Chords for Zal Gets Canned From The Lovin' Spoonful
Tempo:
99.95 bpm
Chords used:
G
C
C#
F
Gm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G] [Dm] [G] But this [Em] commercial success did not make everyone [D#m] in the band happy.
Guitarist [D#] Zolianovsky missed the early days.
[D#m]
Zali had been quite forthright and said,
[G#] you know, this thing is, this thing is over.
We aren't what we [C#] were and I'm going to bring it down
because I like to be living the truth.
I wanted to go back to work in the clubs again.
I wanted to go back and try to recapture that kind of,
you know, that sort of energy I think that you,
that you get in a, in a small hot room full of sweaty ooga booga bodies.
You know, it's like, it's quite great.
I also could see that my songwriting was beginning to take a more personal tact
and that it was frankly uncomfortable [Gm] for Zali while he was still in the group.
Used to, you know, like paddle his guitar like an [C] imaginary canoe
while I was being the sensitive singer songwriter trying to sing,
you know, Younger Generation or Darling [C#] Be Home Soon.
And he just, oh, he [G] hated it, you know.
[C]
[G] [Am] [G] [C]
[G] [Am] [G] The band was never [C] going to [G] do [A] what I wanted [D] it to do.
You know, I [Gm] wasn't going to do any more of what they were going to do.
And in the middle of all this, you're all making lots of money.
So you stay together for longer, [C#] you know, it's like a marriage.
You know, you stay together, you know, like you see the writing on the wall,
but oh, well, you know, at least it's familiar, you know.
Matters came to a head.
We had a flight back from the West Coast.
We may have been playing in Denver and I had told Gerald that I thought
his songwriting has really gone down the toilet.
And I thought that he was, you know, it was time for him to, you know,
get back into the, you know, the, if you [C] want to call it like the risk element.
There was a meeting in which we said, you know, we're going to,
we have to tell Zali that we're going to keep going.
[F] And [C#] that if he's gonna, if he's doesn't want to, then he's out.
We're gathering in John's house and [F] Zali's sitting there.
We called him [Gm] over for a meeting and nobody's saying nothing.
And I'm sitting there going like, somebody going to say you're fired, you know?
And nobody was saying nothing.
It was kind of like small talk was being exchanged.
And finally, I don't know, for whatever reasons,
I took it upon myself to be the executioner.
And I said, you know, Zali, we're here [F] because you're canned.
[C] So
Guitarist [D#] Zolianovsky missed the early days.
[D#m]
Zali had been quite forthright and said,
[G#] you know, this thing is, this thing is over.
We aren't what we [C#] were and I'm going to bring it down
because I like to be living the truth.
I wanted to go back to work in the clubs again.
I wanted to go back and try to recapture that kind of,
you know, that sort of energy I think that you,
that you get in a, in a small hot room full of sweaty ooga booga bodies.
You know, it's like, it's quite great.
I also could see that my songwriting was beginning to take a more personal tact
and that it was frankly uncomfortable [Gm] for Zali while he was still in the group.
Used to, you know, like paddle his guitar like an [C] imaginary canoe
while I was being the sensitive singer songwriter trying to sing,
you know, Younger Generation or Darling [C#] Be Home Soon.
And he just, oh, he [G] hated it, you know.
[C]
[G] [Am] [G] [C]
[G] [Am] [G] The band was never [C] going to [G] do [A] what I wanted [D] it to do.
You know, I [Gm] wasn't going to do any more of what they were going to do.
And in the middle of all this, you're all making lots of money.
So you stay together for longer, [C#] you know, it's like a marriage.
You know, you stay together, you know, like you see the writing on the wall,
but oh, well, you know, at least it's familiar, you know.
Matters came to a head.
We had a flight back from the West Coast.
We may have been playing in Denver and I had told Gerald that I thought
his songwriting has really gone down the toilet.
And I thought that he was, you know, it was time for him to, you know,
get back into the, you know, the, if you [C] want to call it like the risk element.
There was a meeting in which we said, you know, we're going to,
we have to tell Zali that we're going to keep going.
[F] And [C#] that if he's gonna, if he's doesn't want to, then he's out.
We're gathering in John's house and [F] Zali's sitting there.
We called him [Gm] over for a meeting and nobody's saying nothing.
And I'm sitting there going like, somebody going to say you're fired, you know?
And nobody was saying nothing.
It was kind of like small talk was being exchanged.
And finally, I don't know, for whatever reasons,
I took it upon myself to be the executioner.
And I said, you know, Zali, we're here [F] because you're canned.
