Songbook
If you're new to Songbook: Basically, Songbook is a compilation of songs, stitched together from many sources and created using MS-Word. As such, it's easily editable to delete/adjust/modify/correct as you see fit -- when you're done, call it your own. (Songbook is also available in .pdf format). As a Word document Songbook is best viewed in "Normal" view and "Landscape" format. You can find more about Songbook by clicking "Go to the Introduction."
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* Disclaimer: This document was created and is intended solely for the personal, private enjoyment of fellow guitar players. Any copyrighted *
* material remains the property of the respective holder and no public, commercial, or otherwise unauthorized use is permissible. * ******************************************************************************************************************************************************************
THE AMATEUR GUITAR PLAYER'S
CHORD-STRUMMIN' SONGBOOK
~~~~~~~
WHAT'S RECENT AND NEW:
Included with update (258) on 10/02/17: No additional songs were added with this update but as an aid to help the beginning guitarist I went through all the songs and added an asterisk (*) in front of those song titles I feel are easier to play than the others. These songs primarily contain 3-note major chords patterns
(G-C-D, D-E-A) and/or common, easy to play minor and 7th chords (Am, Em, D7, A7, etc) which most beginners feel comfortable playing.
Songs added with update (261) on 10/11/17: Canned Heat (Going Up the Country), Buffalo Springfield (For What It's Worth),
The Animals (We Gotta Get Out of This Place), Barry McGuire (Eve of Destruction), The Youngbloods (Get Together), C.C.R. (Fortunate Son),
Bob Dylan (A Hard Rain's A Gonna Fall), Barry Sadler (Ballad of the Green Beret), Norman Greenbaum (Spirit in the Sky)
The Rolling Stones (Paint it Black)
Songs added with update (266) on 03/17/18: Adele (Hello). Continuing to work on adding intro's to all songs and adjust voicing of the lyrics.
Go to the Introduction Go to the Chord Diagrams Go to the Main Index
MAIN INDEX
By Artist By Song Title/Genre
V
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
- A -
Roy Acuff
Blue Moon of Kentucky
Wabash Cannonball
Adele
Hello
Alabama
Close Enough to Perfect
High Cotton
If You're Gonna Play in Texas
America
Lonely People
Julie Andrews
Edelweiss
(Main)
The Animals
House of the Rising Sun
We Gotta Get Out of This Place
The Archies
Sugar Sugar
Louis Armstrong
What a Wonderful World
Eddy Arnold
Cattle Call
- B -
Bad Company
Shooting Star
Joan Baez
Diamonds and Rust
Forever Young
Lily, Rosemary and the Jack of Hearts
The Night They Drove Old Dixie Down
Stewball
Suzanne
The Band
The Night They Drove Old Dixie Down
The Weight
The Beach Boys
Barbara Ann
Sloop John B.
The Beatles
A Hard Days Night
Across the Universe
Act Naturally
All My Loving
All Together Now
All You Need Is Love
Ballad of John and Yoko
The Continuing Story of Bungalow Bill
Don't Let Me Down
Eight Days a Week (Main)
For No One
Girl
Here Comes the Sun
I Saw Her Standing There
I Wanna Hold Your Hand
I Will
I'm Happy Just to Dance With You
I've Just Seen a Face
Lady Madonna
Let It Be
Maxwell's Silver Hammer
Nowhere Man
Ob-la-di, Ob-la-da
P.S. I Love You
She Loves You
Something
This Boy (Ringo's Theme)
Twist and Shout
We Can Work it Out
Yellow Submarine
You've Got to Hide Your Love Away
Harry Belafonte
The Banana Boat Song (Day-O)
The Bellamy Brothers
Kids of the Baby Boom
Chuck Berry
Johnny B. Goode
My Ding a Ling
Ray Bolger
If I Only Had a Brain
The Box Tops
The Letter
Bread
If
Garth Brooks
The Dance
Friends in Low Places
In Lonesome Dove
Buffalo Springfield
For What It's Worth
(Main)
Jimmy Buffett
Boats to Build (with Alan Jackson)
Margaritaville
Why Don't We Get Drunk and Screw
- C -
Canned Heat
Going Up the Country
Glen Campbell
Gentle on My Mind
Henson Cargill
Skip a Rope
Mary Chapin Carpenter
Down at the Twist and Shout
The Carter Family
Keep on the Sunny Side of Life
You Are My Sunshine
Johnny Cash
Folsom Prison Blues
Ghost Riders in the Sky
I Ride an Old Paint
I Walk the Line
Jackson (with June Carter)
Long Black Veil
Ring of Fire
When the Man Comes Around
Will the Circle Be Unbroken
Harry Chapin
A Better Place to Be
Circle
Chicago
25 or 6 to 4
The Chieftains
Long Black Veil
(Main)
Eric Clapton
Wonderful Tonight
Patsy Cline
Blue Moon of Kentucky
Crazy
I Fall to Pieces
San Antonio Rose
The Tennessee Waltz
The Wayward Wind
Leonard Cohen
Hallelujah
Judy Collins
Amazing Grace
The Contours
Do You Love Me
Sam Cooke
Cupid
Wonderful World
Coven
One Tin Soldier
The Cowsills
Walk Away Renee
Creedence Clearwater Revival
Bad Moon Rising
Fortunate Son
Have You Ever Seen the Rain
Lodi
Lookin' Out My Back Door
The Midnight Special (Main)
Proud Mary
Who'll Stop the Rain
Jim Croce
I've Got a Name
Time in a Bottle
Crosby, Stills, and Nash
Teach Your Children
The Crystals
Do Ron Ron
Billy Currington
People are Crazy
- D -
Danny and the Juniors
At the Hop
Bobby Darin
Dream Lover
Mac Davis
Lord It's Hard to be Humble
Doris Day
Que Sera Sera
John Denver
Annie's Song
Back Home Again
Follow Me
For Baby
Leaving on a Jet Plane
My Sweet Lady
Rhymes and Reasons
Rocky Mountain High
Take Me Home Country Roads
Jackie DeShannon
Put a Little Love in Your Heart
(Main)
Neil Diamond
Beautiful Noise
Solitary Man
Song Sung Blue
Sweet Caroline
Dion
A Teenager in Love
Runaround Sue
The Wanderer
Dire Straits
Walk of Life
The Dixie Chicks
Long Time Gone
Traveling Soldier
Dixie Cups
Chapel of Love
Doctor Hook
Cover of the Rolling Stone
Sylvia's Mother
The Doors
People Are Strange
The Drifters
Save the Last Dance for Me
This Magic Moment
Under the Boardwalk
Up on the Roof
Bob Dylan
A Hard Rain's A Gonna Fall
Blowin' in the Wind
Don't Think Twice It's Alright
Forever Young
Knockin' on Heaven's Door
Lily, Rosemary, and the Jack of Hearts
The Times They Are A Changing
(Main)
- E -
The Eagles
Already Gone
Busy Being Fabulous
Desperado
Hotel California
How Long
Lyin' Eyes
Long Road Out of Eden
Love Will Keep Us Alive
Peaceful Easy Feeling
Seven Bridges Road
Take it Easy
Take it to the Limit
Tequila Sunrise
The Girl From Yesterday
The Last Resort
Waiting in the Weeds
Electric Light Orchestra
Can't Get You Out of My Head
Emerson, Lake, & Palmer
Lucky Man
Enya
May It Be
The Everly Brothers
All I Have to Do Is Dream
Be Bop A Lula
Bye Bye Love
Let It Be Me
Take a Message To Mary
Unchained Melody
- F -
Five Man Electrical Band
Signs
Roberta Flack
Killing Me Softly
Flatt & Scruggs (Main)
Ballad of Jed Clampett
John Fogerty
Blue Moon Nights
Centerfield
Deja Vu (All Over Again)
I Saw It On TV
Rockin All Over the World
The Folksmen
A Mighty Wind (with Mitch & Mickey and The New Main Street Singers)
Blood on the Coal
Never Did No Wanderin'
Old Joe's Place
The Foundations
Build Me Up Buttercup
Tennessee Ernie Ford
Sixteen Tons
Bobby Fuller
I Fought the Law
- G -
Judy Garland
Over the Rainbow
We're Off to See the Wizard
Gerry and the Pacemakers
Don't Let the Sun Catch You Crying
Ferry Cross the Mersey
Don Gibson
Oh Lonesome Me
Grand Funk Railroad
The Locomotion
(Main)
Norman Greenbaum
Spirit in the Sky
Arlo Guthrie
Alice's Restaurant
City of New Orleans
Woody Guthrie
The Car Song
I Ride an Old Paint
This Land is Your Land
- H -
Merle Haggard
Are the Good Times Really Over for Good
Going Where the Lonely Go
I Always Get Lucky With You
Mama Tried
My Favorite Memory
Pancho and Lefty (with Willie Nelson)
Rainbow Stew
What Am I Gonna Do With the Rest of My Life
Bill Haley & the Comets
Rock Around the Clock
Jack Haley
If I Only Had a Heart
Tom T. Hall
Country Is
I Like Beer
I Love
Sneaky Snake
(Main)
Emmylou Harris
All the Roadrunning (with Mark Knopfler)
Belle Starr (with Mark Knopfler)
If I Needed You
Love Hurts
Mary Danced with Soldiers
My Dear Companion (Trio)
To Know Him is to Love Him (Trio)
Wayfaring Stranger
Herman's Hermits
Mrs. Brown You've Got a Lovely Daughter
There's a Kind of Hush
Highway 101
The Bed You Made for Me
Cry, Cry, Cry
The Hollies
Long Cool Woman
Buddy Holly
Blue Suede Shoes
Every Day
It Doesn't Matter Anymore
It's So Easy
Maybe Baby
Oh Boy
Peggy Sue
Rave On
Mary Hopkins
Those Were the Days
Hootie and the Blowfish
Hold My Hand
I Hope That I Don't Fall In Love With You
Michelle Post
Johnny Horton
Battle of New Orleans
Whitney Houston
I Will Always Love You
(Main)
- I -
Eric Idle
Always Look on the Bright Side of Life
The Irish Rovers
The Unicorn
- J -
Alan Jackson
Boats to Build (with Jimmy Buffett)
If I Had You
It Must Be Love
Living on Love
Remember When
Thank God for the Radio
Where Were You When the World Stopped Turning
Michael Jackson
Ben
Tommy James and the Shondells
Draggin the Line
Hanky Panky
Jan and Dean
Dead Man's Curve
Jefferson Airplane
White Rabbit
Waylon Jennings
Amanda
Good Hearted Woman (with Willie Nelson)
Luckenback Texas (with Willie Nelson)
Mamas Don't Let Your Babies Grow Up to Be Cowboys
Theme from Dukes of Hazzard
Billy Joel
Piano Man
Elton John
Can You Feel the Love Tonight
Candle in the Wind
Crocodile Rock
Daniel
Tom Jones
Tennessee Waltz
(Main)
George Jones
I Always Get Lucky With You
Golden Ring (with Tammy Wynette)
The Grand Tour
He Stopped Loving Her Today
If Drinking Don't Kill Me
She Still Thinks I Care
Southern California (with Tammy Wynette)
Two Story House (with Tammy Wynette)
Janis Joplin
Me and Bobby McGee
Mercedes Benz
The Judds
Grandpa
Love Can Build a Bridge
Mama He's Crazy
- K -
Kansas
Dust in the Wind
Robert Earl Keen Jr.
Sonora's Death Row
The Kendalls
Heaven's Just a Sin Away
Ben E. King
Stand By Me
Carole King
Will You Still Love Me Tomorrow
Kingston Trio
Tom Dooley
(Main)
The Kinks
A Well Respected Man
All Day and All of the Night
Come Dancing
Lola
Mark Knopfler
All the Roadrunning (with Emmylou Harris)
Belle Starr (with Emmylou Harris)
Alison Krauss
Down to the River to Pray
I'll Fly Away (with Gillian Welch)
I Will
Sleep On
Steel Rails
Kris Kristofferson
Help Me Make It Through the Night
- L -
The La's
There She Goes
Bert Lahr
If I Only Had the Nerve
Frankie Laine
Ghost Riders in the Sky
John Lennon
Imagine
Gordon Lightfoot
Christian Island
Circle of Steel
Cotton Jenny (Main)
Don Quixote
Early Morning Rain
For Lovin' Me
If You Could Read My Mind
The Pony Man
Rainy Day People
Steel Rail Blues
Summertime Dream
Wreck of the Edmund Fitzgerald
Little Eva
The Locomotion
Little Peggy March
I Will Follow Him
Lobo
Me & You and a Dog Named Boo
Los Lobos
La Bamba
Lyle Lovett
Bears
Cowboy Man
God Will
If I Had a Boat
If I Needed You
If You Were To Wake Up
L.A. County
Simple Song
Texas River Song
Which Way Does That Old Pony Run
Loretta Lynn
Coal Miner's Daughter
- M -
Manfred Mann
Do Wah Diddy
Dean Martin
Memories are Made of This
That's Amore
(Main)
Marshall Tucker Band
Fire on the Mountain
Johnny Mathis
A Time for Us
Kathy Mattea
Eight Wheels and a Dozen Roses
The Mavericks
Blue Moon
Paul McCartney
Another Day
Band on the Run (with Wings)
Junior's Farm (with Wings)
Medicine Jar (with Wings)
Picasso's Last Words/Richard Corey (with Wings)
Reba McEntire
She Thinks His Name Was John
Barry McGuire
Eve of Destruction
Don McLean
Vincent
Harry McClintock
Big Rock Candy Mountain
Meat Loaf
Bat Out of Hell
Los Angeloser
John Mellencamp
Little Pink Houses
R.O.C.K. in the U.S.A.
Glenn Miller
In the Mood
Roger Miller
King of the Road
Ronnie Milsap
It Was Almost Like a Song
(Main)
Mitch and Mickey
A Kiss at the End of the Rainbow
A Mighty Wind (with The Folksmen and The New Main Street Singers)
When You're Next to Me
The Monkees
Daydream Believer
I'm a Beliver
Look Out Here Comes Tomorrow
Theme from The Monkees
Monty Python
The Lumberjack Song
The Moody Blues
For My Lady
I Know You're Out There Somewhere
Nights in White Satin
The Story in Your Eyes
The Voice
Your Wildest Dreams
The Mousketeers
Mickey Mouse Club March
Anne Murray
Cotton Jenny
Could I Have This Dance
The Tennessee Waltz
Michael Martin Murphey
Sonora's Death Row
- N -
Nazareth
Love Hurts
Ricky Nelson
Hello Mary Lou
Travelin' Man
(Main)
Willie Nelson
Angel Flying Too Close to the Ground
Blue Eyes Crying in the Rain
Good Hearted Woman (with Waylon Jennings)
Good Time Charlie's Got the Blues
Help Me Make it Through the Night
Luckenback Texas (with Waylon Jennings)
Mamas Don't Let Your Babies Grow Up to Be Cowboys
My Heroes Have Always Been Cowboys
Pancho and Lefty (with Merle Haggard)
Stay All Night
The New Main Street Singers
A Mighty Wind (with The Folksmen and Mitch & Mickey)
Fare Away
Juice Newton
Angel of the Morning
Nitty Gritty Dirt Band
Little Mountain Church
Mr. Bojangles
Will the Circle Be Unbroken
- O -
Oak Ridge Boys
American Made
Roy Orbison
Blue Bayou
California Blue
Careless Heart
Crying
In Dreams
Mean Woman Blues
Oh Pretty Woman
Only the Lonely
Ooby Dooby
Running Scared
Buck Owens
Act Naturally
- P -
Dolly Parton
Bargain Store
Coat of Many Colors
I Will Always Love You
Jolene
My Dear Companion (Trio)
To Know Him is to Love Him (Trio)
The Penguins
Earth Angel
Carl Perkins
Blue Suede Shoes
Peter, Paul & Mary
Blowin' in the Wind
Don't Think Twice It's All Right
Early Morning Rain
500 Miles
For Lovin' Me
Kisses Sweeter Than Wine
Leaving on a Jet Plane
Light One Candle
The Marvelous Toy
Puff the Magic Dragon
Right Field
Stewball
This Land is Your Land
Where Have All the Flowers Gone
Tom Petty (Main)
American Girl
Ankle Deep
Big Weekend
Learning to Fly
Runnin' Down a Dream
Pink Floyd
Comfortably Numb
Mother
Nobody Home
On the Turning Away
Wish You Were Here
Ray Price
For the Good Times
Charlie Pride
Kiss An Angel Good Morning
Elvis Presley
All Shook Up
American Trilogy
Blue Suede Shoes
Can't Help Falling In Love
Don't Be Cruel
Good Luck Charm
Heartbreak Hotel
In the Ghetto
Little Sister
Love Me Tender
Return to Sender
Suspicious Minds
Teddy Bear
That's Alright Mama
Viva Las Vegas
Welcome to My World
The Proclaimers
Cap in Hand
I'm Gonna Be (500 Miles)
I'm On My Way
Let's Get Married
Letter to America
- Q -
Queen
Crazy Little Thing Called Love
Fat Bottomed Girls
- R -
R.E.M.
Around the Sun
Bad Day
Crush With Eyeliner
Drive
Electrolite
Imitation of Life
Losing My Religion
Man on the Moon
Monty Got a Raw Deal
Strange Currencies
Texarkana
The One I Love
Jim Reeves
Billy Bayou
The Blizzard
He'll Have to Go
Welcome to My World
Debbie Reynolds
Dominique
Tammy
Jeanie C. Riley
Harper Valley P.T.A.
Johnny Rivers
Secret Agent Man
Marty Robbins
A White Sport Coat and a Pink Carnation
Big Iron
Cool Water
El Paso
The Hanging Tree
Singing the Blues
Streets of Laredo
(Main)
Jimmy Rodgers
In the Jailhouse Now
Kenny Rogers
Coward of the County
The Gambler
Lucille
Ruby, Don't Take Your Love to Town
The Rolling Stones
Angie
Honky Tonk Woman
Nineteenth Nervous Breakdown
Paint in Black
Play with Fire
Ruby Tuesday
You Can't Always Get What You Want
Linda Ronstadt
Blue Bayou
Deserado
It Doesn't Matter Anymore
It's So Easy
My Dear Companion (Trio)
Silver Threads and Golden Needles
To Know Him is to Love Him (Trio)
Will You Still Love Me Tomorrow
- S -
Barry Sadler
Ballad of the Green Beret
Melanie Safka
Look What They've Done to My Song
Sam the Sham & The Pharohs
Little Red Riding Hood
Peter Seeger
Kisses Sweeter Than Wine
Where Have All the Flowers Gone
The Seekers
Georgy Girl
I'll Never Find Another You
Bob Seger
Against the Wind
Feel Like a Number
Old Time Rock and Roll
Turn the Page
We've Got Tonight
Wreck This Heart
Del Shannon
Runaway
Paul Simon
Kodachrome
Me and Julio Down by the Schoolyard
Slip Sliding Away
Simon and Garfunkel
April, Come She Will
The Boxer
Bridge Over Troubled Water
Cecilia
For Emily, Wherever I May Find Her
El Condor Pasa
Homeward Bound
I Am a Rock
Mrs. Robinson
Old Friends
Richard Cory
Scarborough Fair
The Sound of Silence
(Main)
Frank Sinatra
It Was a Very Good Year
My Way
Ricky Skaggs
Little Mountain Church
The Soggy Bottom Boys
I Am a Man of Constant Sorrow
Sons of the Pioneers
Cool Water
Tumblin' Tumbleweeds
The Spaniels
Goodnight Sweetheart
Spinal Tap
All the Way Home
Bruce Springsteen
My Hometown
The Rising
The River
Ringo Starr
Act Naturally
It Don't Come Easy
Your Sixteen
Statler Brothers
Atlanta Blue
Class of '57
Hello Mary Lou
What Ever Happened to Randolph Scott
Al Stewart
On the Border
Rod Stewart
Handbags & Gladrags
Tom Traubert's Blues (Waltzing Mathilda)
Cat Stevens
Can't Keep It In
Father and Son
If You Want to Sing Out
Moonshadow
Morning Has Broken
Wild World
Stompin' Tom Connors
Good Ol' Hockey Game
Paul Stookey
The Wedding Song
George Strait
Amarillo By Morning
Ocean Front Property
(Main)
Barbra Streisand
Memory
The Supremes
Where Did Our Love Go
- T -
T. Rex
Bang a Gong (Get it On)
James Taylor
Up On the Roof
Sweet Baby James
Wonderful World
The Temptations
My Girl
Just My Imagination
George Thorogood
Get a Haircut
Move It On Over
Three Dog Night
Black and White
Joy to the World
Never Been to Spain
One
Shambala
Traveling Wilburys
End of the Line
Handle With Care
Runaway
Wilbury Twist
Randy Travis
It's Just a Matter of Time
Nineteen Eighty-Two (1982)
Written in Stone
Dan Tyminski
I Am a Man of Constant Sorrow
TRADITIONAL
Amazing Grace
America the Beautiful
Battle Hymm of the Republic
Big Rock Candy Mountain
The Crawdad Song
Danny Boy
Dixie
Down in the Valley
God Bless America
He's Got the Whole World in His Hands
Home on the Range
I'll Fly Away
I Ride an Old Paint
I've Been Working on the Railroad
Jesus Loves Me
Keep on the Sunny Side of Life
Kumbaya
Michael Row the Boat Ashore
The Minstrel Boy
Oh My Darling Clementine
Red River Valley
Rocky Top
Roll in My Sweet Baby's Arms
Rose of Alabama
Spanish Ladies
Streets of Laredo (Main)
This Land is Your Land
Tom Dooley
Wayfaring Stranger
Will the Circle Be Unbroken
You are My Sunshine
Bonnie Tyler
It's a Heart Ache
The Turtles
Happy Together
- V -
Gene Vincent
Be Bop A Lula
Bobby Vinton
Mr. Lonely
- W -
Loudon Wainwright III
Dead Skunk
The Weavers
Kisses Sweeter Than Wine
Mary Wells
My Guy
Dottie West
You're the Reason God Made Oklahoma (with David Frizell)
The Who
Amazing Journey
Happy Jack
Join Together
Love Ain't For Keeping
Sally Simpson
Squeeze Box
Tommy Can You Hear Me?
Don Williams
Good Ole Boys Like Me
It Must Be Love
Lord I Hope This Day Is Good
Love Me Tonight
Say It Again
Some Broken Hearts Never Mend
Tulsa Time
Hank Williams
Baby We're Really In Love
Hey Good Lookin'
Honky Tonkin'
I Saw the Light
I'm So Lonesome I Could Cry
Jambalaya
Lost Highway
Mind Your Own Business
Move It On Over
Settin' the Woods on Fire
There's a Tear in My Beer
Your Cheatin' Heart
Hank Williams Jr.
Queen of My Heart
Bob Wills
San Antonio Rose
Stay All Night
Tammy Wynette
D-I-V-O-R-C-E
Golden Ring (with George Jones)
I Don't Wanna Play House
Southern California (with George Jones)
Stand By Your Man
Two Story House (with George Jones)
- Y -
Dwight Yoakam
A Thousand Miles From Nowhere
Ain't That Lonely Yet
Cattle Call
Good Time Charlie's Got the Blues
Guitars, Cadillacs
It Only Hurts When I Cry
Little Sister
Turn it On, Turn it Up, Turn Me Loose
Neil Young
Heart of Gold
The Youngbloods
Get Together
- Z -
ZZ Top
Viva Las Vegas
(Main)
By Song Title/Genre
(Artist Index) (Main Index)
POP/ROCK A B C D E F G H I J K L M N O P R S T U V W X Y Z
COUNTRY A B C D E F G H I J K L M N O P R S T U V W X Y Z
TRADITIONAL
CHRISTMAS
[For beginners, song titles prefaced with an * are denoted as "easier to play" than the others. Many of these contain only three-note major chords (i.e. G-C-D or
E-A-D -- no F or B chords) while others may include common, easy to play minor chords (e.g. Am, Em) and common, easy to play 7th chords (e.g. A7, E7, D7)]
POP/ROCK
- A -
A Better Place to Be – Harry Chapin
A Hard Days Night – The Beatles
A Hard Rain's A Gonna Fall - Bob Dylan
A Kiss At the End of the Rainbow – Mitch & Mickey
A Mighty Wind – The Folksmen, Mitch & Mickey, The Folksmen, and The New Main Street Singers
A Teenager in Love – Dion and the Belmonts
A Time for Us – Johnny Mathis
A Well Respected Man – The Kinks
Across the Universe – The Beatles
Act Naturally - The Beatles/Ringo Starr
Against the Wind - Bob Seger
Alice's Restaurant - Arlo Guthrie
All Day and All of the Night - The Kinks
All I Have to Do Is Dream – The Everly Brothers
All My Loving – The Beatles
*All Shook Up – Elvis Presley
All the Roadrunning – Mark Knopfler/Emmylou Harris
All the Way Home - Spinal Tap
*All Together Now – The Beatles
All You Need Is Love – The Beatles
Always Look on the Bright Side of Life – Eric Idle
Already Gone - The Eagles
*Amazing Grace – Judy Collins
Amazing Journey - The Who
American Girl - Tom Petty
American Trilogy – Elvis Presley
*Angel of the Morning – Juice Newton
Angie - The Rolling Stones
Ankle Deep - Tom Petty
Annie’s Song – John Denver
Another Day – Paul McCartney
April, Come She Will - Simon & Garfunkel
Around the Sun - R.E.M.
*At the Hop – Danny and the Juniors
- B -
*Back Home Again – John Denver
Bad Day - R.E.M.
*Bad Moon Rising – C.C.R.
