted the listener to know what they looked [Gm] like, where they came from, and why
they were [Eb] there.
It was such a good song [F] that I wanted it not to have [Eb] a hole in it anywhere.
But no, these characters are all [Gb] people that [Bbm] were in [F] desperation.
_ _ _ _ _ _ [Bb] _
_ _ _ _ [D] _ _ _
[Eb] The first house I owned, there [Ebm] was a couple that lived two or three doors down, [Bb] and I
remember twice a year or something we'd [D] get together, play cards or [Eb] eat dinner, barbecue
together or something.
[C] They got a divorce, and [Bb] she instantly went [G] seeing other [F] guys, and he kind of disappeared
[B] a couple years ago.
Somebody [Gm] asked me about him, and I remembered the name, but I couldn't remember where I
knew him from.
[Bb] They said, whatever happened to that guy?
He got a divorce, kind of disappeared.
[Dm] And I thought about people in your [Am] life, that [G] that happens all the time.
You're at Starbucks, [Eb] or you're at a cafe, and you [Bb] see somebody talk football in the
weather, and they're in there all the [Dm] time, and they don't give their two weeks notice or nothing.
They're just gone, and you [Gm] really don't know they're gone.
They're not here today, and they're not here tomorrow, and you just kind of forget about them.
[Eb] And then time passes, [Bb] something happened in their life, and they disappeared.
[Eb] This bartender in this song is telling you where they go.
[F] They come here. _ _ _
[Eb] _ _ The reason I picked [Bb] Hope on the Rocks for singles, I pulled Hope on the Rocks [F] from the
last album, Clancy's Tavern, because we had Made [C] in America going [Bb] number one, Red Solo
Cup was going to blow up, [D] and then I knew they were going to go up-tempo with Beers [Eb] Ago next.
I didn't want [Ebm] Hope on the Rocks to miss, [Bb] so we put it on this album, and I made sure
it [D] got its shot.
But it's my [Eb] favorite song I've written in maybe my [C] career, and it's a songwriter's
[Bb] song, and I wanted it to be heard.
[F] _ _ _ _
[Bb] _ Years ago, _ [A] [Dm] I started working with Mike Solomon.
[Eb] He was the third or fourth [Ebm] director I'd used, and [Bb] he nailed my personality, [F] what we
want to reflect in our videos.
He nailed that [Ebm] personality.
And after two or three awards, and _ [Bb] Comfort Zone kicked in, and we started _ [D] _ winning lots
of awards [Eb] and having a lot of success with [Ebm] videos, were a big part of my early [Bb] career
as anything was.
_ _ [D] And I know I can trust him.
I can just [Eb] call him up and say, Mike, I want a black and white [C] video.
I want it to look dingy.
I want it to look dark.
[Bb] We want everybody to look real, [F] and I know we're going [Bb] to get what we're getting today.
So the end result, [D] _ I know I'm always going [Eb] to get what I want from Mike.
_ [Ebm] _ _ _ _ [Bb] _ _ _ _ _ _ _ _