[C] So
Key:
G
C
C#
F
Gm
G
C
C#
[G] _ _ [Dm] _ [G] But this [Em] commercial success did not make everyone [D#m] in the band happy.
Guitarist [D#] Zolianovsky missed the early days.
[D#m]
Zali had been quite forthright and said,
[G#] you know, this thing is, this thing is over.
We aren't what we [C#] were and I'm going to bring it down
because I like to be living the truth.
I wanted to go back to work in the clubs again.
I wanted to go back and try to recapture that kind of,
you know, that sort of energy I think that you,
that you get in a, in a small hot room full of sweaty ooga booga bodies.
You know, it's like, it's quite great.
I also could see that my songwriting was beginning to take a more personal tact
and that it _ was frankly uncomfortable [Gm] for Zali while he was still in the group.
Used to, _ you know, like paddle his guitar like an [C] imaginary canoe
while I was being the sensitive singer songwriter trying to sing,
you know, Younger Generation or Darling [C#] Be Home Soon.
And he just, oh, he [G] hated it, you know. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [C] _
[G] _ [Am] _ _ [G] _ _ _ _ [C] _
[G] _ [Am] _ _ [G] _ The band was never [C] going to [G] do [A] what I wanted [D] it to do.
You know, I [Gm] wasn't going to do any more of what they were going to do.
And in the middle of all this, you're all making lots of money.
So you stay together for longer, [C#] you know, it's like a marriage.
You know, you stay together, you know, like you see the writing on the wall,
but oh, well, you know, at least it's familiar, you know.
Matters came to a head.
We had a flight back from the West Coast.
We may have been playing in Denver and I had _ told Gerald that I thought
his songwriting has really gone down the toilet.
And I thought that he was, you know, it was time for him to, you know,
get back into the, you know, the, if you [C] want to call it like the risk element.
There was a meeting in which we said, you know, we're going to,
we have to tell Zali that we're going to keep going.
[F] And [C#] that if he's gonna, if he's doesn't want to, then he's out.
We're gathering in John's house and [F] Zali's sitting there.
We called him [Gm] over for a meeting and nobody's saying nothing.
And I'm sitting there going like, _ somebody going to say you're fired, you know?
And nobody was saying nothing.
It was kind of like small talk was being exchanged.
And finally, I don't know, for whatever reasons,
I took it upon myself to be the executioner.
And I said, you know, Zali, we're here [F] because you're canned.
[C] So
Guitarist [D#] Zolianovsky missed the early days.
[D#m]
Zali had been quite forthright and said,
[G#] you know, this thing is, this thing is over.
We aren't what we [C#] were and I'm going to bring it down
because I like to be living the truth.
I wanted to go back to work in the clubs again.
I wanted to go back and try to recapture that kind of,
you know, that sort of energy I think that you,
that you get in a, in a small hot room full of sweaty ooga booga bodies.
You know, it's like, it's quite great.
I also could see that my songwriting was beginning to take a more personal tact
and that it _ was frankly uncomfortable [Gm] for Zali while he was still in the group.
Used to, _ you know, like paddle his guitar like an [C] imaginary canoe
while I was being the sensitive singer songwriter trying to sing,
you know, Younger Generation or Darling [C#] Be Home Soon.
And he just, oh, he [G] hated it, you know. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [C] _
[G] _ [Am] _ _ [G] _ _ _ _ [C] _
[G] _ [Am] _ _ [G] _ The band was never [C] going to [G] do [A] what I wanted [D] it to do.
You know, I [Gm] wasn't going to do any more of what they were going to do.
And in the middle of all this, you're all making lots of money.
So you stay together for longer, [C#] you know, it's like a marriage.
You know, you stay together, you know, like you see the writing on the wall,
but oh, well, you know, at least it's familiar, you know.
Matters came to a head.
We had a flight back from the West Coast.
We may have been playing in Denver and I had _ told Gerald that I thought
his songwriting has really gone down the toilet.
And I thought that he was, you know, it was time for him to, you know,
get back into the, you know, the, if you [C] want to call it like the risk element.
There was a meeting in which we said, you know, we're going to,
we have to tell Zali that we're going to keep going.
[F] And [C#] that if he's gonna, if he's doesn't want to, then he's out.
We're gathering in John's house and [F] Zali's sitting there.
We called him [Gm] over for a meeting and nobody's saying nothing.
And I'm sitting there going like, _ somebody going to say you're fired, you know?
And nobody was saying nothing.
It was kind of like small talk was being exchanged.
And finally, I don't know, for whatever reasons,
I took it upon myself to be the executioner.
And I said, you know, Zali, we're here [F] because you're canned.
[C] So
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