*Ballad of John and Yoko – The Beatles
Ballad of the Green Beret – Barry Sadler
*The Banana Boat Song (Day-O) - Harry Belafonte
Band on the Run - Paul McCartney and Wings
Bang a Gong (Get it On) - T. Rex
*Barbara Ann - The Beach Boys
Bat out of Hell - Meat Loaf
*Battle of New Orleans – Johnny Horton
Be Bop A Lula - Gene Vincent/The Everly Brothers
Bears – Lyle Lovett
Beautiful Noise – Neil Diamond
Ben – Michael Jackson (Main)
Big Weekend - Tom Petty
*Black and White - Three Dog Night
Blood on the Coal – The Folksmen
*Blowin’ in the Wind – Bob Dylan/Peter, Paul and Mary
Blue Bayou - Roy Orbison/Linda Ronstadt
Blue Moon - The Mavericks
Blue Moon Nights – John Fogerty
*Blue Suede Shoes – Carl Perkins/Elvis/Buddy Holly
The Boxer – Simon and Garfunkel
Bridge Over Troubled Water – Simon and Garfunkel
Build Me Up Buttercup - The Foundations
Busy Being Fabulous - The Eagles
*Bye Bye Love – The Everly Brothers
- C -
*California Blue - Roy Orbison
Can You Feel the Love Tonight – Elton John
*Candle in the Wind – Elton John
Can’t Get You Out of My Head – Electric Light Orchestra
Can't Help Falling in Love - Elvis Presley
Can't Keep It In - Cat Stevens
*Cap in Hand - The Proclaimers
*The Car Song – Woody Guthrie
Careless Heart - Roy Orbison
*Cecilia - Simon and Garfunkel
Centerfield – John Fogerty
Chapel of Love – Dixie Cups
Christian Island – Gordon Lightfoot
Circle – Harry Chapin
Circle of Steel – Gordon Lightfoot
City of New Orleans – Arlo Guthrie
*Come Dancing – The Kinks
Comfortably Numb - Pink Floyd
The Continuing Story of Bungalow Bill – The Beatles
*Cover of the Rolling Stone - Dr. Hook
Crazy Little Thing Called Love - Queen
Crocodile Rock – Elton John
Crush With Eyeliner - R.E.M.
Crying - Roy Orbison
*Cupid – Sam Cooke
- D -
Daniel – Elton John
Daydream Believer - The Monkees
Dead Man’s Curve – Jan and Dean
*Dead Skunk - Loudon Wainwright III
Desperado – The Eagles/Linda Ronstadt
Déjà Vu (All Over Again) – John Fogerty
Diamonds and Rust – Joan Baez
Dominique – Debbie Reynolds as The Singing Nun
Don Quixote – Gordon Lightfoot
*Don't Be Cruel - Elvis Presley
*Don’t Let Me Down – The Beatles
Don’t Let the Sun Catch You Crying – Gerry and the Pacemakers
*Don't Think Twice It's Alright - Bob Dylan/Peter, Paul and Mary
Do Ron Ron - The Crystals
*Do Wah Diddy - Manfred Mann (Main)
Do You Love Me – The Contours
*Draggin' the Line - Tommy James and the Shondells
Dream Lover - Bobby Darin
Drive - R.E.M.
Dust in the Wind – Kansas
- E -
Early Morning Rain – Peter, Paul & Mary/Gordon Lightfoot
*Earth Angel – The Penguins
Edelweiss – Julie Andrews
End of the Line - Traveling Wilburys
Eight Days a Week – The Beatles
*El Condor Pasa – Simon and Garfunkel
Electrolite - R.E.M.
*Eve of Destruction - Barry McGuire
Everyday – Buddy Holly
- F -
Fare Away - The New Main Street Singers
Fat Bottomed Girls - Queen
Father and Son – Cat Stevens
Feel Like a Number - Bob Seger
Ferry Cross the Mersey – Gerry and the Pacemakers
Five Hundred Miles – Peter, Paul & Mary
*Follow Me – John Denver
*For Baby – John Denver
For Emily, Wherever I May Find Her - Simon and Garfunkel
*For Lovin’ Me – Peter, Paul & Mary/Gordon Lightfoot
For My Lady - The Moody Blues
For No One – The Beatles
*For What It's Worth - Buffalo Springfield
Forever Young – Bob Dylan/Joan Baez
Fortunate Son - C.C.R
- G -
Get a Haircut - George Thorogood
*Get Together - The Youngbloods
Gentle on My Mind – Glen Campbell
Georgy Girl - The Seekers
Girl – The Beatles
The Girl From Yesterday - The Eagles
*Going Up the Country - Canned Heat
*Good Luck Charm – Elvis Presley
Good Ol’ Hockey Game – Stompin’ Tom Connors
Goodnight Sweetheart – The Spaniels
- H -
Hallelujah - Leonard Cohen
*Handbags & Gladrags - Rod Stewart
Handle With Care - Traveling Wilburys
*Hanky Panky - Tommy James and the Shondells
*Happy Jack - The Who
Happy Together - The Turtles
Harper Valley P.T.A. – Jeannie C. Riley
Have You Ever Seen the Rain - C.C.R.
*Heart of Gold - Neil Young
*Heartbreak Hotel – Elvis Presley
Hello - Adele
Hello Mary Lou – Ricky Nelson
Help Me Make It Through the Night – Kris Kristofferson/Willie Nelson (Main)
Here Comes the Sun – The Beatles
Hold My Hand – Hootie and the Blowfish
Homeward Bound - Simon and Garfunkel
*Honky Tonk Women – The Rolling Stones
Hotel California - The Eagles
House of the Rising Sun - The Animals
How Long - The Eagles
- I -
*I Am a Rock - Simon & Garfunkel
*I Fought the Law - Bobby Fuller
I Hope That I Don’t Fall In Love With You – Hootie and the Blowfish
*I Know You’re Out There Somewhere – Moody Blues
I Saw Her Standing There – The Beatles
I Saw It On TV – John Fogerty
I Wanna Hold Your Hand – The Beatles
I Will – The Beatles/Alison Krauss
*I Will Always Love You – Dolly Parton/Whitney Houston
I Will Follow Him - Peggy March/The movie Sister Act
I'll Never Find Another You - The Seekers
I'm a Believer - The Monkees
*I'm Gonna Be (500 Miles) - The Proclaimers
I'm Happy Just to Dance With You - The Beatles
I'm On My Way - The Proclaimers
I’ve Got a Name – Jim Croce
*I’ve Just Seen a Face – The Beatles
If - Bread
If I Needed You – Lyle Lovett/Emmylou Harris
If I Only Had a Brain – Ray Bolger
If I Only Had a Heart – Jack Haley
If I Only Had the Nerve - Bert Lahr
If You Could Read My Mind – Gordon Lightfoot
If You Want to Sing Out - Cat Stevens
*If You Were to Wake Up – Lyle Lovett
Imagine – John Lennon
Imitation of Life - R.E.M.
In Dreams - Roy Orbison
In the Ghetto – Elvis Presley
In the Mood – Glenn Miller
It Doesn’t Matter Anymore – Buddy Holly/Linda Ronstadt
It Don't Come Easy - Ringo Starr
It Was A Very Good Year – Frank Sinatra
It’s a Heartache – Bonnie Tyler
It’s So Easy – Buddy Holly/Linda Rondstadt
- J -
Johnny B. Goode – Chuck Berry (Main)
Join Together - The Who
Joy to the World - Three Dog Night
Junior's Farm - Paul McCartney & Wings
Just My Imagination - The Temptations
- K -
Killing Me Softly – Roberta Flack
*King of the Road – Roger Miller
Kisses Sweeter Than Wine - Peter, Paul & Mary/The Weavers
Kodachrome - Paul Simon
Knockin’ on Heaven’s Door – Bob Dylan
- L -
*L.A. County - Lyle Lovett
La Bamba - Los Lobos
Lady Madonna – The Beatles
The Last Resort - The Eagles
Learning to Fly - Tom Petty
*Leaving on a Jet Plane – John Denver/Peter, Paul, & Mary
*Let It Be – The Beatles
Let It Be Me – The Everly Brothers
Let's Get Married - The Proclaimers
The Letter - The Box Tops
Letter From America - The Proclaimers
Light One Candle - Peter, Paul and Mary
Lily, Rosemary & the Jack of Hearts – Bob Dylan/Joan Baez
Little Pink Houses - John Mellencamp
Little Red Riding Hood - Sam the Sham and the Pharohs
Little Sister - Elvis Presley
*The Locomotion - Little Eva/Grand Funk Railroad
Lodi - C.C.R.
Lola - The Kinks
Lonely People - America
*Long Black Veil – Chieftains & Mick Jagger/Johnny Cash
Long Cool Woman – The Hollies
Long Road Out of Eden - The Eagles
Look Out Here Comes Tomorrow - The Monkees
*Look What They’ve Done to My Song – Melanie Safka
*Lookin’ Out My Back Door – Creedence Clearwater Revival
*Lord It's Hard to be Humble - Mac Davis
*Los Angeloser - Meat Loaf
Losing My Religion - R.E.M.
*Love Ain't For Keeping - The Who
Love Hurts - Gram Parson & Emmylou Harris/Nazareth
Love Me Tender – Elvis Presley
Love Will Keep Us Alive - The Eagles
Lucky Man – Emerson, Lake, & Palmer
*The Lumberjack Song - Monty Python
Lyin’ Eyes – The Eagles
- M -
Man on the Moon - R.E.M.
*Margaritaville - Jimmy Buffett
*The Marvelous Toy - Peter, Paul and Mary
Mary Danced With Soldiers - Emmylou Harris
Maxwell’s Silver Hammer – The Beatles
*May It Be - Enya
Maybe Baby – Buddy Holly
Me and Bobby McGee – Janis Joplin
Me and Julio Down By the Schoolyard - Paul Simon
Me and You and a Dog Named Boo - Lobo
Mean Woman Blues - Roy Orbison
Medicine Jar - Paul McCartney & Wings
*Memories are Made of This - Dean Martin
Memory – Elaine Page/Betty Buckley/Barbara Streisand (Main)
Mercedes Benz – Janis Joplin
Michelle Post – Hootie and the Blowfish
*Mickey Mouse Club March - The Mouseketeers
*The Midnight Special – C.C.R.
Monty Got a Raw Deal - R.E.M.
Moonshadow - Cat Stevens
Morning Has Broken - Cat Stevens
Mother - Pink Floyd
Move it on Over - George Thorogood
Mr. Bojangles – Nitty Gritty Dirt Band
Mr. Lonely - Bobby Vinton
Mrs. Brown You’ve Got A Lovely Daughter – Herman’s Hermits
Mrs. Robinson - Simon and Garfunkel
*My Dear Companion
*My Ding a Ling - Chuck Berry
My Girl - The Temptations
My Guy - Mary Wells
My Hometown - Bruce Springsteen
My Sweet Lady – John Denver
My Way – Frank Sinatra
- N -
Never Been to Spain - Three Dog Night
Never Did No Wanderin’ – The Folksmen
*The Night They Drove Old Dixie Down – The Band/Joan Baez
*Nights in White Satin - Moody Blues
Nineteenth (19th) Nervous Breakdown - The Rolling Stones
Nobody Home - Pink Floyd
Nowhere Man – The Beatles
- O -
*Ob-la-di, Ob-la-da - The Beatles
*Oh Boy – Buddy Holly
Oh Pretty Woman - Roy Orbison
Old Friends - Simon and Garfunkel
Old Joe’s Place – The Folksmen
*Old Time Rock and Roll - Bob Seger
On the Border - Al Stewart
*On the Turning Away - Pink Floyd
One - Three Dog Night
One Tin Soldier - Coven
Only the Lonely - Roy Orbison
*Ooby Dooby - Roy Orbison
Over the Rainbow – Judy Garland
- P -
Paint it Black - Rolling Stones
*Peaceful Easy Feeling – The Eagles
*Peggy Sue – Buddy Holly
People Are Strange – The Doors
Piano Man – Billy Joel
Picasso's Last Words - Paul McCartney & Wings
Play with Fire - The Rolling Stones
The Pony Man – Gordon Lightfoot
Proud Mary – C.C.R/Ike and Tina Turner
P.S. I Love You – The Beatles (Main)
*Puff the Magic Dragon – Peter, Paul & Mary
Put a Little Love in Your Heart – Jackie DeShannon
- Q -
*Que Sera Sera – Doris Day
- R -
Rainy Day People – Gordon Lightfoot
*Rave On – Buddy Holly
Return to Sender - Elvis Presley
Rhymes and Reasons – John Denver
Richard Cory - Paul McCartney & Wings/Simon & Garfunkel
Right Field - Peter, Paul and Mary
The Rising - Bruce Springsteen
The River - Bruce Springsteen
Rock Around the Clock – Bill Haley & the Comets
*Rockin All Over The World – John Fogerty
R.O.C.K. in the U.S.A. – John Mellencamp
*Rocky Mountain High – John Denver
Ruby, Don’t Take Your Love to Town – Kenny Rogers
Ruby Tuesday - The Rolling Stones
Runaround Sue – Dion
Runaway - Del Shannon/Traveling Wilburys
*Runnin' Down the Dream - Tom Petty
Running Scared - Roy Orbison
- S -
Sally Simpson - The Who
*Save the Last Dance For Me – The Drifters
*Scarborough Fair - Simon & Garfunkel
Secret Agent Man - Johnny Rivers
Seven Bridges Road - The Eagles
*Shambala - Three Dog Night
She Loves You - The Beatles
*Shooting Star – Bad Company
Signs – Five Man Electrical Band
Simple Song - Lyle Lovett
Sixteen Tons - Tennesee Ernie Ford
Slip Sliding Away - Paul Simon
Sloop John B. - The Beach Boys
*Solitary Man – Neil Diamond
Something – The Beatles
Song Sung Blue – Neil Diamond
*The Sound of Silence - Simon & Garfunkel
*Spirit in the Sky – Norman Greenbaum
Squeeze Box - The Who
Stand By Me – Ben E. King
Steel Rail Blues – Gordon Lightfoot
*Stewball - Peter, Paul & Mary/Joan Baez
The Story in Your Eyes – Moody Blues
Strange Currencies - R.E.M.
*Sugar Sugar – The Archies
Summertime Dream – Gordon Lightfoot
Suspicious Minds - Elvis Presley
Suzanne – Joan Baez (Main)
Sweet Baby James – James Taylor
Sweet Caroline – Neil Diamond
Sylvia’s Mother – Dr. Hook
- T -
Take a Message to Mary – The Everly Brothers
Take it Easy - The Eagles
Take it to the Limit - The Eagles
Tammy – Debbie Reynolds
Teach Your Children – Crosby, Stills, Nash & Young
Teddy Bear – Elvis Presley
Tequila Sunrise – The Eagles
Texarkana - R.E.M.
That’s All Right Mama – Elvis Presley
That’s Amore – Dean Martin
The One I Love - R.E.M.
Theme From The Monkees - The Monkees
There She Goes – The La’s
There’s a Kind of Hush – Herman’s Hermits
This Boy (Ringo’s Theme) – The Beatles
*This Land is Your Land – Peter, Paul & Mary
This Magic Moment – The Drifters
Those Were the Days – Mary Hopkins
Time in a Bottle – Jim Croce
*The Times They Are A Changing - Bob Dylan
To Know Him is To Love Him – Emmylou Harris
*Tom Dooley – Traditional/Kingston Trio
Tom Traubert's Blues (Waltzing Mathilda) - Rod Stewart
Tommy Can You Hear Me? - The Who
Travelin' Man - Rick Nelson
Turn the Page - Bob Seger
Twenty-Five or Six to Four (25 or 6 to 4) - Chicago
Twist and Shout - The Beatles
- U -
Unchained Melody – The Everly Brothers
*Under the Boardwalk - The Drifters
The Unicorn – The Irish Rovers
*Up on the Roof – The Drifters
- V -
Vincent - Don McLean
*Viva Las Vegas – Elvis Presley/ZZ Top (Main)
The Voice – Moody Blues
- W -
Waiting in the Weeds - The Eagles
Walk Away Renee – Left Bank/Cowsills/Four Tops
Walk of Life – Dire Straits
The Wanderer – Dion
We Can Work It Out – The Beatles
We Gotta Get Out of This Place - The Animals
We've Got Tonight - Bob Seger
The Wedding Song - Paul Stookey
The Weight – The Band
*Welcome to my World - Elvis Presley
What a Wonderful World – Louis Armstrong
When You’re Next to Me – Mitch & Mickey
Where Did Our Love Go - The Supremes
*Where Have All the Flowers Gone? – Peter, Paul, and Mary
White Rabbit – Jefferson Airplane
*Who'll Stop the Rain - C.C.R.
*Why Don’t We Get Drunk and Screw – Jimmy Buffett
Wilbury Twist - The Traveling Wilburys
Wild World – Cat Stevens
Will You Still Love Me Tomorrow – Carole King/Linda Ronstadt
Wish You Were Here - Pink Floyd
*Wonderful Tonight – Eric Clapton
Wonderful World - Sam Cooke
*Wreck of the Edmund Fitzgerald - Gordon Lightfoot
Wreck This Heart - Bob Seger
- Y -
*Yellow Submarine – The Beatles
*You Can't Always Get What You Want - The Rolling Stones
Your Wildest Dreams – Moody Blues
You're Sixteen - Ringo Starr
You've Got to Hide Your Love Away – The Beatles
(Index)
COUNTRY (Y'ALL)
- A -
A Thousand Miles From Nowhere – Dwight Yoakam
A White Sport Coat and a Pink Carnation - Marty Robbins
Act Naturally - Buck Owens
Ain't That Lonely Yet - Dwight Yoakam
*Amanda - Waylon Jennings
Amarillo By Morning – George Strait
*American Made - Oak Ridge Boys
Angel Flying Too Close to the Ground - Willie Nelson
*Are the Good Times Really Over For Good – Merle Haggard
Atlanta Blue - The Statler Brothers
- B -
Baby We're Really In Love - Hank Williams
*Ballad of Jed Clampett (Beverly Hillbillys Theme) – Flatt & Scruggs
*Bargain Store - Dolly Parton
The Bed You Made For Me – Highway 101
Belle Starr – Emmylou Harris and Mark Knopfler
Big Iron - Marty Robbins
Big Rock Candy Mountain – Harry McClintock
Billy Bayou - Jim Reeves
*The Blizzard - Jim Reeves
*Blue Eyes Cryin’ In the Rain – Willie Nelson
*Blue Moon of Kentucky – Roy Acuff/Patsy Cline
Boats to Build – Alan Jackson & Jimmy Buffett
(Main)
- C -
*Cattle Call – Eddy Arnold/Leann Rimes/Dwight Yoakum
Class of '57 - The Statler Brothers
*Close Enough to Perfect – Alabama
Coal Miners Daughter - Loretta Lynn
Coat of Many Colors - Dolly Parton
*Cool Clear Water - Marty Robbins/Sons of the Pioneers
*Cotton Jenny – Gordon Lightfoot/Anne Murray
Could I Have This Dance – Anne Murray
Country Is – Tom T. Hall
*Coward of the County – Kenny Rogers
Cowboy Man – Lyle Lovett
Crazy - Patsy Cline/Willie Nelson
*Cry, Cry, Cry – Highway 101
- D -
The Dance – Garth Brooks
D-I-V-O-R-C-E - Tammy Wynette
Dixie – Traditional
*Down at the Twist and Shout – Mary Chapin Carpenter
*Down to the River to Pray - Alison Krauss
*Dukes of Hazzard Theme – Waylon Jennings
- E -
Eighteen Wheels and a Dozen Roses – Kathy Mattea
El Paso – Marty Robbins
- F -
*Fire on the Mountain - Marshall Tucker Band
Folsom Prison Blues – Johnny Cash (Main)
*For the Good Times – Ray Price
Friends in Low Places – Garth Brooks
- G -
*The Gambler - Kenny Rogers
Ghost Riders in the Sky – Frankie Lane/Johnny Cash
*God Will – Lyle Lovett
*Going Where The Lonely Go – Merle Haggard
*Golden Ring – George Jones and Tammy Wynette
*Good Hearted Woman - Waylon Jennings
Good Ole Boys Like Me - Don Williams
*Good Time Charlie's Got the Blues - Willie Nelson/Dwight Yoakam
Grandpa – The Judds
The Grand Tour – George Jones
*Guitars, Cadillacs - Dwight Yoakam
- H -
The Hanging Tree - Marty Robbins
*He Stopped Loving Her Today – George Jones
*He’ll Have to Go – Jim Reeves
*Heaven’s Just a Sin Away – The Kendalls
Hey Good Lookin' - Hank Williams
*High Cotton - Alabama
*Home on the Range – Traditional
*Honky Tonkin' - Hank Williams
- I -
I Always Get Lucky With You – Merle Haggard
*I Am a Man of Constant Sorrow - Soggy Bottom Boys/Dan Tyminski
I Don't Wanna Play House - Tammy Wynette
I Fall to Pieces – Patsy Cline
*I Like Beer - Tom T. Hall
I Love – Tom T. Hall
*I Ride an Old Paint - Johnny Cash/Woody Guthrie/Michael Martin Murphey
*I Saw the Light - Hank Williams
*I Walk the Line - Johnny Cash
*I’ll Fly Away – Alison Krauss & Gillian Welch
*I’m So Lonesome I Could Cry – Hank Williams
If Drinking Don’t Kill Me – George Jones
If I Had a Boat – Lyle Lovett
If I Had You – Alan Jackson
If I Needed You – Lyle Lovett/Emmylou Harris (Main)
*If You’re Gonna Play in Texas - Alabama
In Lonesome Dove – Garth Brooks
In the Jailhouse Now – Jimmy Rodgers/Soggy Bottom Boys
It Was Almost Like a Song – Ronny Milsap
*It's Just a Matter of Time - Randy Travis
*It Must Be Love - Don Williams/Alan Jackson
*It Only Hurts When I Cry - Dwight Yoakam
- J -
Jackson - Johnny Cash and June Carter Cash
*Jambalaya – Hank Williams
*Jolene – Dolly Parton
- K -
*Keep on the Sunny Side of Life
Kids of the Baby Boom – The Bellamy Brothers
*Kiss and Angel Good Morning - Charlie Pride
- L -
*Little Mountain Church - Ricky Skaggs
Little Sister - Dwight Yoakam
*Living on Love – Alan Jackson
Long Time Gone – Dixie Chicks
Lord I Hope This Day Is Good - Don Williams
*Lost Highway - Hank Williams
Love Can Build a Bridge – The Judds
Love Me Tonight – Don Williams
Lucille – Kenny Rogers
*Luckenback Texas - Waylon Jennings
- M -
*Mama He’s Crazy – The Judds
*Mamas Don't Let Your Babies - Waylon Jennings
Mama Tried – Merle Haggard
*Mind Your Own Business - Hank Williams
Move it on Over - Hank Williams
*My Favorite Memory – Merle Haggard
*My Heroes Have Always Been Cowboys – Willie Nelson
- N -
1982 - Randy Travis
- O -
Ocean Front Property – George Strait
Oh, Lonesome Me – Don Gibson/Kentucky Headhunters
Okie From Muskogee – Merle Haggard
- P -
Pancho and Lefty – Willie Nelson and Merle Haggard (Main)
People are Crazy - Billy Currington
- Q -
Queen of My Heart – Hank Williams Jr.
- R -
Rainbow Stew – Merle Haggard
*Red River Valley – Traditional/Michael Martin Murphey
Remember When – Alan Jackson
*Ring of Fire - Johnny Cash
Rocky Top - Traditional
*Roll in My Sweet Baby’s Arms – Traditional
*Rose of Alabama – Traditional
- S -
*San Antonio Rose - Bob Wills/Patsy Cline
*Say It Again - Don Williams
Settin' the Woods on Fire - Hank Williams
She Thinks His Name Was John - Reba McEntire
She Thinks I Still Care – George Jones
Silver Threads and Golden Needles – Linda Ronstadt
*Singing the Blues - Marty Robbins
*Skip a Rope – Henson Cargill
*Sleep On – Alison Krauss
*Sneaky Snake – Tom T. Hall
*Some Broken Hearts Never Mend – Don Williams
*Sonora's Death Row - Michael Martin Murphy/Robert Earl Keane
*Southern California - George Jones and Tammy Wynette
Stand By Your Man – Tammy Wynette
*Stay All Night - Bob Wills/Willie Nelson
Steel Rails – Alison Krauss
*Streets of Laredo – Marty Robbins
- T -
Take Me Home Country Roads - John Denver
Texas River Song - Lyle Lovett
The Tennessee Waltz – Patsy Cline
There's a Tear in My Beer - Hank Williams
Thank God For the Radio – Alan Jackson
Travelin’ Soldier – The Dixie Chicks
*Tulsa Time - Don Williams
Tumbling Tumbleweeds – Sons of the Pioneers
Turn it On, Turn it Up, Turn Me Loose - Dwight Yoakam
Two Story House - George Jones and Tammy Wynette
(Main)
- W -
*Wabash Cannonball – Roy Acuff
The Wayward Wind – Patsy Cline
Welcome to My World - Jim Reeves
*What Am I Gonna Do With the Rest Of My Life – Merle Haggard
What Ever Happened to Randolph Scott – The Statler Brothers
When the Man Comes Around – Johnny Cash
Where Were You (When the World Stopped Turning) – Alan Jackson
*Which Way Does That Old Pony Run - Lyle Lovett
*Will the Circle Be Unbroken – Traditional/Johnny Cash
Written in Stone - Randy Travis
- Y -
*You are My Sunshine – Traditional/June Carter Cash
Your Cheatin' Heart - Hank Williams
You’re the Reason God Made Oklahoma – David Frizell & Dottie West
(Index)
TRADITIONAL
Amazing Grace – Judy Collins
America the Beautiful
Big Rock Candy Mountain – Harry McClintock
*Battle Hymn of the Republic
*The Crawdad Song
Danny Boy
Dixie
*Down in the Valley
Down to the River to Pray - Alison Krauss
God Bless America – Kate Smith
*He’s Got the Whole World in His Hands
Home on the Range
I’ll Fly Away – Alison Krauss & Gillian Welch
I Ride an Old Paint
*I've Been Working on the Railroad
Jesus Loves Me
Keep on the Sunny Side of Life
*Kumbaya
*Michael Row the Boat Ashore
The Minstrel Boy
*Oh, My Darling Clementine – Huckleberry Hound
Red River Valley – Michael Martin Murphey
Rocky Top
Roll in My Sweet Baby’s Arms
Rose of Alabama
Sloop John B. - Beach Boys
*Spanish Ladies - Quint
Stewball - Peter, Paul and Mary/Joan Baez
Streets of Laredo – Marty Robbins/John Michael Murphey
Sweet Betsy From Pike
*Swing Low Sweet Chariot
This Land is Your Land – Woody Guthrie/Peter, Paul & Mary
Tom Dooley – Kingston Trio
Wayfaring Stranger – Peter, Paul and Mary/Emmylou Harris
Will the Circle Be Unbroken – Nitty Gritty Dirt Band/Johnny Cash
You are My Sunshine – June Carter Cash
(Main)
CHRISTMAS
The Angels Cried
Angels We Have Heard On High
*Away in A Manger
*Children Go Where I Send Thee
Deck the Halls
Do You Hear What I Hear
The First Noel
*God Rest Ye Merry Gentlemen
Good King Wenceslas
*Grandma Got Run Over By a Reindeer
Hallelujah
Hark! The Herald Angels Sing
Have a Holly Jolly Christmas
Have Yourself a Merry Little Christmas
Here Comes Santa Claus
I Saw Mommy Kissing Santa Claus
I Saw Three Ships
It Came Upon a Midnight Clear
*Jingle Bells
*Jolly Old Saint Nicholas
Joy to the World
*Little Drummer Boy
O Come, All Ye Faithful
O Holy Night
O Little Town of Bethlehem
Rudolph the Red-Nosed Reindeer
Santa Claus Is Coming to Town
*Silent Night
Silver and Gold
*Silver Bells
Twelve Days of Christmas
There's Always Tomorrow
*Up On the Housetop
We Wish You a Merry Christmas
*What Child Is This
White Christmas
(Main)
A BETTER PLACE TO BE – Harry Chapin [C0]
TIP: This song has both (Dmaj7) and (F#m) in the verses. Usually they’re interchangeable [playing F#m as an EASY chord] but in this song it sounds better if you can include at least one of the “top notes” in the 4th fret of the full F#m chord, which is shown next to the EASY chord in the chord layout below. Play the three notes in the 2nd fret as a barre with your index finger and stretch the pinky over to hit the 4th fret/4th string.
TIP: (Emsus2) will follow (Em) so just lift your bottom (ring) finger to play it. (Dm3) comes next which is simply (Dm) played on the 3rd fret.
TIP: (Cm) is just (Bm) played on the 3rd fret although it sounds better if you can include the pinky above the ring finger on the 5th fret/4th string. You can ignore the bass note at 3rd fret/5th string.
TIP: (A7sus4) will usually come after either an (A) or an (A7). When it comes after the (A7) just hold the (A7) position and slide the bottom finger up one fret to play the (A7sus4). Do the same when it follows an (A) but lift the ring finger as well.
TIP: (Em-G) will follow (G) so just hold position and bring your middle finger down and under the ring finger to the 2nd fret/4th string.
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It was an (D) early morning (Dmaj7) bar room, and the (D7) place just opened (Gadd) up. And the
(Em) little man, came (Emsus2) in so fast, and he (Dm3) started at his (A7) cups. And the (D) broad who served the (Dmaj7) whisky, she was a (D7) big old friendly (Gadd) girl, who (Em) tried to fight her (Emsus2) empty nights by (Dm3) smilin' at the (A7) world. And she (G) said "Hey Bub, it's (A) been a while, (F#m) since you been a (B7) round. Where the (Em) hell you been (A) hidin' and (G) why you look so (D) down?"
But the (G) little man just (A) sat there, like he'd (G) never (A) heard a (D) sound. The
(Cm) waitress she gave (G) out with a cough and, (Bb) acting not the (F) least put off, she
(Em) spoke, once (A) again. She said, (D) "I don't want to (G) bother you, consider it's under
(Em) stood. I know I'm not no (A7) beauty queen but I (Em) sure, (A7) can (A7sus4) listen
(D) good."
And the (G) little man, took his (A) drink in his hand, and he (Em) raised it to his (D) lips. He
(G) took a couple of (D) sips, and then he (Em) told, the wait (A) ress, his (D) story.
"I am the midnight (Am) watchman down at (C) Miller's (G) Tool and (D) Die. And I (G) watch the
metal (F#m) rusting; I (Bm) watch the time go (Cmaj7) by. A (G) week ago at the (Em-G) diner, I
(F#m) stopped to get a (B7) bite. And (Em) this here lovely la (A) dy she sat (G) two seats
(Gadd) from my (D) right. And (G) Lord Lord (A) Lord, – (Gadd) Lord Lord (A) Lord -
(A7sus4) she was al (D) right.
You see, she was so damned (Am) beautiful, that she could (C) warm a (G) winter (D) frost. But
(G) she looked long past (F#m) lonely, and (Bm) well, nigh on to (Cmaj7) lost. Now (G) I'm not much of a (Em-G) mover, or a (F#m) pick-em-up easy (B7) guy, but I de (Em) cided to glide on
(A) over and (G) give her one (Gadd) good (D) try. And (G) Lord Lord (A) Lord – (Gadd) Lord Lord
(A) Lord - (A7sus4) she was worth a (D) try.
Well I was tongued-tied like a (Am) school boy, I (C) stammered (G) out some (D) words. It (G) did
not seem to (F#m) matter much, 'cause (Bm) I don't think she (Cmaj7) heard. She (G) just looked
clear on (Em-G) through me, to a (F#m) space back in my (B7) head. It (Em) shamed me into
si (A) lence, as (G) quiet (Gadd) ly she (D) said: 'If you want me to come (G) with you, then
(Em) that's all right with (A) me. Cause I (A7) know I'm (A) going no (Em) where, and
(A7) anywhere's, a (Em) better (A7sus4) place, to (D) be.'
(D) (G) (Em) (A) (A7) (Em) (A7) Anywhere's, a (Em) better (A7sus4) place, to (D) be.
I drove her to my (Dmaj7) boarding house, and I (D7) took her up to my (Gadd) room. And I
(Em) went to turn on the (Emsus2) only light, to (Dm3) brighten up the (A7) gloom. But she
(Dm) said 'Please leave the light off, oh (Gm) I don't mind the dark.' And as her (F) clothes all
tumbled 'round her, (Asus4) I could hear my (A) heart.
The (D) moonlight shone up (Am) on her, as she (C) lay back (G) in my (D) bed. It was the (G) kind
of scene I (F#m) only, had (Bm) imagined in my (Cmaj7) head. I (G) just could not be (Em-G) lieve
it, to (F#m) think that she was (B7) real. And (Em) as I tried to (A) tell her she said
(Gadd) 'shhh . . . I know just how you (D) feel. And if you want to come here (G) with me, then
(Em) that's all right with (A) me. 'Cause (A7) I've been (A) oh so (Em) lonely, lovin'
(A7) someone, is a (Em) better (A7sus4) way, to (D) be.
(D) (G) (Em) (A) (A7) (Em) (A7) Anywhere's, a (Em) better (A7sus4) place, to (D) be.
Well the morning came so (Am) swiftly. I (C) held her (G) in my (D) arms. And (G) she slept like
a (F#m) baby, (Bm) snug and safe from (Cmaj7) harm. I (G) did not want to (Em-G) share her, or
(F#m) dare to break the (B7) mood, so be (Em) fore she woke I (A) went out, to (G) buy us
(Gadd) both some (D) food. (Dm) I came back with my paper bag, to (Gm) find that she was gone.
She'd (F) left a six word letter, saying: 'It's (Gm) time, that I, moved (D) on.'"
You know the waitress, she took her (Dmaj7) bar rag, and she (D7) wiped it across her (Gadd) eyes.
And (Em) as she spoke, her (Emsus2) voice came out, as (Dm3) something, like a (A7) sigh. She said "I (D) wish, that I was (Dmaj7) beautiful, or that (D7) you were halfway (Gadd) blind. And I (Em) wish I weren't so (Emsus2) goddamn fat, I (Dm3) wish that you were (A7) mine. And I (G) wish
that you'd come (A) with me, (F#m) when I leave for (B7) home. For we (Em) both know all about
(A) emptiness, and (G) livin' all a (D) lone."
And the (Em) little man, looked at the (F#m) empty glass in his hand. And he (Em) smiled a crooked
(A7) grin, He said "I, I (Em) guess I'm out of (A7) gin. And I (Em) know we both have (A7) been,
so (G) lone (A) ly. And if (A7) you (D) want, me to come (G) with you, then that's all right with
(Em) me. 'Cause I know, I'm goin' no (A7) where, and anywhere's, a (Em) better (A7) place, to
(D) be." (D) (F#m) (Open – No Chord) (D)
(Harry Chapin) (Artist Index) - (Main Index) - (Song Index) (This Song)
A HARD DAY’S NIGHT – (Lennon/McCartney) – The Beatles [C1]
TIP: Well...this one’s no picnic. There are two weird G-chords you may never played before. The first is the opening (Gmsus4) but luckily you only play it once so just form your fingers accordingly and strike the strings once to intro the song. Use your index finger to form the mini-barre for the two strings on 3rd fret and your ring and pinky on the 5th fret.
The other chord is the (Gmsus-) which is the same chord but without the top note. It’s mildly easier to play – play it the same way as above - and try using your ring finger on the 5th fret. Unfortunately you’ll be moving back and forth between the (Gmsus-) and the (Gadd). It’s a wrist-rolling maneuver and takes practice. Now, if this proves too difficult, you can get away with just playing the bottom two strings on the 3rd fret and forget about the 5th fret altogether. Just remember not to hit any other strings but the bottom two. And if that is still too tough, then simply play (G), (Gadd), and (G) in place of (Gadd), (Gmsus-), and (Gadd).
TIP: The “Bass Riff” are the individual notes George plays. They can be played with the top three strings, as intended, but is easier if you play it up an octave using the bottom three.
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Intro: (Gmsus4)
It's been a (Gadd) hard, (Gmsus-) day's, (Gadd) night, and I've been work (F) ing, like a (G) dog. It's been a (Gadd) hard, (Gmsus-) day's, (Gadd) night, I should be (F) sleeping, like a (G) log. But when I (C) get home to you, I find the (D) things that you do, will make me (G) feel (C) al (G) right.
You know I (Gadd) work, (Gmsus-) all, (Gadd) day, to get you mon (F) ey, to buy you (G) things. And it's (Gadd) worth it just to (Gmsus-) hear you (Gadd) say, you're gonna give (F) me, every
(G) thing. So why on (C) earth should I moan, 'cause when I (D) get you alone, you know I (G) feel (C) o (G) kay.
When I'm (Bm) home, (Em) everything seems to be (Bm) right. When I'm (G) home, (Em) feeling you holding me (Am) tight, (D) tight yeah.
It's been a (Gadd) hard, (Gmsus-) day's, (Gadd) night, and I've been work (F) ing, like a (G) dog. It's been a (Gadd) hard, (Gmsus-) day's, (Gadd) night, I should be sleep (F) ing, like a (G) log. But when I (C) get home to you, I find the (D) things that you do, will make me (G) feel (C) al (G) right. Ow
(Bass Riff – these are notes, not chords):
So why on (C) earth should I moan, 'cause when I (D) get you alone, you know I (G) feel (C) o (G) kay. When I'm (Bm) home, (Em) everything seems to be (Bm) right. When I'm (G) home, (Em) feeling you holding me (Am) tight, (D) tight yeah.
It's been a (Gadd) hard, (Gmsus-) day's, (Gadd) night, and I've been work (F) ing, like a (G) dog. It's been a (Gadd) hard, (Gmsus-) day's, (Gadd) night, I should be sleep (F) ing, like a (G) log. But when I (C) get home to you, I find the (D) things that you do, will make me (G) feel (C) al (G) right.
You know I feel (C) al (G) right. You know I (Gadd) feel (Gmsus-) al (Gadd) right.
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
A HARD RAIN'S A GONNA FALL - Bob Dylan (C2)
TIP: Don't be skittish about the (D4) and (Dsus2), they're very easy to play. (D4) will always be bracketed by the (D) so all you do is hold the (D) and place your pinky to the bottom string/3rd fret. Then just remove the pinky to get back to (D). Easy-peasy. The (Dsus2) is similarly bracketed by the (A). Assuming you're playing the (A) with your middle fingers in line, the movement to get to and from the (Dsus2) is a pivoting motion of your pinky and index finger. From the (A), place the pinky on the 2nd string/3rd fret while at the same time lifting your index finger. To get back to (A) just reverse the process.
TIP: * If the everything above is too much to deal with just play the major chords (D)(G)(A) -- substituting a (G) for the (D4) in the first line of each verse -- and it'll still sound just fine!
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INTRO: (D) (D4) (D); (D) (D4) (D)
Oh where have you been my (D4) blue-eyed (D) son (D4)(D)? And where have you been my (G) darling young (A) one (Dsus2)(A)? I've (G) stumbled on the side of (A) twelve misty (D) mountains (D4)(D). I've (G) walked and I've crawled on (A) six crooked (D) highways (D4)(D). I've (G) stepped in the middle of (A) seven sad (D) forests (D4)(D). I've (G) been out in front of a (A) dozen dead
(D) oceans (D4)(D). I've been (G) ten thousand miles in the (A) mouth of a (D) graveyard (D4)(D).
And it's a hard, it's a (A) hard, it's a (D) hard, it's a (G) hard. It's a (D) hard ra - (A) in's a-gonna (D) fall (D4)(D); (D)(G)(D)
Oh what did you see my (D4) blue-eyed (D) son (D4)(D)? And what did you see my (G) darling young (A) one (Dsus2)(A)? I saw a (G) newborn baby with wild (A) wolves all a (D) round it (D4)(D). I saw a (G) highway of diamonds with (A) nobody (D) on it (D4)(D). I (G) saw a black branch with
(A) blood that kept (D) drippin' (D4)(D). I saw a (G) room full of men with their (A) hammers a (D) bleedin' (D4)(D). I (G) saw a white ladder all (A) covered with (D) water (D4)(D). I saw
(G) ten thousand talkers whose (A) tongues were all (D) broken (D4)(D). I saw (G) guns and sharp swords in the (A) hands of young (D) children (D4)(D).
And it's a hard, it's a (A) hard, it's a (D) hard, and it's a (G) hard. It's a (D) hard
ra - (A) in's a-gonna (D) fall (D4)(D); (D)(G)(D)
What did you hear my (D4) blue-eyed (D) son (D4)(D)? And what did you hear my (G) darling young (A) one (Dsus2)(A)? I heard the (G) sound of a thunder that (A) roared out a (D) warnin' (D4)(D).
I heard the (G) roar of a wave that could (A) drown the whole (D) world (D4)(D). I heard one
(G) hundred drummers whose (A) hands were a blazin' (D4)(D). I heard (G) ten thousand whisperin' and (A) nobody listenin' (D4)(D). I heard (G) one person starve, I heard (A) many people (D) laughin' (D4)(D). Heard the (G) song of a poet who (A) died in the (D) gutter (D4)(D). Heard the (G) sound of a clown who (A) cried in the (D) alley (D4)(D).
And it's a hard, it's a (A) hard, it's a (D) hard, it's a (G) hard. It's a (D) hard ra - (A) in's a-gonna (D) fall (D4)(D); (D)(G)(D)
Oh who did you meet my (D4) blue-eyed (D) son (D4)(D)? And who did you meet my (G) darling young (A) one (Dsus2)(A)? I (G) met a young child be (A) side a dead (D) pony (D4)(D). I (G) met a white man who (A) walked a black (D) dog (D4)(D). I (G) met a young woman whose (A) body was
(D) burnin' (D4)(D). I (G) met a young girl, she (A) gave me a (D) rainbow (D4)(D). I (G) met one man who was (A) wounded in (D) love (D4)(D). I met another (G) man who was (A) wounded with
(D) hatred (D4)(D).
And it's a hard, it's a (A) hard, it's a (D) hard, it's a (G) hard. It's a (D) hard ra - (A) in's a-gonna (D) fall (D4)(D); (D)(G)(D)
And what'll you do now my (D4) blue-eyed (D) son (D4)(D)? And what'll you do now my (G) darling young (A) one (Dsus2)(A)? I'm a (G) goin' back out 'fore the (A) rain starts a (D) fallin' (D4)(D). I'll (G) walk to the depths of the (A) deepest dark (D) forest (D4)(D). Where the
(G) people are many and their (A) hands are all (D) empty (D4)(D). Where the (G) pellets of poison are (A) flooding their (D) waters (D4)(D). Where the (G) home in the valley meets the (A) damp dirty (D) prison (D4)(D). And the exe - (G) cutioner's face is (A) always well (D) hidden (D4)(D).
Where (G) hunger is ugly, where (A) souls are for (D) gotten (D4)(D). Where (G) black is the color, where (A) none is the (D) number (D4)(D). And I'll (G) tell it and speak it and (A) think it and (D) breathe it (D4)(D). And re (G) flect from the mountain so (A) all souls can (D) see it (D4)(D). Then I'll (G) stand on the ocean un (A) til I start (D) sinkin' (D4)(D). But I'll (G) know my song well be (A) fore I start (D) singin' (D4)(D).
And it's a hard, it's a (A) hard, it's a (D) hard, and it's a (G) hard. It's a (D) hard
ra - (A) in's a-gonna (D) fall (D4)(D); (D)(G)(D)
(Bob Dylan) (Artist Index) - (Main Index) - (Song Index) (This Song)
A KISS AT THE END OF THE RAINBOW – (McKean/O’Toole) - Mitch & Mickey (Key of D) [C0]
TIP: If you can, play the (A6) with four fingers rather than a barre as you'll need to play the (A) right afterwards and it's easier just to lift the pinky off the bottom string.
TIP: The last chord (and note) of the song is a (Dmaj) strummed once. The (Dmaj) is played with a barre (index finger) across the bottom four strings of the 7th fret (usually marked) and the pinky on the bottom string/10th fret. Use your thumb under the fretboard to “pinch” the index finger. And don’t strike the top two strings. If this is too difficult, just play a regular (D).
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INTRO: (D)(D)(G),(D)(A)
Oh when the (D) veil, of (G) dreams, has (A) lifted, and the (D) fairy tales have (G) all been (A) told. There's a (Bm) kiss at the (G) end of the (A) rainbow, more (G) precious than a
(A6) pot (A) of (D) gold.
In (D) tales, of ancient, glor (A) y, every (Bm) knight and maiden (G) fair, shall be (A) joined when the (D) quest is ov (G) er, and a (Bm) kiss is the oath that (A) they swear.
And when the (D) veil, of (G) dreams, has (A) lifted, and the (D) fairy tales have (G) all been (A) told. There's a (Bm) kiss at the (G) end of the (A) rainbow, more (G) precious than a
(A6) pot (A) of (D) gold.
My (D) sweet, my dear, my (A) darling, you're so (Bm) far away from (G) me. Though an (A) ocean of (D) tears divides (G) us, let the (Bm) bridge of our love span (A) the sea.
(D) (G) (A), (D) (G) (A), (Bm) (G) (A), (G) (A6) (D)
One kiss. There's a (G) kiss at the (Gadd) end of (G) the rain (A) bow . . .
[slowly] (D) more (G) precious than a (A6) pot (A) of (Dmaj) gold.
(Mitch & Mickey) (Artist Index) - (Main Index) - (Song Index) (This Song)
-----------------------
A KISS AT THE END OF THE RAINBOW – (McKean/O’Toole) - Mitch & Mickey (Key of G) [C0]
TIP: For all those players who wish they could finger pick, but can’t, this song is good for faking it and still have it sound half decent.
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INTRO: (Gadd)(Gadd)(C),(G)(D)
Oh when the (G) veil, of (C) dreams, has (D) lifted, and the (G) fairy tales have (C) all been (D) told. There's a (Em) kiss at the (C) end of the (G) rainbow, more (C) precious than a
(Cmaj7) pot (D) of (G) gold.
In (Gadd) tales, (G) of (Gadd) an, (G) cient glor (D) y, every (G) knight (Gadd) and (C) maiden
(D) fair, shall be (Em) joined when the (G) quest is ov (C) er, and a (G) kiss is the (Em) oath that (D) they swear.
And when the (G) veil, of (C) dreams, has (D) lifted, and the (G) fairy tales have (C) all been (D) told. There's a (Em) kiss at the (C) end of the (G) rainbow, more (C) precious than a
(Cmaj7) pot (D) of (G) gold.
My (Gadd) sweet, (G) my (Gadd) dear, my (D) darling, you're so (G) far (Gadd) a (C) way from
(D) me. Though an (Em) ocean of (G) tears divides (C) us, let the (G) bridge of our (Em) love span (D) the sea.
(G) (C) (D), (G) (C) (D), (Em) (C) (G), (C) (Cmaj7) (D) (G)
One (Gadd) kiss. There's a (C) kiss at the (CaddG) end of (C) the rain (Gadd) bow . . .
[slowly] (G) more (C) precious than a (G) pot (D) of (G) gold.
(Mitch & Mickey) (Artist Index) - (Main Index) - (Song Index) (This Song)
A MIGHTY WIND - (Levy/Guest/McKean) – The Folksmen, Mitch & Mickey, The New Main Street Singers [C0]
TIP: Your call on whether you want to replace “equality” for the last few words that’s actually sung in the final refrain.
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As I (C) travel down the back roads, of this (Am) home I love so (F) much. Every (C) carpenter and (Am) cowboy, every (Dm) lame man on a (G) crutch. They’re all (F) talking about a (Em) feeling, ‘bout a (F) taste that’s in the (G) air. They’re all (F) talking about this (C) mighty (Am) wind that’s (F) blowing eve (G) ry (C) where.
Oh a (Bb) mighty wind’s a (F) blowin’. It’s (Bb) kickin’ up the (F) sand. It’s (Am) blowin’ out a message, to every (D7) woman child and (Bb) man (G). Yes a (Bb) mighty wind’s a (F) blowin’, ‘cross the (C) land and (Cmaj7) cross the (Am) sea (G). It’s (F) blowin’ peace and (C) free (Am) dom, it’s (F) blowin’ equal (G) it (C) y.
From a (C) lighthouse in Barr Har (Am) bor, to a (F) bridge called Golden Gate. From a (C) trawler down in (Am) Shreveport, to the (Dm) shore of one great (G) lake. There’s a (F) star on the hor (Em) izon, and it’s (F) burning like a (G) flame. It’s (F) lighting up this (C) mighty (Am) wind that’s (F) blowin’ eve (G) ry (C) where.
Oh a (Bb) mighty wind’s a (F) blowin’. It’s (Bb) kickin’ up the (F) sand. It’s (Am) blowin’ out a message, to every (D7) woman child and (Bb) man (G). Yes a (Bb) mighty wind’s a (F) blowin’, ‘cross the (C) land and (Cmaj7) cross the (Am) sea (G). It’s (F) blowin’ peace and (C) free (Am) dom, it’s (F) blowin’ equal (G) it (C) y.
When the (C) blind man sees the pic (Am) ture, when the (F) deaf man hears the word. When the (C) fisherman stops (Am) fishing, when the (Dm) hunter spares the (G) herd. We’ll still (F) hear the wondrous (Em) story, of a (F) world where people (G) care. The (F) story of this (C) mighty (Am) wind that’s (F) blowin’ eve (G) ry (C) where.
Oh a (Bb) mighty wind’s a (F) blowin’. It’s (Bb) kickin’ up the (F) sand. It’s (Am) blowin’ out a message, to every (D7) woman child and (Bb) man (G). Yes a (Bb) mighty wind’s a (F) blowin’, ‘cross the (C) land and (Cmaj7) cross the (Am) sea (G). It’s (F) blowin’ peace and (C) free (Am) dom, it’s (F) blowin’ equal (G) it (C) y.
Yes it’s (F) blowin’ peace and (C) free (Am) dom, it’s (F) blowin’ you (G) and (C) me. (C)
(The Folksmen) (Mitch & Mickey) (Main Street Singers) (Artist Index)
(Main Index)
(Song Index) (This Song)
A TEENAGER IN LOVE – (Pomus/Shuman) – Dion and the Belmonts (C0)
TIP: Can also be played in key of G using (G), (Em), (C), and (D).
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INTRO: (C)oooooh, (Am) oooooh, whah (F) ooooh, (G) oooh x 2
(C) Each time we (Am) have a quarrel, (F) it almost (G) breaks my heart. (C) 'Cause I'm (Am) so afraid, (F) that we will (G) have to part. (C) Each night I (Am) ask the (F) stars up a (G) bove, (C) why must I (Am) be a teen (F) ager in (G) love?
(C) One day I (Am) feel so happy, (F) next day I (G) feel so sad. (C) I guess I'll (Am) learn to take, (F) the good (G) with the bad. (C) Each night I (Am) ask the (F) stars up a (G) bove, (C) why must I (Am) be a teen (F) ager in (G) love?
(C) Well if you want to (Am) make me cry, (F) that won't be so (G) hard to do. (C) If you should (Am) say goodbye, (F) I'd still go on (G) loving you. (C) Each night I (Am) ask the (F) stars up a (G) bove, (C) why must I (Am) be a teen (F) ager in (G) love?
(F) I cried a (G) tear, (F) for nobody but (G) you. (F) I'll be a (G) lonely one if (F) you should say we're (G) through.
(C) Well if you want to (Am) make me cry, (F) that won't be so (G) hard to do. (C) If you should (Am) say goodbye, (F) I'd still go on (G) loving you. (C) Each night I (Am) ask the (F) stars up a (G) bove, (C) why must I (Am) be a teen (F) ager in (G) love?
(C) Why must I (Am) be a teen (F) ager in (G) love? (C) Why must I (Am) be a teen (F) ager in (G) love? (C) Why must I (Am) be a teen (F) ager in (G) love? (C) Why must I (Am) be a
teen (F) ager in (G) love? (C)
(Dion) (Artist Index) - (Main Index) - (Song Index) (This Song)
A THOUSAND MILES FROM NOWHERE – Dwight Yoakam (C4)
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INTRO: (C) (Am) (C) (Am)
I'm a (C) thousand miles from (Am) nowhere. (C) Time don't matter to (Am) me. Cause I'm a (C) thousand miles from (Am) nowhere, and there's (F) no place I wanna (G) be.
I got (C) heartaches in my (Am) pocket. I got (C) echoes in my (Am) head. And (C) all that I keep (Am) hearing, are the (F) cruel, cruel things that you (G) said.
I'm a (C) thousand miles from (Am) nowhere. (C) Time don't matter to (Am) me. Cause I'm a (C) thousand miles from (Am) nowhere, and there's (F) no place I wanna (G) be.
Oh (F) I. Oh (G) I. Oh (F) I. (G) I. (Am) I. (C)(Am)(C)(Am)(C)(Am)(F)(G) Oh (F) I . . .
I've got (C) bruises on my (Am) memories. I've got (C) tear stains on my (Am) hands. And (C) in the mirror there's a (Am) vision, of (F) what used to be a (G) man.
I'm a (C) thousand miles from (Am) nowhere. (C) Time don't matter to (Am) me. Cause I'm a (C) thousand miles from (Am) nowhere, and there's (F) no place I wanna (G) be.
I'm a (C) thousand miles from (Am) nowhere. (C) Time don't matter to (Am) me. Cause I'm a (C) thousand miles from (Am) nowhere, and there's (F) no place I wanna (G) be. (C)
(Dwight Yoakum) (Artist Index) - (Main Index) - (Song Index) (This Song)
A TIME FOR US – (Kusik/Snyder/Rota) - Johnny Mathis (C0)
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(Am) A time for (Em) us, some day there'll (F) be. When chains are (C) torn, by courage (Dm) born, of a love that's (Am) free. A time when (Em) dreams, so long de (F) nied, can (Dm) flour (Em) ish. As (Am) we unveil the love we now (Em) must (Am) hide.
A (C) time, for (G) us, at (Dm) last to (Am) see. A (Bb) life, worth (F) while, for (Em) you, and (Am) me.
And with our (Em) love, through tears and (F) thorns. We will en (C) dure, as we pass (Dm) sure, through every (Am) storm. A time for (Em) us, some day there'll (F) be, a (Dm) new, (Em) world. A (Am) world of shining hope for you (Em) and (Am) me.
A (C) time, for (G) us, at (Dm) last, to (Am) see. A (Bb) life, worth (F) while, for (Em) you, and (Am) me.
And with our (Em) love, through tears and (F) thorns. We will en (C) dure, as we pass (Dm) sure, through every (Am) storm. A time for (Em) us, some day there'll (F) be, a (Dm) new, (Em) world. A (Am) world of shining hope for you (Em) and (Am) me.
(Johnny Mathis) (Artist Index) - (Main Index) - (Song Index) (This Song)
A WELL RESPECTED MAN – (Davies) – The Kinks (C3 or C4)
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(G) Cause he (C) gets up (Cmaj7) in the (Am) morning, and he (C) goes to (Cmaj7) work at (Am) nine,
and he (C) comes back (Cmaj7) home at (Am) five-thirty -- gets the (C) same train (Cmaj7) every (Am) time, cause his (C) world is (Cmaj7) built on (Am) punctuali (C) ty; it (Cmaj7) never
(Am) fails.
And he’s (C) oh (G) so (Am) good, and he’s (C) oh (G) so (Am) fine, and he’s (C) oh (G) so (Am) healthy, in his (C) body (G) and his (Am) mind. He’s a (F) well respected (Em) man about town, (F) doing the best things (G) so conserv (D) a (G) tively.
And his (C) mother (Cmaj7) goes to (Am) meetings, while his (C) father (Cmaj7) paws the (Am) maid,
and she (C) stirs the (Cmaj7) tea with (Am) countenance, while dis (C) cussing (Cmaj7) foreign (Am) trade, and she (C) passes (Cmaj7) looks as (Am) well as bills, at (C) every (Cmaj7) suave young (Am) man.
Cause he’s (C) oh (G) so (Am) good, and he’s (C) oh (G) so (Am) fine, and he’s (C) oh (G) so (Am) healthy, in his (C) body (G) and his (Am) mind. He’s a (F) well respected (Em) man about town, (F) doing the best things (G) so conserv (D) a (G) tively.
And he (C) likes his (Cmaj7) own back (Am) yard, and he (C) likes his (Cmaj7) fags the (Am) best,
cause he’s (C) better (Cmaj7) than the (Am) rest, and his (C) own (Cmaj7) sweat smells the (Am) best, and he (C) hopes to (Cmaj7) grab his (Am) father’s loot, when (C) pater (Cmaj7) passes (Am) on.
Cause he’s (C) oh (G) so (Am) good, and he’s (C) oh (G) so (Am) fine, and he’s (C) oh (G) so (Am) healthy, in his (C) body (G) and his (Am) mind. He’s a (F) well respected (Em) man about town, (F) doing the best things (G) so conserv (D) a (G) tively.
And he (C) plays at (Cmaj7) stocks and (Am) shares, and he (C) goes to (Cmaj7) the re (Am) gatta,
and he (C) adores the (Cmaj7) girl next (Am) door, cause he’s (C) dying to (Cma7) get (Am) at her,
but his (C) mother (Cmaj7) knows the (Am) best about the (C) matri (Cmaj7) monial (Am) stakes.
Cause he’s (C) oh (G) so (Am) good, and he’s (C) oh (G) so (Am) fine, and he’s (C) oh (G) so (Am) healthy, in his (C) body (G) and his (Am) mind. He’s a (F) well respected (Em) man about town, (F) doing the best things (G) so conserv (D) a (G) tively.
(The Kinks) (Artist Index) - (Main Index) - (Song Index) (This Song)
A WHITE SPORT COAT AND A PINK CARNATION - Marty Robbins (C1)
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Intro: (C)(Dm)(G7)(F)-(C)
(C) A white, sport coat, and a (Dm) pink car (G7) nation. (F) I'm all dressed (G7) up for the
(C) dance (Dm)(G). A (C) white, sport coat, and a (Dm) pink, car (G) nation, (F) I'm all
a (G7) lone in ro (C) mance.
(G) Once you told me long ago, (C) to the prom with me you'd go. (D7) Now you've changed your mind
it seems. (G7) Someone else will hold my dreams.
A (C) white, sport coat, and a (Dm) pink car (G7) nation, (F) I'm in a (G) blue blue (C) mood.
A white, sport coat, and a (Dm) pink car (G7) nation. (F) I'm all dressed (G7) up for the
(C) dance (Dm)(G). A (C) white, sport coat, and a (Dm) pink car (G) nation, (F) I'm all
a (G7) lone in ro (C) mance.
(G) Once you told me long ago, (C) to the prom with me you'd go. (D7) Now you've changed your mind
it seems. (G7) Someone else will hold my dreams.
(C) A white, sport coat, and a (Dm) pink car (G7) nation, (F) I'm in a (G) blue blue (C) mood. (F)(C)
(Marty Robbins) (Artist Index) - (Main Index) - (Song Index) (This Song)
ACROSS THE UNIVERSE – (Lennon/McCarney) - The Beatles (C5)
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INTRO: (C)(Em)(F)(G)(G7)
(C) Words are flowing (Em) out like endless rain into a paper cup they (Dm7) slither while they pass, they slip a (G7) way across the universe. (C) Pools of sorrow (Em) waves of joy are drifting thorough my open mind po (Dm7) ssessing and ca (Fm6) ressing me.
(C) Jai gu-ru-u, da-ay-va. (G) Ohm. Nothing's gonna change my (G7) world. (F) Nothing's gonna change my (C) world. (G) Nothing's gonna change my (G7) world. (F) Nothing's gonna change my
(C) world.
(C) Images of (Em) broken light which dance before me like a million (Dm7) eyes they call me on and on a (G7) cross the universe. (C) Thoughts meander (Em) like a restless wind inside a letter box they (Dm7) tumble blindly as they make their (G7) way across the universe.
(C) Jai gu-ru-u, da-ay-va. (G) Ohm. Nothing's gonna change my (G7) world. (F) Nothing's gonna change my (C) world. (G) Nothing's gonna change my (G7) world. (F) Nothing's gonna change my (C) world.
(C) Sounds of laughter (Em) shades of life are ringing through my open ears in (Dm7) citing and in (Fm6) viting me. (C) Limitless un (Em) dying love which shines around me like a million
(Dm7) suns it calls me on and on a (G7) cross the universe.
(C) Jai gu-ru-u, da-ay-va. (G) Ohm. Nothing's gonna change my (G7) world. (F) Nothing's gonna change my (C) world. (G) Nothing's gonna change my (G7) world. (F) Nothing's gonna change my
(C) world.
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
ACT NATURALLY - (Russell/Morrison) - Buck Owens/Ringo Starr [C1]
TIP: The intro is that step-down bomp-bomp-bomp. One of those you know it or you don't things. It also appears between the last verse and the reprise, and again as the outro. Of course it can be skipped altogether. For the (Dsus) just add pinky to the bottom string while holding the (D).
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INTRO: (G) (D)-(Dsus)-(D), (G)-(C)-(G)
(G) They're, gonna put me in the (C) movies. (G) They're gonna make a big star out of (D) me. We'll (G) make a film about a man that's sad and (C) lonely. And (D7) all I gotta do is, act natural (G) ly.
Well I'll (D) bet you, I'm gonna be a (G) big star. Might (D) win an Oscar you can never (G) tell.
The (D) movie's, gonna make me a (G) big star. 'Cause (A) I can play the (A7) part so (D7) well.
Well I (G) hope you'll come and see me in the (C) movies. (G) Then I'll know that you will plainly (D) see, the (G) biggest fool that ever hit the (C) big time. And (D7) all I gotta do is, act natural (G) ly.
(G) (D)-(Dsus)-(D), (G)-(C)-(G)
We'll (G) make the scene about a man that's sad and (C) lonely. And (G) beggin' down upon his bended (D) knee. I'll (G) play the part but I won't need re (C) hearsing, (D7) all I have to do is, act natural (G) ly.
Well I'll (D) bet you, I'm gonna be a (G) big star. Might (D) win an Oscar, you can never
(G) tell. The (D) movie's gonna make me a (G) big star. 'Cause (A) I can play the (A7) part so (D7) well.
Well I (G) hope you'll come and see me in the (C) movies. (G) Then I'll know that you will plainly (D) see, the (G) biggest fool that ever hit the (C) big time. And (D7) all I gotta do is, act natural (G) ly.
(G) (D)-(Dsus)-(D), (G)-(C)-(G)
(Buck Owens)(The Beatles)(Ringo Starr) (Artist Index) - (Main Index) - (Song Index) (This Song)
AGAINST THE WIND - Bob Seger (C2)
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INTRO: (G)(D7);(G)(D7)
(G) It seems like yesterday, (Bm) but it was long ago. (C) Janey was lovely she was the (G) queen of my nights, (D) there in the darkness with the (C) radio, playing low (D7). (G) And the secrets that we shared, (Bm) the mountains that we moved. (C) Caught like a wildfire (G) out of control, til there was (C) nothing left to burn and nothing (D) left to prove.
And I re (Em) member (D) what she said to (G) me. How she (Em) swore that it (C) never would (Gadd) end. I re (Em) member how she (D) held me (C) oh so tight. Wish I didn't know now what I (D) didn't know then.
(G) Against the (Bm) wind. (C) We were runnin' against the (G) wind. We were (C) young and (Gadd) strong, we were (Am7) runnin', a (D) gainst the (G) wind.
And the years rolled slowly past, (Bm) and I found myself alone. (C) Surrounded by strangers I (G) thought were my friends, I (D) found myself further and further (C) from my home (D7).
(G) And I guess I lost my way. (Bm) There were oh so many roads. I was (C) living to run and (G) running to live, never (C) worried about paying or even how (D) much I owed.
Moving (Em) eight miles a (D) minute for months at a (G) time. Breaking (Em) all of the (C) rules that would (Gadd) bend. I be (Em) gan to (D) find myself (C) searchin'. Searchin' for shelter a (D) gain and again.
(G) Against the (Bm) wind. (C) A little something against the (G) wind. I (C) found my (Gadd) self seeking (Am7) shelter, a (D) gainst the (G) wind.
Well those (Em) drifters (D) days are past me (G) now. I've got (Em) so much (C) more to think a (Gadd) bout. (Em) Deadlines (D) and (C) commitments. What to leave in, (D) what to leave out.
(G) Against the (Bm) wind. (C) I'm still runnin' against the (G) wind. I'm (C) older (Gadd) now but still (Am7) running, a (D) gainst the (G) wind.
Well I'm (C) older (Gadd) now and still (Am7) running, a (D) gainst the (G) wind.
(Bob Seger) (Artist Index) - (Main Index) - (Song Index) (This Song)
AIN'T THAT LONELY YET - (House/Kostas) - Dwight Yoakam (C1)
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INTRO: (C)(G)(F), (F)(G)(C)
(C) You keep calling me, (F) on the tele (C) phone. You (G) say you're all a (Am) lone. Well
(F) that's, (G) real, (C) sad. And you keep leavin', (F) notes stuck on my (C) door. Guess you're (G) hungry for some (Am) more. Girl, (F) that's, (G) too (C) bad (F)(C).
'Cause I (Am) ain't that lonely (E7) yet. No I (F) ain't that (G) lonely (C) yet. After (Am) what you put me (E7) through, oh I (F) ain't that, (G) lonely (C) yet.
Once there was this, (F) spider in my (C) bed. I got (G) caught up in her (Am) web, of (F) love
(G) and (C) lies. She spun her chains, a (F) round my heart and (C) soul. (G) Never to let
(Am) go. Oh but (F) I, (G) sur (C) vived (F)(C).
'Cause I (Am) ain't that lonely (E7) yet. No I (F) ain't that, (G) lonely (C) yet. After (Am) what you put me (E7) through, no I (F) ain't that (G) lonely (C) yet.
(E7) There's nothing left, you can do to (F) try and bring me (C) 'round. 'Cause (F) everything you (D7) do, just brings me (G) down, (E) oh (E7) and I . . .
(Am) Ain't that lonely (E7) yet. No I (F) ain't that, (G) lonely (C) yet. After (Am) what you put me (E7) through, oh I (F) ain't that, (G) lonely (C) yet.
'Cause I (Am) ain't that lonely (E7) yet. No I (F) ain't that, (G) lonely (C) yet. After (Am) what you put me (E7) through, oh I (F) ain't that, (G) lonely (C) yet.
'Cause I (Am) ain't that lonely (E7) yet. No I (F) ain't that, (G) lonely (C) yet. After (Am) what you put me (E7) through, oh I (F) ain't that, (G) lonely (C) yet. (F)(C)
(Dwight Yoakum) (Artist Index) - (Main Index) - (Song Index) (This Song)
ALICE'S RESTAURANT - Arlo Guthrie (C1)
TIP: The intro may look like it's just a repeat of the chords from the chorus, and technically it is, but the third set (C)(C7)(F)(Fm) of the intro is played differently than the verse. In the verse Arlo sings the word "walk" and "just" at high and up-pitched, but in the intro it's played flat, almost harmonically, in middle and middle and it's this latter melody that accompanies the spoken word. It's kind of hard to explain without listening to the opening.
TIP: With my feeble brain and mono-tasking abilities I find it impossible to both play the melody and speak the words. But maybe that's just me. It might go better if one person plays the melody and another tells the story.
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INTRO: (C)(A)(A7)(D7)(G7)(C); (C)(A)(A7)(D7)(G7); (C)(C7)(F)(Fm); (C)(A)(D7)(G7)(C)
This song is called Alice's Restaurant. It's about Alice, and the restaurant, but Alice's Restaurant is not the name of the restaurant, that's just the name of the song. That's why I called the song Alice's Restaurant.
(C) You can get any (A) thing you (A7) want at (D7) Alice's (G7) Restaur (C) rant. You can get any (A) thing you (A7) want, at (D7) Alice's (G7) Restaurant. (C) Walk right in it's (C7) around the back, (F) Just a half a mile from the (Fm) railroad track. (C) You can get any (A) thing you
(A7) want at (D7) Alice's (G7) Restaur (C) ant.
Now, it all started two Thanksgivings ago, was on - two years ago on Thanksgiving, when my friend and I went up to visit Alice at the restaurant. But Alice doesn't live in the restaurant, she lives in the church nearby the restaurant, in the bell-tower, with her husband Ray and Fasha the dog. And livin' in the bell tower like that, they got a lot of room downstairs where the pews used to be in. Havin' all that room, seein' as how they took out all the pews, they decided that they didn't have to take out their garbage for a long time.
We got up there, we found all the garbage in there, and we decided it'd be a friendly gesture for us to take the garbage down to the city dump. So we took the half a ton of garbage, put it in the back of a red VW microbus, took shovels and rakes and implements of destruction and headed on toward the city dump.
Well, we got there and there was a big sign and a chain across the dump saying, "Closed on Thanksgiving." And we had never heard of a dump closed on Thanksgiving before, and with tears in our eyes we drove off into the sunset looking for another place to put the garbage.
We didn't find one. Until we came to a side road, and off the side of the side road there was another fifteen foot cliff, and at the bottom of the cliff was another pile of garbage. And we decided that one big pile is better than two little piles, and rather than bring that one up we decided to throw ours down.
That's what we did. Drove back to the church, had a Thanksgiving dinner that couldn't be beat, went to sleep and didn't get up until the next morning, when we got a phone call from Officer Obie. He said, "Kid, we found your name on an envelope at the bottom of a half a ton of garbage, and just wanted to know if you had any information about it." And I said, "Yes, sir, Officer Obie, I cannot tell a lie, I put that envelope under that garbage."
After speaking to Obie for about forty-five minutes on the telephone we finally arrived at the truth of the matter and said that we had to go down and pick up the garbage, and also had to go down and speak to him at the police officer's station. So we got in the red VW microbus with the shovels and rakes and implements of destruction and headed on toward the police officer's station.
Now friends, there was only one or two things that Obie coulda done at the police station, and the first was that he could have given us a medal for being so brave and honest on the telephone, which wasn't very likely, and we didn't expect it, and the other thing was he could have bawled us out and told us never to be seen driving garbage around the vicinity again, which is what we expected, but when we got to the police officer's station there was a third possibility that we hadn't even counted upon, and we was both immediately arrested. Handcuffed. And I said, "Obie, I don't think I can pick up the garbage with these handcuffs on." He said, "Shut up, kid. Get in the back of the patrol car."
And that's what we did, sat in the back of the patrol car and drove to the quote Scene of the Crime unquote. I want tell you about the town of Stockbridge, Massachusetts, where this happened here, they got three stop signs, two police officers, and one police car, but when we got to the Scene of the Crime there was five police officers and three police cars, being the biggest crime of the last fifty years, and everybody wanted to get in the newspaper story about it. And they was using up all kinds of cop equipment that they had hanging around the police officer's station. They was taking plaster tire tracks, foot prints, dog smelling prints, and they took twenty seven eight-by-ten color glossy photographs with circles and arrows and a paragraph on the back of each one explaining what each one was, to be used as evidence against us. Took pictures of the approach, the getaway, the northwest corner the southwest corner and that's not to mention the aerial photography.
After the ordeal, we went back to the jail. Obie said he was going to put us in the cell. Said, "Kid, I'm going to put you in the cell, I want your wallet and your belt." And I said, "Obie, I can understand you wanting my wallet so I don't have any money to spend in the cell, but what do you want my belt for?" And he said, "Kid, we don't want any hangings." I said, "Obie, did you think I was going to hang myself for littering?" Obie said he was making sure, and friends Obie was, cause he took out the toilet seat so I couldn't hit myself over the head and drown, and he took out the toilet paper so I couldn't bend the bars roll out the - roll the toilet paper out the window, slide down the roll and have an escape. Obie was making sure, and it was about four or five hours later that Alice (remember Alice? It's a song about Alice), Alice came by and with a few nasty words to Obie on the side, bailed us out of jail, and we went back to the church, had a another thanksgiving dinner that couldn't be beat, and didn't get up until the next morning, when we all had to go to court.
We walked in, sat down, Obie came in with the twenty seven eight-by-ten color glossy pictures with circles and arrows and a paragraph on the back of each one, sat down. Man came in said, "All rise." We all stood up, and Obie stood up with the twenty seven eight-by-ten color glossy pictures, and the judge walked in sat down with a seeing eye dog, and he sat down, we sat down. Obie looked at the seeing eye dog, and then at the twenty seven eight-by-ten color glossy pictures with circles and arrows and a paragraph on the back of each one, and looked at the seeing eye dog. And then at twenty seven eight-by-ten color glossy pictures with circles and arrows and a paragraph on the back of each one and began to cry, 'cause Obie came to the realization that it was a typical case of American blind justice, and there wasn't nothing he could do about it, and the judge wasn't going to look at the twenty seven eight-by-ten color glossy pictures with the circles and arrows and a paragraph on the back of each one explaining what each one was to be used as evidence against us. And we was fined $50 and had to pick up the garbage in the snow, but that's not what I came to tell you about.
Came to talk about the draft. They got a building down New York City, it's called Whitehall Street, where you walk in, you get injected, inspected, detected, infected, neglected and selected. I went down to get my physical examination one day, and I walked in, I sat down, got good and drunk the night before, so I looked and felt my best when I went in that morning. `Cause I wanted to look like the all-American kid from New York City, man I wanted, I wanted to feel like the all-, I wanted to be the all American kid from New York, and I walked in, sat down, I was hung down, brung down, hung up, and all kinds o' mean nasty ugly things. And I walked in and sat down and they gave me a piece of paper, said, "Kid, see the psychiatrist, room 604."
And I went up there, I said, "Shrink, I want to kill. I mean, I wanna, I wanna kill. Kill. I wanna, I wanna see, I wanna see blood and gore and guts and veins in my teeth. Eat dead burnt bodies. I mean kill, Kill, KILL, KILL." And I started jumpin' up and down yelling, "KILL, KILL," and he started jumpin' up and down with me and we was both jumping up and down yelling, "KILL, KILL." And the Sergeant came over, pinned a medal on me, sent me down the hall, said, "You're our boy." Didn't feel too good about it.
Proceeded on down the hall getting' more injections, inspections, detections, neglections and all kinds of stuff that they was doin' to me at the thing there, and I was there for two hours, three hours, four hours, I was there for a long time going through all kinds of mean nasty ugly things and I was just having a tough time there, and they was inspecting, injecting every single part of me, and they was leaving no part untouched. Proceeded through, and when I finally came to the see the last man, I walked in, walked in sat down after a whole big thing there, and I walked up and said, "What do you want?" He said, "Kid, we only got one question. Have you ever been arrested?"
And I proceeded to tell him the story of the Alice's Restaurant Massacre, with full orchestration and five part harmony and stuff like that and all the phenome... - and he stopped me right there and said, "Kid, did you ever go to court?" And I proceeded to tell him the story of the twenty seven eight-by-ten color glossy pictures with the circles and arrows and the paragraph on the back of each one, and he stopped me right there and said, "Kid, I want you to go and sit down on that bench that says Group W. Now, kid!"
And I, I walked over to the, to the bench there, and there is, Group W's where they put you if you may not be moral enough to join the army after committing your special crime, and there was all kinds of mean nasty ugly looking people on the bench there. Mother rapers. Father stabbers. Father rapers! Father rapers sitting right there on the bench next to me! And they was mean and nasty and ugly and horrible crime-type guys sitting on the bench next to me. And the meanest, ugliest, nastiest one, the meanest father raper of them all, was coming over to me and he was mean 'n' ugly 'n' nasty 'n' horrible and all kind of things and he sat down next to me and said, "Kid, whad'ya get?" I said, "I didn't get nothing, I had to pay $50 and pick up the garbage." He said, "What were you arrested for, kid?" And I said, "Littering." And they all moved away from me on the bench there, and the hairy eyeball and all kinds of mean nasty things, till I said, "And creating a nuisance." And they all came back, shook my hand, and we had a great time on the bench, talkin' about crime, mother stabbing, father raping, all kinds of groovy things that we was talking about on the bench. And everything was fine, we was smoking cigarettes and all kinds of things, until the Sergeant came over, had some paper in his hand, held it up and said.
"Kids, this-piece-of-paper's-got-47-words-37-sentences-58-words-we-wanna-know-details-of-the-crime-time-of-the-crime-and-any-other-kind-of-thing-you-gotta-say-pertaining-to-and-about-the-crime-I-want-to-know-arresting-officer's-name-and-any-other-kind-of-thing-you-gotta-say", and talked for forty-five minutes and nobody understood a word that he said, but we had fun filling out the forms and playing with the pencils on the bench there, and I filled out the massacre with the four part harmony, and wrote it down there, just like it was, and everything was fine and I put down the pencil, and I turned over the piece of paper, and there, there on the other side, in the middle of the other side, away from everything else on the other side, in parentheses, capital letters, quotated, read the following words:
("KID, HAVE YOU REHABILITATED YOURSELF?")
I went over to the Sergeant, said, "Sergeant, you got a lot a damn gall to ask me if I've rehabilitated myself, I mean, I mean, I mean that just, I'm sittin' here on the bench, I mean I'm sittin' here on the Group W bench 'cause you want to know if I'm moral enough join the army, burn women, kids, houses and villages after bein' a litterbug." He looked at me and said, "Kid, we don't like your kind, and we're gonna send your fingerprints off to Washington." And friends, somewhere in Washington enshrined in some little folder, is a study in black and white of my fingerprints. And the only reason I'm singing you this song now is cause you may know somebody in a similar situation, or you may be in a similar situation, and if you're in a situation like that there's only one thing you can do and that's walk in to the shrink wherever you are, just walk in say "Shrink . . .
(C) You can get any (A) thing you (A7) want at (D7) Alice's (G7) Restaur (C) rant."
. . . and walk out. You know, if one person, just one person does it they may think he's really sick and they won't take him. And if two people, two people do it, in harmony, they may think they're both faggots and they won't take either of them. And three people do it, three, can you imagine, three people walking in singin' a bar of Alice's Restaurant and walking out. They may think it's an organization. And can you, can you imagine fifty people a day, I said fifty people a day walking in, singin' a bar of Alice's Restaurant and walking out. And friends, they may think it's a movement. And that's what it is, the Alice's Restaurant Anti-Massacree Movement, and all you got to do to join is sing it the next time it comes around on the guitar. With feeling. So we'll wait 'til it comes around on the guitar here, and sing it when it does.
Here it comes.
(C) You can get any (A) thing you (A7) want at (D7) Alice's (G7) Restaur (C) rant. You can get any (A) thing you (A7) want, at (D7) Alice's (G7) Restaurant. (C) Walk right in it's (C7) around the back, (F) Just a half a mile from the (Fm) railroad track. (C) You can get any (A) thing you
(A7) want at (D7) Alice's (G7) Restaur (C) ant.
That was horrible. If you want to end war and stuff, you gotta sing loud. I've been singing this song now for twenty-five minutes. I could sing it for another twenty five minutes. I'm not proud. Or tired. So we'll wait till it comes around again, and this time with four part harmony and feeling.
We're just waitin' for it to come around, is what we're doing.
All right now?
(C) You can get any (A) thing you (A7) want at (D7) Alice's (G7) Restaur (C) rant - excepting
(G) Alice. (C) You can get any (A) thing you (A7) want, at (D7) Alice's (G7) Restaurant.
(C) Walk right in it's (C7) around the back, (F) Just a half a mile from the (Fm) railroad track. (C) You can get any (A) thing you (A7) want at (D7) Alice's (G7) Restaur (C) ant.
Da da da da da da da (D7) dum - at Ali (G) ce's Restaur (F) ant (C)(G)(C).
(Arlo Guthrie) (Artist Index) - (Main Index) - (Song Index) (This Song)
ALL DAY AND ALL OF THE NIGHT - (Davies) - The Kinks (C2)
TIP: The Kinks actually do this song in (G)(F), and (Bb) but this version is much easier.
TIP: The extra (E) chord at the end of the verse is there on purpose. You need to strum an extra (E) as if there's a word there because the next two words, "All day" is sung together in transition to the (D). You'll see what I mean.
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INTRO: (G)-(A)(G)(C)(A); (A)(G)(C)(A)
I'm not, con (G) tent, to (C) be with (A) you, in the daytime (G)(C)(A). Girl, I (G) want,
to (C) be with (A) you, all of the time (G)(C)(A). The (C) only time I (G) feel al (Gadd) right is by (B) your side.
(E) Girl, I (D) want, to (G) be with (E) you, all of the time (E). All (D) day, and (G) all of the (E) night (E). All (D) day, and (G) all of the (E) night (E). All (D) day, and (G) all of the
(E) night.
(A) I, be (G) lieve, that (C) you and (A) me, last forever (G)(C)(A). Oh yea, all (G) day,
and (C) night time (A) yours, leave me never (G)(C)(A). The (C) only time I (G) feel
al (Gadd) right is by (B) your side.
(E) Girl, I (D) want, to (G) be with (E) you, all of the time (E). All (D) day, and (G) all of the (E) night (E). All (D) day, and (G) all of the (E) night (E) (D) (G) . . .
Oh (A) come on . . .
[Dave Davies instrumental nonsense. Play anything but end in (A)]
(A) I, be (G) lieve, that (C) you and (A) me, last forever (G)(C)(A). Oh yea, all (G) day,
and (C) night time (A) yours, leave me never (G)(C)(A). The (C) only time I (G) feel
al (Gadd) right is by (B) your side.
(E) Girl, I (D) want, to (G) be with (E) you, all of the time (E). All (D) day, and (G) all of the (E) night (E). All (D) day, and (G) all of the (E) nighttime (E). All (D) day, and (G) all of the (E) night
[semi-violently, one strum each] (E) (D) (G) (E)
(The Kinks) (Artist Index) - (Main Index) - (Song Index) (This Song)
ALL I HAVE TO DO IS DREAM – (Bryant) - The Everly Brothers (C1)
TIP: You’ll already be playing the (C) so to play (C7) just add a pinky to the 3rd fret, 3rd string from bottom.
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Intro: (C) (Am) (F) (G7)
When (C) I want (Am) you (Dm7), in my (G7) arms. When (C) I want (Am) you (Dm), and all your (G7) charms. When (C) ever I (Am) want you, (F) all I have to (G7) do, is (C) dream (Am). (F) Dream dream (G7) dream.
When (C) I feel (Am) blue (Dm7), in the (G7) night, and (C) I need (Am) you (Dm), to hold me (G7) tight. When (C) ever I (Am) want you, (F) all I have to (G7) do, is (C) dream (F) (C). (C7)
(F) I can make you mine, (Em) taste your lips of wine, (Dm) any time (G7), night or (C) day (C7). (F) Only trouble is, (Em) gee wiz, I'm (D7) dreamin' my life a (G7) way.
I (C) need you (Am) so (Dm7), that I could (G7) die. I (C) love you (Am) so (Dm), and that is (G7) why, when (C) ever I (Am) want you, (F) all I have to (G7) do, is (C) dream (F) (C). (C7)
(F) I can make you mine, (Em) taste your lips of wine, (Dm) any time (G7), night or (C) day (C7). (F) Only trouble is, (Em) gee wiz, I'm (D7) dreamin' my life a (G7) way.
I (C) need you (Am) so (Dm7), that I could (G7) die. I (C) love you (Am) so (Dm), and that is (G7) why, when (C) ever I (Am) want you, (F) all I have to (G7) do, is (C) dream (F) (C).
(The Everly Brothers) (Artist Index) - (Main Index) - (Song Index) (This Song)
ALL MY LOVING – (Lennon McCartney) - The Beatles (C2)
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Close your (Am) eyes and I'll (D7) kiss you, (G) tomorrow I'll (Em) miss you. Re (C) member I'll (Am) always be (F) true. And then (Am) while I'm a (D7) way, I'll write (G) home ev'ry (Em) day. And I’ll (C) send all my (D7) loving to (G) you.
I'll pre (Am) tend that I'm (D7) kissing, the (G) lips I am (Em) missing, and (C) hope that my (Am) dreams will come (F) true. And then (Am) while I'm a (D7) way, I'll write (G) home ev'ry (Em) day. And I'll (C) send all my (D7) loving to (G) you.
All my (Em) loving, I will send to (G) you. All my (Em) loving, darling I'll be (G) true.
(Instrumental) (G) (C) (G) (D7) (G)
Close your (Am) eyes and I'll (D7) kiss you, (G) tomorrow I'll (Em) miss you. Re (C) member I'll (Am) always be (F) true. And then (Am) while I'm a (D7) way, I'll write (G) home ev'ry (Em) day. And I’ll (C) send all my (D7) loving to (G) you.
All my (Em) loving, I will send to (G) you. All my (Em) loving, darling I'll be (G) true. All my (Em) loving. All my (G) loving. Ooo-oooh. (Em) All my loving, I will send to (G) you.
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
ALL SHOOK UP – (Blackwell) – Elvis Presley (C1)
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Intro: (G) (Em) (G) (Em) (G)
(G) A well a bless my soul what's wrong with me? I'm itching like a man on a fuzzy tree. My friends say I'm actin' queer as a bug. I'm in love. I'm all shook up. Muh hoo (C) hoo, muh (D) hoo, (G) yeah yeah, yeah.
My hands are shaky and my knees are weak. I can't seem to stand on my own two feet. Who do you thank when you have such luck? I'm in love. I'm all shook up. Muh hoo (C) hoo, muh (D) hoo, (G) yeah yeah, yeah.
(C) Please don't ask me what's on my mind. I'm a (G) little mixed up but I'm feelin' fine.
When (C) I'm near that girl, that I love best, my (D) heart beats so it scares me to death!
(G) She touched my hand what a chill I got. Her lips are like a volcano that's hot. I'm proud to say she's my buttercup. I'm in love. I'm all shook up. Muh hoo (C) hoo, muh (D) hoo, (G) yeah yeah, yeah.
My (C) tongue gets tied when I try to speak. My (G) insides shake like a leaf on a tree. There's (C) only one cure for this body of mine and that's to (D) hound the girl that I love so fine.
(G) She touched my hand what a chill I got. Her lips are like a volcano that's hot. I'm proud to say she's my buttercup. I'm in love. I'm all shook up. Muh hoo (C) hoo, muh (D) hoo, (G) yeah yeah, yeah.
Muh hoo (C) hoo, muh (D) hoo, (G) yeah yeah, yeah. I’m all shook up.
(Elvis Presley) (Artist Index) - (Main Index) - (Song Index) (This Song)
ALL THE ROADRUNNING – (Knopfler) – Mark Knopfler & Emmylou Harris (C1)
TIP: You’ll have a tendency to want to play this song too fast. Don’t. Keep the tempo down.
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Intro: (C) (Dm) (Am) (F) (C)
A (C) million (Am) miles our (Dm) vagabond (Am) heels clocked (F) up, beneath the (C) clouds. They're (Dm) counting down, to (Am) showtime, when we (C) do it for real with the (F) crowds.
(Dm) Air miles are owing, but they (C) don't come for (F) free, and they (C) don't give you
(Am) any for (F) pain. (C) But if it's all, for (Am) nothing, (C) all the road (F) runnin's, been in (C) vain.
(C) (Am) (C) (F) (C)
The rimshots come (Am) down like, (Dm) cannon (Am) fire and (F) thunder, off the (C) wall. There's a (Dm) man in every (Am) corner, and (C) each one is giving his (F) all. (Dm) This is my fife, (C) this is my (F) drum so you (C) never will (Am) hear me com (F) plain. (C) And if it's all, for (Am) nothing, (C) all the road (F) runnin's, been in (C) vain.
(F) All the road (G) runnin’. (F) All the road (C) runnin’.
Well if you're in (Am) clined to go (Dm) up on the (Am) wall, it can (F) only be, fast and
(C) high. And (Dm) those who don't like the (Am) danger, soon (C) find something different to (F) try. (Dm) And when there's only a (C) ring in your (F) ears and an (C) echo down (Am) memory (F) lane. (C) And if it's all, for (Am) nothing, (C) all the road (F) runnin's, been in (C) vain.
(F) All the road (G) runnin’. (F) All the road (C) runnin’. (F) All the road (G) runnin’. (F) All the road (C) runnin’.
The show's packing (Am) up I, (Dm) sit and (C) watch the (F) convoy, leaving (C) town. (Dm) There's no pretending, (Am) I'm not a fool, for (C) riding around and a (F) round. Like the (Dm) pictures you keep, of your (C) old wall of (F) death, you (C) showed me one (Am) time on the (F) plane.
(C) But if it's all, for (Am) nothing, (C) all the road (F) runnin's, been in (C) vain.
(C) (Am) (C) (F) (C)
I’ve a million (Am) miles of (Dm) vagabond (C) sky, clocked (F) up, above the (C) clouds. (Dm) I'm still your man, for the (Am) roamin’, for as (C) long as there's roamin' a (F) llowed.
(Dm) There'll be a rider and (C) there'll be a (F) wall as (C) long as the (Am) dreamer
re (F) mains. (C) And if it's all, for (Am) nothing, (C) all the road (F) runnin's, been in (C) vain.
(F) All the road (G) runnin’, (F) all the road (C) runnin’. (F) All the road (G) runnin’, (F) all the road (C) runnin’. (F) All the road (G) runnin’, (F) all the road (C) runnin’. (F) All the road (G) runnin’, (F) all the road (C) runnin’.
(C) (Dm) (Am) (F) (C)
(Mark Knopfler) (Emmylou Harris) (Artist Index) - (Main Index) - (Song Index) (This Song)
ALL THE WAY HOME - (McKean/Guest) - Spinal Tap (C1)
TIP: For the "(G) cry, (G-E) cry, (D7) cry" sequence just lift off the bottom string to go from (G) to (G-E). Simple.
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INTRO: (G)(C)(G)
Well I'm sittin' here be (D) side the railroad track (G). And I'm waitin' for that (Gadd) train to bring her (D7) back. If she's not (G) on the five-nine (G7) teen, then I'm gonna (C) know what sorrow (A7) means. And I'm gonna (G) cry (G-E) cry (D7) cry all the way (G) home.
All the way (C) home. All the way (G) home. Yes I'm gonna cry (G-E) cry (D7) cry all the way (G) home.
Now her daddy never (D) liked me this he said (G). And he could never get it (Gadd) through his old grey (D7) head. That I (G) loved his daughter (G7) so. I did not (C) mean to see her (A7) go. Now I'm gonna (G) cry (G-E) cry (D7) cry all the way (G) home.
All the way (C) home. All the way (G) home. Yes I'm gonna cry (G-E) cry (D7) cry all the way (G) home.
Well I'm sittin' here be (D) side the railroad track (G). And I'm waitin' for that (Gadd) train to bring her (D7) back. If she's not (G) on the five-nine (G7) teen, then I'm gonna (C) know what sorrow (A7) means. And I'm gonna (G) cry (G-E) cry (D7) cry all the way (G) home.
All the way (C) home. All the way (G) home. Yes I'm gonna cry (G-E) cry (D7) cry all the way (G) home.
All the way (C) home. All the way (G) home. Yes I'm gonna cry (G-E) cry (D7) cry all the way (C) home (G7).
(Spinal Tap) (Artist Index) - (Main Index) - (Song Index) (This Song)
ALL TOGETHER NOW – (Lennon/McCartney) - The Beatles (C3)
TIP: The intro is just one-stroke down-beat (G)s.
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INTRO (G)(G)(G)....
(G) One, two, three, four. (D7) Can I have a little more? (G) Five, six, seven eight nine
(D) ten, I love (G) you. A, B, C, D. (D7) Can I bring my friend to tea? (G) E, F, G H I (D) J, I love (G) you.
(G) Bom bom bom (C) bompa-bom. Sail the ship. (G) Bompa-bom. Chop the tree. (C) Bompa-bom, skip the rope. (D) Bompa-bom. Look at (D7) me.
(G) All together now. (All together now.) All together now. (All together now.) (D7) All together now. (All together now.) (G) All together now. (All together now.)
(G) Black, white, green, red. (D7) Can I take my friend to bed? (G) Pink, brown, yellow orange and (D) blue, I love (G) you.
(G) Bom bom bom (C) bompa-bom. Sail the ship. (G) Bompa-bom. Chop the tree. (C) Bompa-bom, skip the rope. (D) Bompa-bom. Look at (D7) me.
(G) All together now. (All together now.) All together now. (All together now.) (D7) All together now. (All together now.) (G) All together now. (All together now.)
(G) All together now. (All together now.) All together now. (All together now.) (D7) All together now. It’s all to (A7) geth (D7) er (G) now.
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
ALL YOU NEED IS LOVE – (Lennon/McCartney) – The Beatles [C4]
TIP: The intro is that bar of trumpet music. It’s the opening to a British march of some sort.
TIP: In the “All you need is love” verse there’s an (A7sus4). It will be preceded by a (Gadd). So all you do is, from the (Gadd), hold the ring finger down on the 3rd fret/2nd string fret and move your index finger down to the 2nd fret/4th string to play the (A7sus4).
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Intro: (G) (D) (Gadd) (C) (D) . . . (proceed into song)
(G) Love, (D) love, (Em) love. (G) Love, (D) love, (Em) love. (Am) Love, (G) love, (D) love. (D)(Am)(G)(D)
There's (G) nothing you can (D) do that can't be (Em) done. (G) Nothing you can (D) sing that can't be (Em) sung. (D7) Nothing you can (G) say but you can (D) learn how to play the (D7) game.
It's eas (D) y.
There's (G) nothing you can (D) make that can't be (Em) made. (G) No one you can (D) save that can't be (Em) saved. (D7) Nothing you can (G) do but you can (D) learn how to be you in (D7) time. It's eas (D7) y.
(Gadd) All you (A7sus4) need is (D) love. (D7)-(G) (Gadd) All you (A7sus4) need is (D) love. (D7)-(G) (Gadd) All you (B7) need is (Em) love, (G) love. (C) Love is (D7) all you (G) need.
(G) (D) (Em) (G) (D) (Em) (Am) (G) (D) . . . (D)(Am)(G)(D)
(Gadd) All you (A7sus4) need is (D) love. (D7)-(G) (Gadd) All you (A7sus4) need is (D) love. (D7)-(G) (Gadd) All you (B7) need is (Em) love, (G) love. (C) Love is (D7) all you (G) need.
There's nothing you can (D) know that isn't (Em) known. (G) Nothing you can (D) see that isn't (Em) shown. (D7) Nowhere you can (G) be that isn't (D) where you're meant to (D7) be.
It's eas (D7/A) y.
(Gadd) All you (A7sus4) need is (D) love. (D7)-(G) (Gadd) All you (A7sus4) need is (D) love. (D7)-(G) (Gadd) All you (B7) need is (Em) love, (G) love. (C) Love is (D7) all you (G) need.
(Gadd) All you (A7sus4) need is (D) love. (D7) All together (G) now. (Gadd) All you (A7sus4) need is (D) love. (D7) Everybod (G) y. (Gadd) All you (B7) need is (Em) love, (G) love. (C) Love is (D7) all you (G) need.
(C) Love is (D7) all you (G) need. (C) Love is (D7) all you (G) need. (G)
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
ALREADY GONE - (Tempchin/Strandlund) - The Eagles (C2)
TIP: The intro is just a tad tricky. The first run (G)(D)(C) mimics the chorus, "Al-ready gone." The second run is more of a guitar lick. Listen to the intro and you'll see what I mean.
TIP: At the end, the song breaks from the (G)(D)(C) chord progression to (C)(G)(F). It can catch you off guard if you're not expecting it.
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Intro: (G) (D) (C); (G) (D), (C) . . .(CaddG)
Well I (G) heard some people (D) talkin' just the (C) other day. And they (G) said you were gonna (D) put me on a (C) shelf. Let-me-tell-you-I (G) got some news for (D) you, and you'll
(C) soon find out it's true, and then you'll (G) have to eat your (D) lunch all by your (C) self.
'Cause I'm (G) al - (D) ready (C) gone. And I'm (G) fee - (D) -eelin' (C) strong. I will
(G) sin - (D) ing this vict'ry (C) song, woo hoo (G) hoo, my (D) my, woo hoo (C) hoo.
The (G) letter that you (D) wrote me, made me (C) stop and wonder why. But I (G) guess you felt like you (D) had to set things (C) right. (G) Just remember (D) this my girl, when you (C) look up in the sky, you can (G) see the stars and (D) still not see the (C) light (that's right).
And I'm (G) al - (D) ready (C) gone. And I'm (G) fee - (D) -eelin' (C) strong. I will
(G) sin - (D) ing this vict'ry (C) song, woo hoo (G) hoo (D), woo, hoo, (C) hoo.
(G)(D)(C); (G)(D)(C); (G)(D)(C); (G)(D)(C)(CaddG)
Well I (G) know it wasn't (D) you who held me (C) down. Heaven (G) knows it wasn't (D) you who set me (C) free. So (G) often times it (D) happens, that we (C) live our lives in chains, and we
(G) never even (D) know we have the (C) key.
But me I'm (G) al - (D) ready (C) gone. And I'm (G) fee - (D) -eelin' (C) strong. I will
(G) sin - (D) ing this vict'ry (C) song. 'Cause I'm (G) al - (D) ready (C) gone. [hold the (C)]
Yes I'm (C) al - (G) ready (F) gone. And I'm (C) fee - (G) -eelin' (F) strong. I will
(C) sin - (G) ing this vict'ry (F) song. 'Cause I'm (C) al - (G) ready (F) gone.
Yes I'm (C) al - (G) ready (F) gone. (C) Al - (G) ready (F) gone. All right, nighty-night.
(C) Al - (G) ready (F) gone. (C)
(The Eagles) (Artist Index) - (Main Index) - (Song Index) (This Song)
ALWAYS LOOK ON THE BRIGHT SIDE OF LIFE – Eric Idle (C1)
TIP: A little awkward to find the right note to start singing with. It’s the note (open second string from bottom). So start the song with fingers forming (Am) but lift the ring finger to play and then strike the (Am).
TIP: The (Em)-(Am)-(D7) series is the “whistling part”. After the key change at the end it’s (F#m)-(D)-(E7).
TIP: After the key change you’ll play (A) and the (F#m). Play (F#m) by simply dropping the fingers you’re using to play (A) down one string-set on the same fret.
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Some (Am) things in life are (D) bad. They can (G) really make you (Em) mad. (Am) Other things just make you swear and (G) curse. When you're (Am) chewing an life's (D) gristle, don't (G) grumble, give a (Em) whistle. And (Am) this'll help things turn out for the (D7) best.
And, (G) always (Em) look on the (Am) bright (D7) side of (G) life. (Em)-(Am)-(D7) (G) Always (Em) look on the (Am) light (D7) side of (G) life. (Em)-(Am)-(D7)
If (Am) life seems jolly (D) rotten, there's (G) something you've for (Em) gotten. And (Am) that's to laugh and (D) smile and dance and (G) sing. When you're (Am) feeling in the (D) dumps, (G) don't be silly (Em) chumps. Just (Am) purse your lips and whistle - that's the (D7) thing.
And (G) always (Em) look on the (Am) bright (D7) side of (G) life. (Em)-(Am)-(D7) Come on. (G) Always (Em) look on the (Am) light (D7) side of (G) life. (Em)-(Am)-D7)
For (Am) life is quite ab (D) surd, and (G) death's the final (Em) word. You must (Am) always face the (D) curtain with a (G) bow. For (Am) get about your (D) sin, give the (G) audience a
(Em) grin. (Am) Enjoy it, it's your last chance any (D7) how.
So, (G) always (Em) look on the (Am) bright (D7) side of (G) death. (Em)-(Am)-(D7) (G) Just be (Em) fore you (Am) draw your (D7) terminal (G) breath. (Em)-(Am)-(D7)
(Am) Life's a piece if (D) shit, (G) when you look at (Em) it. (Am) Life's a laugh and (D) death's a joke it's (G) true. You'll (Am) see it's all a (D) show, keep'em (G) laughing as you (Em) go. Just re (Am) member that the last laugh is on (D7) you.
And (G) always (Em) look on the (Am) bright (D7) side of (G) life. (Em)-(Am)-(D7) (G) Always (Em) look on the (Am) right (D7) side of (G) life. (Em)-(Am)-(D7)
(Come on guys, cheer up.) [key change coming]
(A) Always (F#m) look on the (D) right (E7) side of (A) life. (F#m)-(D)-(E7)
(A) Always (F#m) look on the (D) right (E7) side of (A) life. (F#m)-(D)-(E7)
Repeat and end with (A).
(Eric Idle) (Artist Index) - (Main Index) - (Song Index) (This Song)
AMANDA - Waylon Jennings (C0)
TIP: An easy and pretty song to gently pick, especially in G (G,D,C).
TIP: The intro is just (A) but it's sort of an alternating chord strum, first emphasizing/striking the middle strings, then the top strings (to include/add the base ), ect.
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INTRO: (A)(A) x 2
I've (A) held it all in, and (D) Lord knows I've (A) tried. But it's an awful awakening, in a (E) country boy's (A) life. To look in the mirror in (D) total sur (A) prise, at the hair on my collar and the (E) age in my (A) eyes.
Amanda, (D) light of my (A) life. Fate should have made you, a (E) gentleman's (A) wife. Amanda, (D) light of my (A) life. Fate should have made you, a (E) gentleman's (A) wife.
It's a (A) measure of people, who (D) don't under (A) stand, the pleasures of life, in a (E) hillbilly (A) band. I got my first guitar, when (D) I was (A) fourteen. Now I'm pushing forty and (E) still wearing (A) jeans.
Amanda, (D) light of my (A) life. Fate should have made you, a (E) gentleman's (A) wife. Amanda, (D) light of my (A) life. Fate should have made you, a (E) gentleman's (A) wife.
(Waylon Jennings) (Artist Index) - (Main Index) - (Song Index) (This Song)
AMARILLO BY MORNING – (Stafford/Fraser) – George Strait (C0)
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INTRO: (CaddG) (Em) (F) (G); (CaddG) (Em) (F) (G7)
(C) Amarillo by (Em) mornin', (F) up from San An (C) tone. Everything that (Em) I got, is (F) just what I've got (G7) on. When that (Am) sun is high in that (G) Texas sky, I'll be (C) buckin' at the (Em) county (F) fair. (C) Amarillo by (G) mornin', Amar (F) illo (G7) I'll be (C) there.
(CaddG) (Em) (F) (G7)
(C) They took my saddle in (Em) Houston, broke my (F) leg in Santa (C) Fe. Lost my wife and a (Em) girlfriend, some (F) where along the (G7) way. I'll be (Am) lookin' for eight when they (G) pull that gate, and I (C) hope that (Em) judge ain't (F) blind. (C) Amarillo by (G) mornin', Amar (F) illo's (G7) on my (C) mind. (D)
(Key Change)
(D) Amarillo by (F#m) Mornin', (G) up from San (D) Antone. Everything that (F#m) I got, is (G) just what I've got (A7) on. I ain't (Bm) got a dime but what I (A) got is mine. I ain't
(D) rich, but (F#m) Lord I'm (G) free. (D) Amarillo by (A) mornin', Amar (G) illo's (A7) where I'll (D) Be. (G)-(A7) (D) Amarillo by (A7) mornin', Amar (G) illo's (A7) where I'll (D) be. (F#m) (G) (D)
(George Strait) (Artist Index) - (Main Index) - (Song Index) (This Song)
AMAZING GRACE – (Newton) - Traditional/Judy Collins (C4)
TIP: Nice, easy song to pick as well.
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(A) Ama, zing Grace, how (D) sweet, the (A) sound, that saved, a wretch, like (E) me. I (A) once, was lost, but (D) now, am (A) found. Was blind, but now, (E) I (A) see.
T'was Grace, that taught, my (D) heart, to (A) fear. And Grace, my fears, re (E) lieved. How (A) prec, ious did, that (D) Grace, a (A) ppear, the hour, I first, (E) be (A) lieved.
Through man, y dan, gers (D) toils, and (A) snares, we have, alread, dy (E) come. T'was (A) Grace, that brought, us (D) safe, thus (A) far, and Grace, will lead, (E) us (A) home.
The Lord, has prom, ised (D) good, to (A) me. His word, my hope, sec (E) ures. He (A) will, my shield, and (D) por, tion (A) be, as long, as life, (E) en (A) dures.
Yea when, this flesh, and (D) heart, shall (A) fail. And mor, tal life, shall (E) cease. I
(A) shall, possess, with (D) in, the (A) veil, a life, of joy, (E) and (A) peace.
When we've, been here, ten (D) thou, sand (A) years, bright shin, ing as, the (E) sun. We've
(A) no, less days, to (D) sing, God's (A) praise, then when, we've first, (E) be (A) gun.
(A) Ama, zing Grace, how (D) sweet, the (A) sound, that saved, a wretch, like (E) me. I (A) once, was lost, but (D) now, am (A) found. Was blind, but now, (E) I (E) see (D) (A).
(Traditional)(Judy Collins) (Artist Index) - (Main Index) - (Song Index) (This Song)
AMAZING JOURNEY - (Townshend) - The Who (C1)
TIP: Lots of Pete Townshend one-strum power chords. Think of the song in your head as you're playing.
TIP: In most cases you can play (D) instead of (D/A). You'll encounter three variations, all from the (Dm). First you'll play (Dm) prior to (Dsus) so just keep formation and add pinky to bottom string. You'll also play (Dm) prior to (Em-C) so hold the index finger and move the middle and ring fingers up to the 2nd fret. Finally you'll play (Dm) prior to (Dsus2) so just lift off the index finger.
TIP: Opening note to sing is the (open 2nd string)
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INTRO (Strike each chord once):
(C)(G)(A)(E)(D)(A)(D/A)(A); (C)(G)(A)(E)(D)(A)(D/A)(A)(D/A)(A)(D/A)(A)
(G) Deaf dumb and (A) blind boy (E) he's in a quiet vi (D) bration (A) land. (D)(A)
(G) Strange as it (A) seems, his (E) musical dreams, ain't (D) quite so (A) bad. (D)(A)
(G). . . (E) . . . (A)(A)-(D/A)(A)-(D/A), (G). . . (E). . . (A)
(C)(G), (A)(E), (D)(A) . . . (C)(G), (A)(E), (D)(A), (D/A)(A)
(G) Ten years (A4) old, with (E) thoughts as bold, as (D) thoughts can (A) be. (D)(A)
(G) Loving (A4) life, and be (E) coming wise, in sim (D) plici (A) ty. (D)(A)
(Dm) Sickness can surely take the (Dsus) mind (Dm) where (Em-C) minds can't usually (E) go.
Come (D#) on the amazing journey, and (D) learn all you should know (Dsus)(D).
A vague (G) haze of delirium (D) creeps up on me. All at (G) once a tall stranger I (D) suddenly see. He's (G) dressed in a silver sparked (D) glittering gown, and his (G) golden beard flows
nearly, (D) down to the (Dm) ground.
(C)(G), (A)(E), (D)(A), (D/A)(A); (C)(G), (A)(E), (D)(A), (D/A)(A), (D/A)(A), (D/A)(A)
(G) Nothing to (A) say, (E) nothing to hear, (D) nothing to (A) see. (D)(A)
(G) Each sensa (A) tion (E) makes a note in my (D) symphon (A) y (D)(A).
(G). . . (E) . . . (A)(A)-(D/A), (A)-(D/A), (G). . . (E). . . (A)
(Dm) Sickness can surely take the (Dsus) mind, (Dm) where (Em-C) minds can't usually (E) go.
Come (D#) on the amazing journey, and (D) learn all you should know. (Dsus)(D)
His (G) eyes are the eyes that trans (D) mit all they know. (G) Sparkle warm crystalline
(D) glances to show. He (G) is your leader, he (D) is your guide, on the a (G) mazing journey to (D) gether you'll (Dm) ride (Dsus)(Dm)(Dsus2).
(C)(G), (A)(E) (D)(A); (C)(G), (A)(E), (D)(A), (D/A)(A), (D/A)(A), (D/A)(A), (D/A)(A)
(The Who) (Artist Index) - (Main Index) - (Song Index) (This Song)
AMERICA THE BEAUTIFUL – (Bates) – Traditional (C3)
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(E7) O (A) beautiful for (E) spacious skies, for (E7) amber waves of (A) grain.
(E7) For (A) purple mountain (E) majesties, above the (B7) fruited (E) plain.
(E7) A (A) meri (E7) ca. (A) Amer (E7) ica. God shed his grace on (A) thee.
And (D) crown thy good with (A) brotherhood from (D) sea to (E7) shining (A) sea.
(E7) O (A) beautiful for (E) pilgrim feet, whose (E7) stern impassion'd (A) stress,
(E7) a (A) thoroughfare for (E) freedom beat, across the (B7) wilder (E) ness.
(E7) A (A) meri (E7) ca. (A) Amer (E7) ica. God mend thine ev'ry (A) flaw.
Con (D) firm thy soul in (A) self-control, thy (D) liber (E7) ty in (A) law.
(E7) O (A) beautiful for (E) heroes proved, in (E7) liberating (A) strife.
(E7) Who (A) more than self their (E) country loved, and (B7) mercy more than (E) life.
(E7) A (A) meri (E7) ca. (A) Amer (E7) ica. May God thy gold re (A) fine,
till (D) all success be (A) nobleness, and (D) ev'ry (E7) gain div (A) ine.
(E7) O (A) beautiful for (E) patriot dream, that (E7) sees beyond the (A) years.
(E7) Thine (A) alabaster (E) cities gleam, un (B7) dimmed by human (E) tears.
(E7) A (A) meri (E7) ca. (A) Amer (E7) ica. God shed his grace on (A) thee,
and (D) crown thy good with (A) brotherhood, from (D) sea to (E7) shining (A) sea.
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
AMERICAN GIRL - (Petty) - Tom Petty & the Heartbreakers (C3)
TIP: The intro and outro is all about playing a (D) while inserting notes and as you do. Part One: Start by just strumming (D) for a bit. Then, still holding (D), add pinky to 4th string/4th fret to get the (D/A). Then, and this is the tricky part, you lift the pinky and extend the index finger so it makes a mini-barre over the 3rd and 4th strings of the second fret. Doesn't matter if you press down on all the bottom strings in the process as your middle and ring fingers have you covered. So that's (D/E). Next, reposition the index finger back down to get back to regular (D). Then you go right back up with the mini-barre again for the second (D/E). Part Two: You repeat this sequence a second time except you're starting from the (D/E) so you keep position and just add your pinky to complete the (D/A) and then lift it off and you're right back to the (D/E). The second part of the intro ends on (D) which then immediately proceeds into the first verse. Not hard, but try it a few times. You also want to emphasize the middle strings when playing the (D/A) and especially the (D/E).
TIP: The song is all about cadence. Because of Tom's strumming pattern, notice in many cases the first chord of the next sentence is started right after the last word of the previous one.
TIP: At the end of the song is the bomp-bomp-bomp part indicated by chords (G)(G)(G) etc. Palm the strings after each series. Or if you want to be fancy, instead of the chords, pluck the 3rd and 4th strings (open) together three times. Then pluck (4th string/4th fret) and (open 3rd string). Then pluck the 3rd and 5th strings twice while holding (A). And finish by plucking the 4th and 5th strings (open), once.
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Intro: [Strum] (D). [Then] (D/A) (D/E) (D) (D/E); (D/A) (D/E) (D) (D/E) (D)...
Well she was an Am (E) erican girl (G), raised on (A) promises (D). She couldn't help (E) thinkin' that there (G), was a little more to life, (A) somewhere else. After all it was a (D) great big world (G), with lots of places to (E) run to. (A) Yeah and if she had to die, trying she, had one little promise she was gonna kee-ep (G).
Oh yeah (A), alright (D). Take it easy baby (Bm), make it last all night (G). She was (A), an American (D) girl.
Well it was kind of (E) cold that night (G). She stood alone, on her (A) bal-con-ny (D).
Yeah, she could hear the (E) cars roll by, out on (G) four fourty-one, like (A) waves, crashin' on the beach. And for one desperate (D) moment there (G), he crept back in her (Em) memory (A). God it's so painful, something that's so close, and still, so, far out of reach (G).
Oh yeah (A), alright (D). Take it easy baby (Bm), make it last all night (G). She was (A), an American (D) girl.
(G)(G)(G), (G)-(A)(A)(D); (G)(G)(G), (G)-(A)(A)(D);
(G)(G)(G), (G)-(A)(A)(D); (G)(G)(G), (G)-(A)(A)(A);
[Outro, same as the intro]: (D). (D/A) (D/E) (D) (D/E); (D/A) (D/E) (D) (D/E) (D)
(Tom Petty) (Artist Index) - (Main Index) - (Song Index) (This Song)
AMERICAN MADE - (DiPiero/McManus) - Oak Ridge Boys (C5)
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INTRO: (G)(D)(C)(D); (G)(D)(C)(D)
(G) Seems everything I (C) buy these days, has got a foreign (G) name. From the kind of (C) car I drive, to my video (D) game. I got a Nikkon (C) camera, a Sony color T. (G) V. But the one that I (C) love is from the U.S. (D) A. and standing next to (G) me.
My baby is American made. (D) Born and bred in the U.S.A. From her (G) silky long hair to her sexy long legs, my (D) baby is American (G) made.
She looks good in her (C) tight blue jeans, she bought in Mexic (G) o. And she loves wearing (C) French perfume, everywhere we (D) go. But when it comes to the (C) lovin' part, one thing is (G) true. My baby's (C) genuine U.S. (D) A., red white and (G) blue.
My baby is American made. (D) Born and bred in the U.S.A. From her (G) silky long hair to her sexy long legs, my (D) baby is American (G) made.
My baby is American made. (D) Born and bred in the U.S.A. From her (G) silky long hair to her sexy long legs, my (D) baby is American (G) made.
My baby is American made. (D) Born and bred in the U.S.A. From her (G) silky long hair to her sexy long legs, my (D) baby is American (G) made.
(Oak Ridge Boys) (Artist Index) - (Main Index) - (Song Index) (This Song)
AMERICAN TRILOGY – (Traditional/arr. Newbury) - Elvis Presley (C1)
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INTRO: (C)
Oh I (C) wish I was, in the land of cotton. (F) Old things they are not forgotten. Look a (C) way, look a (Am) way, look a (G) way, Dixie (C) land. Oh I wish I was in (F) Dixie, a (D) way, a (G) way. In (C) Dixieland I (F) take my stand to (C) live and die in Dix (G) ie.
'Cause (C) Dixieland, that's where I was born. (F) Early Lord one frosty morn’. Look a (C) way, look a (Am) way, look a (G) way, Dixie (C) land.
Glory, glory, hallelujah. (F) Glory, glory, halle (C) lujah. Glory (E7) glory, halle (Am) lu (F) jah. His (Dm) truth, is, (G) mar, ching, (Am) on. (F) (C)
So hush, little baby, don't you (Gm) cry. You (C) know, your daddy's, (Am) bound to (F) die. But (C) all, my (Dm) trials Lord, (G) soon will be (C) over.
Glory (E7) glory, halle (Am) lu (F) jah. His (Dm) truth, is, (G) mar, ching, (Am) on (F). His (Dm) truth, is, (G) marching (C) on.
(Elvis Presley) (Artist Index) - (Main Index) - (Song Index) (This Song)
ANGEL FLYING TOO CLOSE TO THE GROUND - Willie Nelson (C1)
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(G) If you had not have (Bm) fallen. Then (C) I would not have (G) found you. (C) Angel flying (D) too close, to the (G) ground (D).
And (G) I patched up your (Bm) broken wing, and (C) hung around a (G) while. (A) Trying to keep your spirits up, and your (D) fever down (D7).
I (G) knew someday, (Bm) that you, would fly a (C) way. (A) For love's the greatest healer, to be (D) found (D7). (G) So leave me if you (G7) need to. (C) I, will still re (Cm) member. (G) Angel flying too (D) close, to the (G) ground (D).
Instrumental: (G)(Bm)(C)(G)(A)(D)(G)(G7)(C)(G)(D)(C)(G)
Fly on, fly on (Bm) past, the speed of (C) sound. (A) I'd rather see, you, up, than see you (D) down (D7). (G) So leave me if you (G7) need to. (C) I will still re (Cm) member. (G) Angel flying too (D) close, to the (G) ground (D).
(G) Leave me, if you (G7) need to. (C) I will still re (Cm) member. (G) Angel, flying too
(D) close, to the (G) ground (D).
(Willie Nelson) (Artist Index) - (Main Index) - (Song Index) (This Song)
ANGEL OF THE MORNING – (Taylor) – Juice Newton (C2)
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INTRO: (G)(C)(D)(C); (G)(C)(D)(C)
(G) There'll be no strings to bind your (D) hands. Not if my (C) love can't bind your (G) heart. (C)(D)(C) (G) There's no need to, take a (D) stand, for it was (C) I who chose to (G) start. (C)(D)(C) (Am) I see no (C) need to, take me (D) home. (Am) I'm old e (C) nough to face the
(D) dawn.
(G) Just call me (C) angel of the (D) morning (C) an (D) gel. (G) Just touch my (C) cheek before you (D) leave me, (C) ba (D) by. (G) Just call me (C) angel of the (D) morning (C) an (D) gel.
(C) Then slowly, turn away, from (G) me. (C)(D)(C)
(G) Maybe the sun's light will be (D) dim, and it won't (C) matter any (G) how. (C)(D)(C)
(G) If morning's echo says we (D) sinned, well it was (C) what I wanted (G) now. (C)(D)(C)
(Am) And if we're the (C) victims of the (D) night, (Am) I won't be (C) blinded by the (D) light.
(G) Just call me (C) angel of the (D) morning (C) an (D) gel. (G) Just touch my (C) cheek before you (D) leave me, (C) ba (D) by. (G) Just call me (C) angel of the (D) morning (C) an (D) gel.
(C) Then slowly turn away. I won’t, beg you to stay, with (G) me. (C)(D)(C) (G)(C)(D)(C)
Through the (G) tears (C)(D)(C) . . . of the (G) day (C)(D)(C) . . . Of the (G) years (C)(D).
(D) ba-a-a-by (G).
(G) Just call me (C) angel of the (D) morning (C) an (D) gel. (G) Just touch my (C) cheek before you (D) leave me, (C) ba (D) by. (G) Just call me (C) angel of the (D) morning (C) an (D) gel. (G) Just touch my (C) cheek before you (D) leave me, (C) darl (D) lin’. (G) Just call me (C) angel of the (D) morning (C) an (D) gel. (G) Just touch my (C) cheek before you (D) leave me,
dar – ar - (G) lin’. (C)(G)(C)(G)(C)(G)
(Juice Newton) (Artist Index) - (Main Index) - (Song Index) (This Song)
ANGIE - (Richards/Jagger) - The Rolling Stones (C2)
TIP: The intro is a bit tricky. It's meant to be fingerpicked with a couple of strums as indicated. Listen to the song.
TIP: The (A) chords here are usually the full chords as opposed to EasyChords. The (Am7) and (E7) are examples.
TIP: The (Fsus) and (F6+) are easy to play. (Fsus) is just play (F) with pinky beneath the ring finger (the pinky will cancel the middle finger at 3rd string/2nd fret). Simliarly, to play (F6+) play (F) but this time place pinky two strings below the ring finger, at 2nd string/3rd fret.
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Intro: (Am)(Am7)-(Am); (E)(E7)(E7full); (F) (Fsus)-(F); (F)-(C); (Gadd)
(Am) Angie, (E) An (E7full) gie, (G) when will those (F) clouds all disa (F6+) ppear (C)?
(Am) Angie, (E) An (E7full) gie, (G) where will it (F) lead us from (F6+) here (C)? With no
(G) loving in our souls, and no (Dm) money in our (Am) coats, (C) you can't (F) say we're
satis (G) fied. But (Am) Angie, (E) An (E7full) gie, (G) you can't (F) say we never (F6+) tried (C)?
(Am) Angie, you're (E) beauti (E7full) ful, (G) but ain't it (F) time we said good (F6+) bye (C)?
(Am) Angie, I still (E) love (E7full) you, (G) remember (F) all those nights we (F6+) cried (C)?
All the (G) dreams we held so close, seemed to (Dm) all go up in (Am) smoke. (C) Let me
(F) whisper in your (G) ear: "(Am) Angie, (E) An (E7full) gie, (G) where will it (F) lead us, from (F6+) here (C)?"
(Am)(E)(E7full)(G)(F)(Em7)(Am)
Oh, (G) Angie don't you weep, all your (Dm) kisses still taste (Am) sweet. (C) I hate that
(F) sadness in your (G) eyes.
But (Am) Angie, (E) An (E7full) gie, (G) ain't it (F) time we said good (F6+) bye (C)? With no
(G) loving, in our souls, and no (Dm) money in our (Am) coats, (C) you can't (F) say were
satis (G) fied.
But (Dm) Angie, I still love you (Am) baby. (Dm) Everywhere I look, I see your (Am) eyes.
(Dm) There ain't a woman that comes (Am) close to you. (C) Come on (F) baby dry your (G) eyes.
(Am) Angie, (E) An (E7full) gie, (G) ain't it (F) good to be a (F6+) live (C)? (Am) Angie,
(E) An (E7full) gie, (G) they can't (F) say we never (F6+) tried (C).
(The Rolling Stones) (Artist Index) - (Main Index) - (Song Index) (This Song)
ANKLE DEEP - Tom Petty (C5)
TIP: The RIFF that appears in the intro, the end and leading into the bridge is important to the song. It starts with (D) and then you just add your pinky to the bottom string/3rd fret to get (Dsus), lift it to return to (D), then lift your bottom (middle) finger to get (Dsus2), and replace it to get back to (D). Easy. It's 3 beats on the first (D) and then 1 beat on the remaining chords.
TIP: Normally I don't advocate playing (Bm) as an extension of (D) using the pinky but here you can get away with it when moving from verse to bridge as you're coming off a (D) to begin with. But for subsequent transitions from the (A) suggest playing the (Bm) with index finger on the bottom string and then covering the top base note (4th string/4th fret - not shown on the chord diagram) with your pinky if you can. If not, just play the EasyChord (Bm) shown.
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INTRO: (D)-(Dsus)-(D)-(Dsus2)-(D) x 4
Well they raised, that (A) horse, to be, a (D) jumper. He was (G) owned, by, a Midwest bible
(D) thumper. His (G) preacher was a Louisiana (D) drummer. (A) Took all winter, to get through the (D) summer.
The fieldhand, hit the (A) switch, and (D) stumbled. Out (G) side, the big engine roared and
(D) rumbled. The (G) sto, len horse, spooked, and (D) tumbled. (A) She didn't speak, for a week, just kinda (D) mumbled. (D)-(Dsus)-(D)-(Dsus2)-(D); (D)-(Dsus)-(D)-(Dsus2)-(D)
(Bm) Ankle deep, in (A) love. (Bm) Ankle deep, in (A) love.
He was (D) caught up, in a (A) lie, he half be (D) lieved. (G) Found her hiding high in the family (D) tree. (G) Washed his hands, and put her cross his (D) knee. (A) She said "Daddy, you been a mother to (D) me." (D)-(Dsus)-(D)-(Dsus2)-(D)
(Bm) Ankle deep, in (A) love. (Bm) Ankle deep, in (A) love. (Bm) Ankle deep, in (A) love.
(Bm) Ankle deep, in (A) love.
(D)-(Dsus)-(D)-(Dsus2)-(D); (D)-(Dsus)-(D)-(Dsus2)-(D)
(Tom Petty) (Artist Index) - (Main Index) - (Song Index) (This Song)
ANNIE’S SONG – John Denver (C3)
TIP: This isn’t as complicated as looks and many of the chords are complementary. If you need to, you can omit all or most chords coming after a word at the end of a sentence (like the (F#m)(Bm) and (Asus)(A) pairings).
TIP: The segue from the (Bm) to the next (G) is a little cumbersome. The syllables after the (Bm) are quick so move quickly and “stab” the (G).
TIP: The mess called the “Bridge” is just the chords from the previous verse which leads into the next abbreviated verse.
TIP: The (A)(Asus)(A4), and (D)(D4)(Dsus2) are all just minor variations of the major chord implemented with additions or removal of one finger, usually the pinky and ring finger.
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Intro: (D)(D4)(D)(Dsus2), (D)(D4)(D)
You fill up me (G) sen (A) ses (Bm), like a (G) night in a (D) forest (F#m) (Bm). Like the (A) mountains in (G) spring (F#m) time (Em), like a (G) walk in the (A) rain (Asus)(A). Like a (Asus) storm (A) in (A4) the (G) des (A) ert (Bm), like a (G) sleepy blue (D) ocean (F#m)(Bm). You (A) fill up my (G) sen (F#m) ses (Em), come (A) fill me a (D) gain (D4)(D).
Come let me (G) love (A) you (Bm). Let me (G) give my life (D) to you (F#m)(Bm). Let me (A) drown in your (G) laugh (F#m) ter (Em), let me (G) die in your (A) arms (Asus)(A). Let me (Asus) lay (A) down (A4) be (G) side (A) you (Bm), let me (G) always be (D) with you (F#m)(Bm). (A) Come let me (G) love (F#m) you (Em), come (A) love me a (D) gain (D4)(D).
(Bridge) Hum:
(D)(G)(A)(Bm), (G)(D)(F#m)(Bm), (A)(G)(F#m)(Em), (G)(A)(Asus)(A), (Asus)(A)(A4)(G)(A)(Bm) . . .
Let me (G) give my life (D) to you (F#m)(Bm). (A) Come let me (G) love (F#m) you (Em), come (A) love me a (D) gain (D4)(D).
You fill up me (G) sen (A) ses (Bm), like a (G) night in a (D) forest (F#m) (Bm). Like the (A) mountains in (G) spring (F#m) time (Em), like a (G) walk in the (A) rain (Asus)(A). Like a (Asus) storm (A) in (A4) the (G) des (A) ert (Bm), like a (G) sleepy blue (D) ocean (F#m)(Bm). You (A) fill up my (G) sen (F#m) ses (Em), come (A) fill me a (D) gain (D4)(D).
(John Denver) (Artist Index) - (Main Index) - (Song Index) (This Song)
ANOTHER DAY – Paul McCartney (C5)
TIP: A little tricky in spots but give it a try. Most of the sequence tips are nuances and can be ignored without impact.
TIP: For the (A)-(A)(D) sequence, strum the (A) seven times and then hit (D).
TIP: For the (Em)-(G)-(Em) prior to entering “So sad” it’s four beats on the first (Em) emphasizing the bass E (top two strings), one beat on the (G) emphasizing the middle strings, and then one beat on the final (Em) emphasizing high E (bottom string). Again, this is just nuance to match how McCartney recorded it.
TIP: When you see [slap] just tap the strings against the lower fret board.
TIP: The verse with (D) (Bb+) and (Bm) (“Ah, stay . . .”) isn’t as bad as it looks. From (D) just add your pinky to the third string/3rd fret above the ring finger to get (Bb+), and then to play the (Bm) just slide the pinky up to the 4th fret (same string). Then move on to the (B7).
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Every (G) day she takes a morning bath she (B7) wets her hair. (Em) Wraps a towel around her as she’s (Am) heading for the bedroom chair. It’s just a (D) nother (G) day. (C) Slipping into (G) stockings, (C) stepping into (G) shoes, (C) dipping in the (G) pocket of her (A) raincoat. (A)-(A)(D) It’s just another (G) day.
At the office where the papers grow she (B7) takes a break. (Em) Drinks another coffee and she (Am) finds it hard to stay awake. It’s just a (D) nother (G) day. (Am) Du du du du (D) du. It’s just another (G) day. Du du (E7) du du (Am) du. It’s just a (D) nother (G) day. (G) (D) (Em), (Em)-(G)-(Em)
So (Em) sad, so (C) sad. (A) Sometimes she (C) feels, so (Em) sad. Alone in her apartment she’d (C) dwell, till the man of her (A) dreams comes to (C) break, the (Em) spell.
(E) Ah, (Am) stay, don’t stand her (D) up, and he (Bb+) comes, and he (Bm) stays, but he (B7) leaves the next (Em) day. So sa- (C) -ad. (A) Sometimes she (C) feels, so (Em) sad. [slap]
As she (G) posts another letter to the (B7) sound of five, (Em) people gather ’round her and she (Am) finds it hard to stay alive. It’s just a (D) nother (G) day. (Am) Du du du du (D) du. It’s just another (G) day. Du du (E7) du du (Am) du. It’s just a (D) nother (G) day. (G) (D) (Em), (Em)-(G)-(Em)
So (Em) sad, so (C) sad. (A) Sometimes she (C) feels, so (Em) sad. Alone in her apartment she’d (C) dwell, till the man of her (A) dreams comes to (C) break, the (Em) spell.
(E) Ah, (Am) stay, don’t stand her (D) up, and he (Bb+) comes, and he (Bm) stays, but he (B7) leaves the next (Em) day. So sa- (C) d. (A) Sometimes she (C) feels so (Em) sad. [slap]
Every (G) day she takes a morning bath she (B7) wets her hair. (Em) Wraps a towel around her as she’s (Am) heading for the bedroom chair. It’s just a (D) nother (G) day. (C) Slipping into (G) stockings, (C) stepping into (G) shoes, (C) dipping in the (G) pocket of her (A) raincoat. (A)-(A)(D) It’s just another (G) day.
(Am) Du du du du (D) du. It’s just another (G) day. Du du (E7) du du (Am) du. It’s just a (D) nother (G) day. (F) (C) (G)
(Paul McCartney) (Artist Index) - (Main Index) - (Song Index) (This Song)
APRIL, COME SHE WILL - (Simon) - Simon & Garfunkel (C6)
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Intro: (G)(C)-(G), (G)(C); (G)(C)-(G)(D), (G)(C), (G)(C)
(G) A - (C) a - (G) pril, (C) come she (G) will (C)(G). (Am) When streams are (Em) ripe and (Fmaj7) swelled with (Em) rain. (C) Ma- (D) - y she will (G) sta - (Em) - y. (Am) Resting (Em) in my (Am) arms a (Em) gain. (G)(C)-(G); (G)(C)-(G)
(G) Ju- (C) un - (G) une, (C) she´ll change her (G) tune (C)(G). (Am) In restless (Em) walks she´ll (Fmaj7) prowl the (Em) night. (C) Ju- (D) -ly, she will (G) fly- (Em) -y. (Am) And give no (Em) warning (Am) to her (Em) flight. (G)(C)-(G); (G)(C)-(G)
(G) Au- (C) au- (G) gust, (C) die she (G) must (C)(G). (Am) The autumn (Em) winds blow (Fmaj7) chilly and (Em) cold. (C) Septem (D) ber I´ll re (G) mem (Em) ber. (Am) A love once (Em) new has (D) now, grown (G) old.
(G)(C)-(G), (G)(C); (G)(C)-(G)(D), (G)
(Simon and Garfunkel) (Artist Index) - (Main Index) - (Song Index) (This Song)
ARE THE GOOD TIMES REALLY OVER FOR GOOD – Merle Haggard (C0)
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INTRO: strum slowly (D); pause
I wish a (D) buck was still silver. It was back when the country was (G) strong. Back before (A7) Elvis; before the Vietnam war came a (D) long. Before The Beatles and "Yesterday". When a man could still work, and still (G) would. Is the best of the free life be (A7) hind us now? Are the good times really over for (D) good?
Are we rolling down hill like a snowball headed for (G) hell? With (A) no kind of chance for the flag or the liberty (D) bell. I wish a Ford and a Chevy, would still last ten years like they (G) should. Is the best of the free life be (A7) hind us now? Are the good times really over for (D) good? (A7)
I wish (D) coke was still cola, and a joint was a bad place to (G) be. It was (A7) back before Nixon, lied to us all on T (D) V. Before microwave ovens, when a girl could still cook and still (G) would. Is the best of the free life be (A7) hind us now? Are the good times really over for (D) good?
Stop rolling down hill like a snowball headed for (G) hell. Stand (A) up for the flag and let's all ring the liberty (D) bell. Let's make a Ford and a Chevy, that’ll still last ten years like they (G) should. The best of the free life is (A7) still yet to come, and the good times ain't over for (D) good.
(Merle Haggard) (Artist Index) - (Main Index) - (Song Index) (This Song)
AROUND THE SUN - (Berry, Mills, Buck, Stipe) - R.E.M. (C0)
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(E) I want, the (G) sun, to shine on (D) me (F#m). (E) I want, the (G) truth, to set me
(D) free (F#m). (E) I wish the (G) followers would (D) lead, with a (E) voice so strong it could (G) knock me to my (D) knees.
(G) Hold on world 'cause (Bm) you don't know what's (D) coming (Dsus2). (G) Hold on world 'cause (Bm) I'm not jumpin' (D) off (Dsus2). (G) Hold onto this (Bm) boy a little long (D) er (Dsus2).
(C) Take another (G) trip, around the (D) sun.
(E) If I jumped into the (G) ocean to be (D) lieve (F#m). (E) If I climbed a mountain would
I (G) have to reach (D) (F#m)? (E) Do I even dare to (G) speak, to dream, be (D) lieve (F#m)?
(E) Give me a voice so (G) strong, I can (D) question what I have (A) seen.
(G) Hold on world 'cause (Bm) you don't know what's (D) coming (Dsus2). (G) Hold on world 'cause (Bm) I'm not jumping (D) off (Dsus2). (G) Hold onto this (Bm) boy a little long (D) er (Dsus2).
(C) Take another (G) trip, around the (D) sun.
Around the sun , around the sun . Around the sun , around the sun . Around the sun .
Let my (F) dreams set me (Gadd) free. (G) Be (D) lieve. Be (Gadd) lieve.
(R.E.M.) (Artist Index) - (Main Index) - (Song Index) (This Song)
AT THE HOP – (Singer/Medora/White) - Danny and the Juniors (C0)
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(G) Bah-bah-bah-bah. (Em) Bah-bah-bah-bah. (C) Bah-bah-bah-bah. (D) Bah-bah-bah-bah. At the (G) hop.
(G) Well you can rock it you can roll it do the stomp, and even stroll it at the hop. When the (Gm) record starts a spinnin' you calypso when you chicken at the (G) hop. Do the (D) dance sensation that is (C) sweepin' the nation at the (G) hop.
(G) Let's go to the hop. Let's go to the hop (oh baby). (Gm) Let's go to the hop (oh baby).
(G) Let’s go to the hop. (D) Come . . . (C) on . . . (G) Let's go to the hop.
(G) Well you can swing it you can groove it you can really start to move it at the hop. Where the (Gm) jockey is the smoothest and the music is the coolest at the (G) hop. All the (D) cats and chicks can (C) get their kicks at the (G) hop. Let's go!
(G) Let's go to the hop. Let's go to the hop (oh baby). (Gm) Let's go to the hop (oh baby).
(G) Let’s go to the hop. (D) Come . . . (C) on . . . (G) Let's go to the hop. Let’s go!
(G) Well you can rock it you can roll it do the stomp and even stroll it at the hop. When the
(Gm) record starts a spinnin' you calypso when you chicken at the (G) hop. Do the (D) dance sensation that is (C) sweepin' the nation at the (G) hop.
(G) You . . . can swing it you can groove it you can really start to move it at the hop. Where the (Gm) jockey is the smoothest and the music is the coolest at the (G) hop. All the (D) cats and chicks can (C) get their kicks at the (G) hop. Let's go!
(G) Let's go to the hop. Let's go to the hop (oh baby). (Gm) Let's go to the hop (oh baby).
(G) Let’s go to the hop. (D) Come . . . (C) on . . . (G) Let's go to the hop. Let’s go!
(G) Bah-bah-bah-bah, (Em) bah-bah-bah-bah, (C) Bah-bah-bah-bah. (D) bah-bah-bah-bah.
At the (G) hop!
(Danny & The Juniors) (Artist Index) - (Main Index) - (Song Index) (This Song)
ATLANTA BLUE - (Reid) - The Statler Brothers (C2)
TIP: Watch out for the key change prior to the final verse.
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Intro: (G)(G7)(C), (CaddG)(D7)
(G) I'm dreamin' of (G7) you- (C) -ou, and that makes (D7) me Atlanta (G) blue. (C) Blue. (G) blue.
(Am) Just a (D7) name, I re (G) member. (Am) Just some (D7) one I used to (G) know. (Am) Someone, I (D7) never quite got (G) over. (Am) A long, (D7) long, time a (G) go. (D7)
(G) I'm Atlanta (G7) blue- (C) -ue. Wishin' (D7) I could be with (G) you- (G7) -ou- (C) -ou. Summer (D7) time in Georgia (G) I'm dreamin' of (G7) you- (C) -ou, and that makes (D7) me Atlanta (G) blue. (C) Blue. (G) Blue.
(Am) Don't wipe, a (D7) way, my (G) mem'ries. (Am) By makin' (D7) all my dreams come (G) true.
(Am) The way it (D7) was always seems (G) better. (Am) So let me (D7) keep on missin' (G) you.
(E7) [Key change]
(A) I'm Atlanta (A7) blue- (D) -ue. Wishin' (E7) I could be with (A) you- (A7) -ou- (D) -ou. Summer (E7) time in Georgia (A) I'm dreamin' of (A7) you- (D) -ou, and that makes (E7) me Atlanta (A) blue. (D) Blue. (A) Blue. Wooo - (A7) -oooh- (D) -oooh. And that makes (E7) me Atlanta (A) blue.
(The Statler Brothers) (Artist Index) - (Main Index) - (Song Index) (This Song)
BABY WE'RE REALLY IN LOVE - Hank Williams (C0)
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INTRO: (C)(G)(C)
(C) If you're lovin' me like I'm lovin' you, baby we're really in (G) love.
If you're happy with me like I'm happy with you, old cupid just gave us a (C) shove.
If you're thinkin' of me like I'm thinkin' of you, then I know what you're thinkin' (G7) of.
If you're lovin' me like I'm lovin' you, baby we're really in (C) love (C7).
I (F) run around in (C) circles, and (F) turn in fire a (C) larms.
I'm (F) nutty as a fruit (C) cake, when (D7) you're not in my (G7) arms.
If (C) you're meant for me like I'm meant for you, baby we fit like a (G) glove.
If you're lovin' me like I'm lovin' you, baby we're really in (C) love.
(F)(C), (F)(C), (F)(C)(D7)(G)
If (C) you're lovin' me like I'm lovin' you, baby we're really in (G) love.
If you're countin' on me like I'm countin' on you, old cupid just gave us a (C) shove.
If you're dreamin' of me like I'm dreamin' of you, then I know what you're dreamin' (G7) of.
If you're lovin' me like I'm lovin' you, baby we're really in (C) love (C7).
My (F) folks think I've gone (C) crazy, and (F) I don't feel too (C) sure.
And (F) yet there's nothin' (C) wrong with me that (D7) weddin' bells won't (G7) cure.
If (C) you go for me like I go for you, baby we fit like a (G) glove.
If (Gadd) you're lovin' me like I'm lovin' you, baby we're really in (C) love.
(Hank Williams) (Artist Index) - (Main Index) - (Song Index) (This Song)
BACK HOME AGAIN – John Denver (C2)
TIP: The intro is a two-note strum of (G). Hit (or aim for) the open 3rd string on the down-stroke strum, followed by hitting the 4th string on the second down-stroke. Repeat.
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INTRO: (G)(G) x 4
(D) There's a (G) storm, across, the (G7) valley, (C) clouds are rollin' in. The (D7) afternoon is heavy on your (G) shoulders (D). There's a (G) truck out on the (G7) four lane, a (C) mile or more away. The (D7) whinin' of his wheels just makes it (G) colder.
(D) He's an (G) hour, away, from (G7) ridin', on your (C) prayers up in the sky. And (D7) ten days on the road are barely (G) gone (D). There's a (G) fire, softly (G7) burning, (C) supper's on the stove. But it's the (D7) light, in your eyes, that makes him (G) warm.
(C) Hey it's good, to (D7) be back home a (G) gain (G7). (C) Sometimes, (D7) this old farm, (G) feels like a long lost (C) friend. Yes 'n (D7) hey, it's good, to be back home a (G) gain.
(D) There’s (G) all, the news, to (G7) tell him: (C) How'd you spend your time? And (D7) what's the latest thing the neighbors (G) say (D). And your (G) mother called last (G7) Friday,
(C) "Sunshine" made her cry. And you (D7) felt the baby move just yester (G) day.
(C) Hey it's good, to (D7) be back home a (G) gain (G7). (C) Sometimes, (D7) this old farm, (G) feels like a long lost (C) friend. Yes 'n (D7) hey, it's good, to be back home a (G) gain.
And (C) oh, the time, that (D7) I can lay this (G) tired old body (C) down. And (Am) feel your fingers, (D7) feather-soft up (G) on me. The (C) kisses that I live (D7) for, the (G) love that lights my (C) way. The (Am) happiness, that (C) livin' with you (D7) brings me.
It's the (G) sweetest thing I (G7) know of, just (C) spending time with you. It's the (D7) little things, that make a house a (G) home (D). Like a (G) fire, softly (G7) burning, and (C) supper on the stove. And the (D7) light, in your eyes, that makes me (G) warm.
(C) Hey it's good, to (D7) be back home a (G) gain (G7). (C) Sometimes, (D7) this old farm, (G) feels like a long lost (C) friend. Yes 'n (D7) hey, it's good, to be back home a (G) gain.
(John Denver) (Artist Index) - (Main Index) - (Song Index) (This Song)
BAD DAY - (Berry/Buck/Mills/Stipe) - R.E.M. (C6)
TIP: There's a single (A4) sandwiched between a (G) and an (A). So when moving from off the (G) play the (A4) with your middle and ring fingers and you can easily transition to the quick (A) by just adding your pinky to the 2nd string/2nd fret.
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Intro: (D)(G)(A)
A (D) Public Service An (A) nouncement followed me (G) home the other day. I (D) paid it never
(A) mind, (Em) go a (A) way. (D) Shit's so thick you could (A) stir it with a stick free
(G) Teflon white-washed presidency we're, (D) sick of being (A) jerked around, (Em) wear that on your sleeve.
(A) Broadcast me a joyful noise un (Bm) to the times (G) Lord, count your (A) blessings, we're sick of being (Bm) jerked, a, (G) round. We, (F#m) all, fall (A) down.
Have you (D) ever seen the (A) televised Saint (G) Vitus subcommittee prize in, (D) vestigation
(A) dance? Those, (Em) ants-in-pants, glances. Well (D) look behind the (A) eyes, it's a
(G) hallowed, hollow, anesthesized, (D) "save my own ass (A) screw these guys", (Em) smoke and mirror lock, down.
(A) Broadcast me a joyful noise un (Bm) to the times (G) Lord, count your (A) blessings, the papers wouldn't (Bm) lie, I, (G) sigh, not, (F#m) one, (A) more.
It's been a (D) bad day, (A) please don't (Em) take your picture it's been a (D) bad day,
(A) pleee - (Em) -eease. It's been a (D) bad day, (A) please don't (Em) take a picture it's been a (D) bad day, (A) pleee - (Em) -eease.
We're (D) dug in the deep, the (A) price is steep, the (G) auctioneer is such a creep. The
(D) lights went out, the (A) oil ran dry, we (Em) blamed it on the (A) other guy. (D) Sure all men are (A) created equal, (G) here's the church, (A4) here's the (A) steeple. (D) Please stay tuned we (A) cut to sequel, (Em) ashes, ashes we all fall down.
(A) Broadcast me a joyful noise un (Bm) to the times (G) Lord, count your (A) blessings, ignore the lower (Bm) fear, ugh, (G) this, means, (F#m) war.
It's been a (D) bad day, (A) please don't (Em) take your picture it's been a (D) bad day,
(A) pleee - (Em) -eease. It's been a (D) bad day, (A) please don't (Em) take a picture it's been a (D) bad day, (A) pleee - (G) -eease.
(D) Ditt-it-it (G) dit (A) dit, (Em) ahh. (D) Ditt-it-it (G) dit (A) dit (Em) ooh ooh. (D) I saw the (A) light it can't be (Em) right. (D) Ditt-it-it (G) dit (A) dit, (Em) ooh ooh.
(A) Broadcast me a joyful noise un (Bm) to the times (G) Lord, count your (A) blessings, we're sick of being (Bm) jerked, a, (G) round. We (F#m) all, fall (A) down.
It's been a (D) bad day, (A) please don't (Em) take your picture it's been a (D) bad day,
(A) pleee - (Em) -eease. It's been a (D) bad day, (A) please don't (Em) take a picture it's been a (D) bad day, (A) pleee - (G) -eease.
It's been a (D) bad day, (A) please don't (Em) take your picture it's been a (D) bad day,
(A) pleee - (Em) -eease. It's been a (D) bad day, (A) please don't (Em) take a picture it's been a (D) bad day, (A) pleee - (G) -eease.
(D) Ditt-it-it (G) dit (A) dit, (Em) ahh. (D) Ditt-it-it (G) dit (A) dit, (Em) ooh ooh.
(D) Ditt-it-it (G) dit (A) dit, (Em) ahh. (D) Ditt-it-it (G) dit (A) dit, (Em) ooh ooh. (D)
(R.E.M.) (Artist Index) - (Main Index) - (Song Index) (This Song)
BAD MOON RISING – (Fogerty) - Creedence Clearwater Revival [C0]
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Intro: D - A - D
(D) I see, a (A) bad moon a (D) rising. I see, (A) trouble on the (D) way. I see,(A) earthquakes and (D) lightnin'. I see, (A) bad times to (D) day.
(G) Don't go around tonight, well it's (D) bound to take your life. (A) There's a (G) bad moon on the (D) rise.
(D) I hear, (A) hurricanes a (D) blowing. I know, the (A) end is coming (D) soon. (D) I fear,
(A) rivers over (D) flowing. I hear, the (A) voice of rage and (D) ruin.
(G) Don't go around tonight, well it's (D) bound to take your life. (A) There's a (G) bad moon on the (D) rise.
(D)(A)(D), (D)(A)(D), (G)(D)(A)(G)(D)
(D) Hope you, (A) got your things to (D) gether. Hope you, are (A) quite prepared to (D) die. Looks like, (A) we're in for nasty (D) weather. (D) One eye, is (A) taken for an(D) eye.
Well, (G) don't go around tonight, well it's (D) bound to take your life. (A) There's a (G) bad moon on the (D) rise. (G) Don't go around tonight, well it's (D) bound to take your life.
(A) There's a (G) bad moon on the (D) rise.
(CCR) (Artist Index) - (Main Index) - (Song Index) (This Song)
BALLAD OF JED CLAMPETT (BEVERLY HILLBILLYS THEME) – (Henning/Scoggins) – Flatt & Scruggs (C3)
TIP: Find a good banjo player to accompany you.
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(G) Come and listen to my story 'bout a (D) man named Jed. A poor mountaineer barely (G) kept his family fed. Then one day he was (C) shootin’ for some food, and (D) up through the ground come a (D7) bubblin’ (G) crude. (Oil that is, black gold, Texas tea.)
Well the first thing you know old (D) Jed's a millionaire. The kinfolk said “Jed (G) move away from there.” Said “Californy is the (C) place you oughta be” so they (D) loaded up the truck and they (D7) moved to Bever (G) ly. (Hills that is, swimming pools, movie stars.)
(G) (D) (G) (C) (D) (D7) (G)
Well now it's time to say goodbye to (D) Jed and all his kin. They would like to thank you folks for (G) kindly droppin’ in. You're all invited back again to (C) this locality, to (G) have a heapin’ (D) helpin’ of their hospitali (G) ty. (Y'all come back now, ya hear?)
(Flatt & Scruggs) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE BALLAD OF JOHN AND YOKO – (Lennon) - The Beatles [C6]
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Intro: Galloping (D)
(D) Standing in the dock at Southampton, trying to get to Holland or France. The (D7) man in the mac said, "You've got to turn back". You know they didn't even give us a chance Christ you know it ain't (G) easy. You know how hard it can (D) be. The way things are (A7) going, they're going to crucify (D) me.
Finally made the plane into Paris, honeymooning down by the Seine. Peter (D7) Brown called to say, "You can make it O.K., you can get married in Gibraltar near Spain" Christ you know it ain't
(G) easy. You know how hard it can (D) be. The way things are (A7) going, they're going to crucify (D) me.
Drove from Paris to the Amsterdam Hilton. Talking in our beds for a week. The (D7) newspapers said, "Say what you doing in bed?" I said "We're only trying to get us some peace" Christ you know it ain't (G) easy. You know how hard it can (D) be. The way things are (A7) going, they're going to crucify (D) me.
(G) Saving up your money for a rainy day, giving all your clothes to charity. Last night the wife said, "Oh boy, when you're dead, you (A7) don't take nothing with you but your soul - think!"
(A)-(A)-(A)-(D) Made a lightning trip to Vienna. Eating chocolate cake in a bag. The
(D7) newspapers said, "She's gone to his head, they look just like two gurus in drag" Christ you know it ain't (G) easy. You know how hard it can (D) be. The way things are (A7) going, they're going to crucify (D) me.
Caught an early plane back to London. Fifty acorns tied in a sack. The (D7) men from the press said, "We wish you success, it's good to have the both of you back" Christ you know it ain't
G) easy. You know how hard it can (D) be. The way things are (A7) going, they're going to crucify (D) me.
The way things are (A7) going, they're going to crucify (D) me. (D)
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
BALLAD OF THE GREEN BERET – (Sadler/Moore) - Barry Sadler (C0)
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INTRO: Strum (C)
(C) Fighting soldiers (G) from the (C) sky. Fearless (G) men, who jump and (C) die. Men who (F) mean, just what they (C) say. The brave (G) men, of the Green Ber (C) et.
Silver wings, up (G) on their (C) chest. These are (G) men, America's (C) best. One hundred (F) men, will test to (C) day, but only (G) three, win the Green Ber (C) et.
Trained to live, off (G) nature's (C) land. Trained in (G) combat, hand to (C) hand. Men who (F) fight, by night and (C) day. Courage (G) deep, from the Green (C) Beret.
Silver wings, up (G) on their (C) chest. These are (G) men, America's (C) best. One hundred (F) men, will test to (C) day, but only (G) three, win the Green Ber (C) et.
Back at home, a (G) young wife (C) waits. Her Green Ber (G) et, has met his (C) fate. He has (F) died, for those o (C) ppressed. Leaving (G) her, his last re (C) quest.
Put silver wings, on (G) my son's (C) chest. Make him (G) one, of America's (C) best. He'll be a (F) man, they'll test one (C) day. Have him (G) win, the Green Ber (C) et (F) (C).
(Barry Sadler) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE BANANA BOAT SONG (DAY-O) - (Burgie/Attaway) - Harry Belafonte (C0)
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(D) Day-o, (A) Day-ay-ay- (D) o. Daylight come and me (A7) wan' go (D) home.
Day. Me say (A) day, me say (G) day, me say (D) day, me say (G) day, me say (D) day-ay-ay-o. Daylight come and me (A7) wan' go (D) home.
Work all night on a drink o' rum. Daylight come and me (A7) wan' go (D) home. Stack banana til the mornin' come. Daylight come and me (A7) wan' go (D) home.
Come Mister tally man (A7) tally me ba (A) nana. (D) Daylight come and me (A7) wan' go (D) home.
Come Mister tally man (A7) tally me ba (A) nana. (D) Daylight come and me (A7) wan' go (D) home.
Six foot seven foot eight foot bunch! Daylight come and me (A7) wan' go (D) home. Six foot seven foot eight foot bunch! Daylight come and me (A7) wan' go (D) home.
Day. Me say Day- (A) -ay-ay- (D) o. Daylight come and me (A7) wan' go (D) home. Day. Me say (A) day, me say (G) day, me say (D) day, me say (G) day, me say (D) day-ay-ay-o. Daylight come and me (A7) wan' go (D) home.
A beautiful bunch o' ripe banana. Daylight come and me (A7) wan' go (D) home. Hide the deadly black tarantula. Daylight come and me (A7) wan' go (D) home.
Six foot seven foot eight foot bunch! Daylight come and me (A7) wan' go (D) home. Six foot seven foot eight foot bunch! Daylight come and me (A7) wan' go (D) home.
Day. Me say Day- (A) -ay-ay- (D) o. Daylight come and me (A7) wan' go (D) home. Day. Me say (A) day, me say (G) day, me say (D) day, me say (G) day, me say (D) day-ay-ay-o. Daylight come and me (A7) wan' go (D) home.
Come Mister tally man (A7) tally me ba (A) nana. (D) Daylight come and me (A7) wan' go (D) home.
Come Mister tally man (A7) tally me ba (A) nana. (D) Daylight come and me (A7) wan' go (D) home.
(D) Day-o, (A) Day-ay-ay- (D) o. Daylight come and me (A7) wan' go (D) home. Day. Me say (A) day, me say (G) day, me say (D) day, me say (G) day, me say (D) day-ay-ay-o. Daylight come and me (A7) wan' go (D) home.
(Harry Belafonte) (Artist Index) - (Main Index) - (Song Index) (This Song)
BAND ON THE RUN - (McCartney) - Paul McCartney and Wings (C3)
TIP: There are four intros or a combination of instrumental riffs and bridges, before you get to the main body of the song. The first is weepy opening instrumental, the second is like a bridge ("Stuck inside these four walls . . . "), the third is another instrumental riff that leads into a second bridge ("If I ever get out of here . . ."), and then a "normal" instrumental intro for the main song.
Part one: Pretty straight forward.
Part two: You'll come across (open). This is a one-strum with no fingers on the fingerboard (all strings open), but remember to hit the bottom string. And in the mean time you then have plenty of time to set up for the (Gm).
Part three: Has (Am)(A4)(Am). The (A4) is just (Am) without the index finger. Easy. Also has (D)(open)-(Am). This is a transitional chord from the (D) you lift off (no fingers) for just one strum and then immediately to the (Am). Notice it's also the same pattern for the second bridge. Not hard, but practice it a couple of times.
TIP: The transition between (C) and (Fmaj7) and back is easy. Just hold the index finger where it is and move up your other fingers up and down one fret as necessary, like a pivot.
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INTRO: (G)....(F#m), (D)-(Em)-(Gm); (Gm)(Gm)(Gm)(D), (D)-(Em)-(Gm); (Gm)(Gm)(Gm)(D); (D)-(Em)-(Gm); (Gm)(Gm)(Gm)(D)
(D) Stuck inside these four walls (F#m). (G) Sent inside forever (Gm). (D) Never seeing (F#m) no one, (G) nice again, (Gadd) like (D) you-ou, (open) ma (Gm) ma, (D) you-ou, (open) ma (Gm) ma,
(D) you-ou.
(D)(Am)(A4)(Am), (D)(open)-(Am), (Am)(A4)(Am), (D)(open)-(Am), (Am)(A4)(Am)
If I ever (A4) get out (Am) of here, (D) thought of giving it all (open) a (Am) way, to a
regis (A4) tered char (Am) ity. (D) All I need is a pint (open) a (Am) day. If I ever (A4) get out (Am) of here (If we ever get out of here).
(C)-(D)-(C); (C)-(D)-(C); (C) (Fmaj7) (C) (Fmaj7)
Well the (C) rain exploded with a (Fmaj7) mighty crash, as we fell into the (C) sun. And the first one said to the (Fmaj7) second one there, "I hope you're having (Em) fun!"
(G) Band on the (C) run, (Em) band (C) on the (Am) run. And the (F) jailer man, and (C) Sailor Sam, were (F) searching every (Fmaj7) one. For the (C) band on the run. Band on the run. Band on the run. Band on the run.
Well the undertaker drew a (Fmaj7) heavy sigh, seeing no one else had (C) come. And a bell was ringing in the (Fmaj7) village square, for the rabbits on the (Em) run.
(G) Band on the (C) run, (Em) band (C) on the (Am) run. And the (F) jailer man, and (C) Sailor Sam, were (F) searching every (Fmaj7) one. For the (C) band on the run. Band on the run.
(C)(G)(C); (Am)(C)(Am); (F)(Em)(F)(G) . . . Yeah the (C) band on the run. Band on the run. Band on the run. Band on the run.
Well the night was falling as the (Fmaj7) desert world, began to settle (C) down. In the town they're searching for us (Fmaj7) everywhere, but we never will be (Em) found.
(G) Band on the (C) run, (Em) band (C) on the (Am) run. And the (F) County Judge. . . who (C) held a grudge, will (F) search forever (Fmaj7) more, for the (C) band on the run. Band on the run. Band on the run. Band on the run. (Em) (G) (C)
(Paul McCartney) (Artist Index) - (Main Index) - (Song Index) (This Song)
BANG A GONG (GET IT ON) - (Bolan) - T. Rex (C0)
TIP: All of the verses can be played in just (E) and (A), ignoring the (A6) and (A6G#) if you want! But the (A6)(A6G#)(E) sequence isn't that hard. From the (A), release and quickly play one strum of a barre using your index finger on the bottom four fingers of the 2nd fret - the (A6). Then, extend your pinky to strum once covering the bottom string/4th fret - the (A6G#), and move quickly to the (E). Just have to get the cadence.
TIP: There's a cadence to the intro which is repeated after the chorus and before the next verse. It really helps to know this cadence. Listening to the song really helps.
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INTRO: Strum E, emphasizing bass, with a 1, 1-2, 1-2 cadence. Then, if you can manage, stretch the pinky to the 5th string/4th fret and tap it on the (2) count in the cadence. If too difficult, just strum E.
(E) Well you're dirty and sweet clad in (A) black don't look back and I (E) love you. You're
(A) dirty and (A6) sweet (A6G#) oh (E) yeah. Well you're slim and you're weak you've got the
(A) teeth of a hydra up (E) on you. You're (A) dirty sweet and (A6) you're (A6G#) my (E) girl.
Get it (A) on, bang a gong, (A7) get-it (E) on. Get it (A) on, bang a gong, (A7) get-it (E) on.
[Extra measure of the (E) strum cadence]
Well you're built like a car you've got a (A) hub cap diamond-star (E) halo. You're (A) built like a (A6) car (A6G#) oh (E) yeah. You're an untamed youth that's the (A) truth with your cloak full of (E) eagles. You're (A) dirty sweet and (A6) you're (A6G#) my (E) girl.
Get it (A) on, bang a gong, (A7) get-it (E) on. Get it (A) on, bang a gong, (A7) get-it (E) on.
[Extra measure of the (E) strum cadence]
You're windy and wild you've got the (A) blues in your shoes and your (E) stockings. You're
(A) windy and (A6) wild (A6G#) oh (E) yeah. Well you're built like a car you've got a (A) hub cap diamond-star (E) halo. You're (A) dirty sweet and (A6) you're (A6G#) my (E) girl.
Get it (A) on, bang a gong, (A7) get-it (E) on. Get it (A) on, bang a gong, (A7) get-it (E) on.
[Double measure of the (E) strum cadence]
Well you're dirty and sweet clad in (A) black don't look back and I (E) love you. You're (A) dirty and (A6) sweet (A6G#) oh (E) yeah. Well you dance when you walk so let's (A) dance take a chance under (E) stand me. You're (A) dirty sweet and (A6) you're (A6G#) my (E) girl.
Get it (A) on, bang a gong, (A7) get-it (E) on. Get it (A) on, bang a gong, (A7) get-it (E) on.
Get it (A) on, bang a gong, (A7) get-it (E) on. Get it (A) on . . . (A7) (E)
Get it (A) on, bang a gong, (A7) get-it (E) on. Get it (A) on, bang a gong, (A7) get-it (E) on.
Get it (A) on, bang a gong, (A7) get-it (E) on. Get it (A) on, bang a gong, (A7) get-it (E) on.
Take me. (E)!
(T. Rex) (Artist Index) - (Main Index) - (Song Index) (This Song)
BARBARA ANN - (Fassert) - The Beach Boys (C4 or C5)
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|G| Ba ba ba Ba-bara Ann. |G| Ba ba ba ba Ba - bara (G) Ann-ann. (G7) Take my (C) hand, Barbara
(G) Ann. You got me (D) rockin' and a-rollin' (D6) rockin' and a-reelin' Barbara (G) Ann ba ba, ba ba Ba-ra Ann.
|G| Went to a dance, |G| lookin' for romance, |G| Saw Barbara Ann so I (G7) thought I'd take a chance. Barbara (C) Ann Barbara Ann. Take my (G) hand. You got me (D) rockin' and a-rollin'
(D6) rockin' and a-reelin' Barbara (G) Ann ba ba, ba Ba-bara Ann.
|G| Ba ba ba Ba-bara Ann. |G| Ba ba ba ba Ba - bara (G) Ann-ann. (G7) Take my (C) hand, Barbara
(G) Ann. You got me (D) rockin' and a-rollin' (D6) rockin' and a-reelin' Barbara (G) Ann ba ba, ba ba Ba-ra Ann.
|G| Tried Peggy Sue, |G| tried Betty Lou, |G| tried Mary Lou but I (G7) knew she wouldn't do.
Barbara (C) Ann Barbara Ann. Take my (G) hand. You got me (D) rockin' and a-rollin' (D6) rockin' and a-reelin' Barbara (G) Ann ba ba, ba Ba-bara Ann.
|G| Ba ba ba Ba-bara Ann. |G| Ba ba ba ba Ba - bara (G) Ann-ann. (G7) Take my (C) hand, Barbara
(G) Ann. You got me (D) rockin' and a-rollin' (D6) rockin' and a-reelin' Barbara (G) Ann ba ba, ba ba Ba-ra Ann.
Barbara Ann. Barbara Ann. Barbara Ann. Barbara Ann. (C) Barbara Ann. Barbara Ann. (G) Barbara Ann. Barbara Ann. You got me (D) rockin' and a-rollin' (D6) rockin' and a-reelin' Barbara
(G) Ann ba ba, ba Ba-ara Ann.
(The Beach Boys) (Artist Index) - (Main Index) - (Song Index) (This Song)
BARGAIN STORE - Dolly Parton (C0 or C2)
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INTRO: (Am) (G), (Am) (G), (Am) (G), (Am)
My life is likened (G) to a bargain (Am) store. And I may have just (D) what you're looking
(Am) for. If you don't mind the fact that all the (D) merchandise is (Am) used, with a little
(D) mending it could (Am) be as (G) good as (Am) new.
Why you take for instance (G) this old broken (Am) heart. If you will just re (D) place the missing (Am) parts. You would be surprised to find how (D) good it really (Am) is. Take it and you (D) never will be (Am) sorry (G) that you (Am) did.
The bargain store is (G) open come in (Am) side. You can easil (G) y afford the (Am) price.
Love is all you need to purchase (G) all the merchan (Am) dise, and I can guaran (D) tee you'll be com (Am) pletely (G) satis (Am) fied.
(Am) (G), (Am) (G), (Am) (G), (Am)
Take these old used (G) memories from the (Am) past. And-these broken dreams and (D) plans that didn't (Am) last. I'll trade them for a future, I can't (D) use them any (Am) more. I've wasted love but (D) I still have (G) some (Am) more.
The bargain store is (G) open come in (Am) side. You can easil (G) y afford the (Am) price.
Love is all you need to purchase (G) all the merchan (Am) dise, and I can guaran (D) tee you'll be com (Am) pletely (G) satis (Am) fied.
My life is likened (G) to a bargain (Am) store. And I may have just (D) what you're looking
(Am) for. If you don't mind the fact that all the (D) merchandise is (Am) used, with a little
(D) mending it could (Am) be as (G) good as (Am) new.
The (Am) bargain store is (G) open come in (Am) side. The bargain store is (G) open come
in (Am) side. Love is all you need to purchase (G) all the merchan (Am) dise, and I can
guaran (G) tee you'll be comp (Am) letely (G) satis (Am) fied.
(Dolly Parton) (Artist Index) - (Main Index) - (Song Index) (This Song)
BAT OUT OF HELL - (Steinman) - Meat Loaf (C2)
TIP: Well, Steinman didn't make this easy. Look over the chords before you play the song.
TIP: (G/D) is just (E) played on the 4th fret.
TIP: (F3) - not shown in chord diagrams - is (F) played on the third fret, likewise (F5) is (F) played on the fifth fret. It's not really called that but what the (bat out of) hell.
TIP: (Fmaj7/A) is just (F) without the bottom string.
TIP: The coda starts with (D), then you add your pinky to the bottom string/3rd fret, that's (Dsus). Then you can either hold this position and extend your pinky way over to the bottom string/5th fret - or you can play a barre on the second fret and use your pinky the same way. That's (Dmaj-A). Next you come back to (Dmaj7), then lift (NC), and back to (D). Play this sequence again, ending in (Gadd) and (D). I think you'll find it easier if you just finger pick the sequence of D-chords.
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INTRO: (G)-(Gadd)...(G)-(Gadd), (G)-(Gadd)...(G)-(Gadd); (G)(D)(C),(C)(C)(D)(G) . . .
(softly) (G)-(Gadd)...(G)-(Gadd)
The (Gadd) sirens are screaming and the (C) fires are howling way (G) down in the valley tonight. There's a man in the shadows with a (Bm) gun in his eye and a (C) blade shining oh so bright.
There's (G) evil in the air and there's (D) thunder in sky and a (Em) killer's on the bloodshot
(C) streets. Oh and (G) down in the tunnel where the (D) deadly are rising oh I (Em) swear I saw a young boy (C) down in the gutter he was starting to foam in the (D) heat (Cadd2)(D)(Cadd2).
Oh (C) baby you're the only thing in (D) this whole world that's (G) pure and good and (C) right.
And wherever you are and where (D) ever you go, there's (C) always gonna (Cadd2) be some (G) light.
But I (C) gotta get out I gotta (D) break it out now, be (Em) fore the final crack of (C) dawn.
So we (G) gotta make the most of our (D) one night together when it's (C) over you know, we'll both be so a (D) lone (Cadd2) (D) (Cadd2).
Like a (G) bat out of hell I'll be (C) gone when the morning (Gadd) comes. When the (G) night is over like a (Bm) bat out of hell I'll be (C) gone (Bm) gone (Am) gone. Like a (G) bat out of hell I'll be (D) gone when the morning (C) comes. But when the (G) day is done and the (D) sun goes down and the (C) moonlight's shining (D)(Emsus4) through (Am7). Then like a (G) sinner, be (Bm) fore, the (Em) gates of (G/D) heaven I'll come (C) crawling on (Am) back to (Am7) you.
(C)(D) (C)(D)
I'm (G) gonna hit the highway like a (C) battering ram on a (G) silver black phantom bike. When the (Gadd) metal is hot, and the (Bm) engine is hungry and we're (C) all about to see the light.
(G) Nothing ever grows in this (D) rotting old hole, and (Em) everything is stunted and (C) lost.
And (G) nothing really rocks and (D) nothing really rolls and (C) nothing's ever worth the
(G) cost.
And I (C) know that I'm (D) damned if I (G) never get out, and (C) maybe I'm (D) damned if I (G) do. But with (C) every other (D) beat I've got (Em) left in my heart, you know I'd (C) rather be (D) damned with (G) you. But if I gotta be (Gadd) damned you know I (D) wanna be damned, (C) dancing through the (D) night with (G) you. But if I gotta be (Gadd) damned you know I
(D) wanna be damned. (G) Gotta be (Gadd) damned you know I (C) wanna be damned. (G) gotta be (Gadd) damned you know I (D) wanna be damned, (CaddG) dancing through the night, dancing through the night, dancing through the (D) night with (Gadd) you.
(G)(D)(C)(D),(G)(D)(C)(D),(G)(D)(C)(D),(G)(D)(C)(C)
Oh (C) baby you're the only thing in (D) this whole world that's (G) pure and good and (C) right.
And wherever you are and wher (D) ever you go, there's (C) always gonna (Cadd2) be some (G) light.
But I (C) gotta get out I gotta (D) break it out now be (Em) fore the final crack of (C) dawn.
So we (G) gotta make the most of our (D) one night together when it's (C) over you know, we'll both be so a (D) lone (Cadd2) (D) (Cadd2).
Like a (G) bat out of hell I'll be (C) gone when the morning (Gadd) comes. When the (G) night is over like a (Bm) bat out of hell I'll be (C) gone (Bm) gone (Am) gone. Like a (G) bat out of hell I'll be (D) gone when the morning (C) comes. But when the (G) day is done and the (D) sun goes down and the (C) moonlight's shining (D)(Emsus4) through (Am7). Then like a (G) sinner,
be (Bm) fore, the (Em) gates of (G/D) heaven I'll come (C) crawling on (Am) back to (Am7) you.
Then like a (G) sinner, be (Bm) fore, the (Em) gates of (G/D) heaven I'll come (C) crawling on
(Am) back to (Am7) you.
(F)-(C), (F)-(C), (F)-(C), (F)-(C),
(C) I can see myself tearing up the road, (F) fas (C) ter, than any other boy has (G) ever gone.
And my (C) skin is raw but my (F) soul is (C) ripe. And (CaddG) no-one's gonna stop me now I gotta make my (Gadd) escape. But I (D) can't stop thinking of you. And I (F) never see the sudden
(C) curve until it's way too (Gadd) late.
(F)-(C), (F)-(C), (F)-(C), (F)-(C),
And I (F) never see the sudden (C) curve 'till it's way too (D) late.
[PAUSE]
Then I'm (F) dying at the bottom of a (F3) pit in the blazing (Fmaj7-A) sun. (F) Torn and twisted at the (F3) foot of a burning (Em) bike. And I (F) think somebody some (G) where must be tolling a (Em) bell. And the (F) last thing I (D) see is my (Em) heart, still (F) beating, still
(Fm) beating. Breaking (A) out of my body, and (A7) flying away (F5) y,
Like a bat out of (D) hell (G)-(A). Like a bat out of (D) hell (G)-(A). Like a bat out of (D) hell (G)-(A).
Oh like a bat out of (D) hell! (G)-(A) Oh like a bat out of (D) hell! (G)-(A) Oh like a bat out of (D) hell! [hold and strum softly or fingerpick]
(Dsus)(Dmaj7-A)(Dmaj7)(NC)(D) - (Dsus)(Dmaj7-A)(Dmaj7)(NC)(Gadd) (D)
(Meat Loaf) (Artist Index) - (Main Index) - (Song Index) (This Song)
BATTLE HYMN OF THE REPUBLIC - (Howe) – Traditional (C0)
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(G) Mine eyes have seen the glory of the coming of the Lord. He is (C) trampling out the vintage where the (G) grapes of wrath are stored. He hath loosed the fateful lightning of His terrible swift (Em) sword. His (Am) truth is (G) march (D7) ing (G) on.
Glory, glory, hallelujah! (C) Glory, glory, hallelu (G) jah! Glory, glory, hallelu (Em) jah! His (Am) truth is (G) march (D7) ing (G) on.
I have seen Him in the watch-fires of a hundred circling camps. They have (C) builded Him an altar in the (G) evening dews and damps. I can read His righteous sentence by the dim and flaring (Em) lamps. His (Am) day is (G) march (D7) ing (G) on.
Glory, glory, hallelujah! (C) Glory, glory, hallelu (G) jah! Glory, glory, hallelu (Em) jah! His (Am) truth is (G) march (D7) ing (G) on.
I have read a fiery gospel writ in burnished rows of steel. "As ye (C) deal with my contemners, so with (G) you my grace shall deal. Let the Hero, born of woman, crush the serpent with his (Em) heel. Since (Am) God is (G) march (D7) ing (G) on."
Glory, glory, hallelujah! (C) Glory, glory, hallelu (G) jah! Glory, glory, hallelu (Em) jah! His (Am) truth is (G) march (D7) ing (G) on.
He has sounded forth the trumpet that shall never call retreat. He is (C) sifting out the hearts of men be (G) fore His judgment-seat. Oh, be swift, my soul, to answer Him! be jubilant, my (Em) feet! Our (Am) God is (G) march (D7) ing (G) on.
Glory, glory, hallelujah! (C) Glory, glory, hallelu (G) jah! Glory, glory, hallelu (Em) jah! His (Am) truth is (G) march (D7) ing (G) on.
In the beauty of the lilies Christ was born across the sea. With a (C) glory in His bosom that trans (G) figures you and me. As He died to make men holy, let us die to make men (Em) free. While (Am) God is (G) march (D7) ing (G) on.
Glory, glory, hallelujah! (C) Glory, glory, hallelu (G) jah! Glory, glory, hallelu (Em) jah! His (Am) truth is (G) march (D7) ing (G) on.
He is coming like the glory of the morning on the wave. He is (C) Wisdom to the mighty, He is (G) Succour to the brave. So the world shall be His footstool, and the soul of Time His (Em) slave. Our (Am) God is (G) march (D7) ing (G) on.
Glory, glory, hallelujah! (C) Glory, glory, hallelu (G) jah! Glory, glory, hallelu (Em) jah! His (Am) truth is (G) march (D7) ing (G) on.
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
BATTLE OF NEW ORLEANS – (Driftwood) – Johnny Horton (C1)
TIP: The intro means to pick out the opening 12 notes of Dixie beginning with (2nd string/3rd fret).
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INTRO: ("Dixie" through "cotton"); (G)(D)(C)(G)
(G) In 1814 we (C) took a little trip, a (D7) long with Colonel Jackson down the (G) mighty Mississip. We took a little bacon and we (C) took a little beans and we (D7) caught the bloody British in the (G) town of New Orleans. We fired our guns and the British kept a'comin. There wasn't nigh as many as there (D7) was a while a (G) go. We fired once more and they began to runnin,' on down the Mississippi to the (D7) Gulf of Mexi (G) co.
We looked down the river and we (C) see'd the British come. And there (D7) must have been a hundred of'em (G) beatin' on the drum. They stepped so high and they (C) made the bugles ring.
We (D7) stood beside our cotton bales and (G) didn't say a thing. We fired our guns and the British kept a'comin. There wasn't nigh as many as there (D7) was a while a (G) go. We fired once more and they began to runnin,' on down the Mississippi to the (D7) Gulf of Mexi (G) co.
Old Hick'ry said we could (C) take 'em by surprise if we (D7) didn't fire our muskets 'til we
(G) looked 'em in the eye. We held our fire 'til we (C) see'd their faces well then we (D7) opened up with squirrel guns and (G) really gave 'em well, we, fired our guns and the British kept a'comin. There wasn't nigh as many as there (D7) was a while a (G) go. We fired once more and they began to runnin,' on down the Mississippi to the (D7) Gulf of Mexi (G) co.
Yeah they ran through the briars and they ran through the brambles and they ran through the bushes where a (D7) rabbit couldn't (G) go. They ran so fast that the hounds couldn't catch 'em, down the Mississippi to the (D7) Gulf of Mexi (G) co.
We fired our cannon 'til the (C) barrel melted down so we (D7) grabbed an alligator and we
(G) fought another round. We filled his head with cannon balls and (C) powdered his behind, and (D7) when we touched the powder off the (G) gator lost his mind. We fired our guns and the British kept a'comin. There wasn't nigh as many as there (D7) was a while a (G) go. We fired once more and they began to runnin,' on down the Mississippi to the (D7) Gulf of Mexi (G) co.
Yeah they ran through the briars and they ran through the brambles and they ran through the bushes where a (D7) rabbit couldn't (G) go. They ran so fast that the hounds couldn't catch 'em, down the Mississippi to the (D7) Gulf of Mexi (G) co.
(Johnny Horton) (Artist Index) - (Main Index) - (Song Index) (This Song)
BE BOP A LULA - (Graves/Vincent) - Gene Vincent/The Everly Brothers (C2)
TIP: Presented here in Vincent's original key of (E), which includes the (B7) some find awkward to play, but given that it comes off the (E) it's an easy transition to play the full chord by just shifting your fingers and playing the bottom string with your pinky.
TIP: Can also be played in just about any other major key including (G)(C)(D7) or (C)(F)(G7) or (D)(G)(A7) etc.
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(E) Well . . . be-bop-a-lula, she's my baby. Be-bop-a-lula, I don't mean maybe.
(A) Be-bop-a-lula, she's my baby. (E) Be-bop-a-lula, I don't mean maybe. (B7) Be-bop-a-lula,
(A) she - ee - ee's my baby (E) doll my baby doll my baby doll (B7).
Well (E) -ell she's the gal in the red blue jeans. She's the queen of all the teens. She's the woman that I know. She's the woman that loves me so say.
(A) Be-bop-a-lula, she's my baby. (E) Be-bop-a-lula, I don't mean maybe. (B7) Be-bop-a-lula,
(A) she - ee - ee's my baby (E) doll, my baby doll, my baby doll (B7).
(E) (A) (E) (B7) (A) (E) (B7)
Well - (E) -ell, she's the one that's got that beat. She's the woman with the flyin' feet. She's the woman walks around the store. She's the one that gets more more more more.
(A) Be-bop-a-lula, she's my baby. (E) Be-bop-a-lula, I don't mean maybe. (B7) Be-bop-a-lula,
(A) she - ee - ee's my baby (E) doll my baby doll my baby doll (B7).
(E) (A) (E) (B7) (A) (E) (B7)
Well - (E) -ell . . . be-bop-a-lula, she's my baby. Be-bop-a-lula, I don't mean maybe.
(A) Be-bop-a-lula, she's my baby. (E) Be-bop-a-lula, I don't mean maybe. (B7) Be-bop-a-lula,
(A) she - ee - ee's my baby (E) doll my baby doll my baby doll. (E)
(Gene Vincent)(The Everly Brothers) (Artist Index) - (Main Index) - (Song Index) (This Song)
BEARS – (Fromholz) - Lyle Lovett (C0)
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Intro: (G) (Em) (C), (Gsus4) (C) (G); (G) (Em) (C), (Gsus4) (C) (G)
(G) Some folks say there (Em) ain’t no bears in (C) Arkansas. (Gsus4) Some folks never (C) seen a bear at (G) all. Some folks say that (Em) bears go around eatin’ (C) babies raw. (Gsus4) Some folks got a (C) bear across the (G) hall.
(G) Some folks say that (Em) bears go around (C) smellin’ bad. (Gssu4) Others say that a (C) bear is honey, (G) sweet. Some folks say this (Em) bear’s the best I (C) ever had. (Gsus4) Some folks got a (C) bear beneath their (G) feet.
[Up] Some folks drive the (Em) bears out of the (C) wilderness. (F) Some to see a (C) bear would pay a (G) fee. Me I just bear (Em) up to my be (C) wil, dered, best. And (Gsus4) some folks even (C) seen a bear in (G) me.
(G) (Em) (C), (Gsus4) (C) (G); (G) (Em) (C), (Gsus4) (C) (G)
[Up] Some folks drive the (Em) bears out of the (C) wilderness. (F) Some to see a (C) bear would pay a (G) fee. Me I just bear (Em) up to my be (C) wil, dered, best. And (Gsus4) some folks even (C) seen a bear in (G) me.
So [Up] meet a bear and (Em) take him on out to (C) lunch with you, (F) even though your
(C) friends may stop and (G) stare. Just-remember that’s a bear there (Em) in the (C) bunch with you. And they just don’t come no (Gsus4) better than a (G) bear.
So [Up] meet a bear and (Em) take him on out to (C) lunch with you, (F) even though your (C) friends may stop and (G) stare. Just-remember that’s a bear there (Em) in the (C) bunch with you. And they just don’t come no (Gsus4) better than a (G) bear.
No they (C) just don’t come no (Gsus4) better than a (G) bear. No they (C) just don’t come no (Gssu4) better than no they (C) just don’t come no (Gsus4) better than no they (C) just don’t come no (Gsus4) better than a (G) bear.
(Lyle Lovett) (Artist Index) - (Main Index) - (Song Index) (This Song)
BEAUTIFUL NOISE – Neil Diamond (C0)
TIP: For the intro, start by form in (D) but plucking the open 2nd string and then strum (D).
TIP: Neil wrote this with a transitional melody that can catch you off guard and make the chords seem off if you don't follow along. The chords are correct. At the beginning of the second verse to transition from the (D) to the (G) you need to raise up on "noise", which is note (open 2nd string), and continue even higher to the (C) on "love." Then drop down for the (F) at "well,". This happens again moving from the 3rd verse to the 4th. At the beginning of the 4th verse to transition from the (C) to the (F) you need to raise up on "noise", which is note and continue even higher to the (G) on "love" which is note . Keep raising to the (F) at "good" which is note , and end higher still with the (G) "glove". In the middle of the final full verse you do the stair-step raising of the voice again, ending with "yes it does."
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INTRO: strum (D), strum (D), strum (D), (D). . .
What a beautiful (D) noise, comin' up from the (A) street. Got a beautiful sound, it's got a beautiful (D) beat. It's a beautiful noise, goin' on every (A) where. Like the clickety-clack
of a train on a track it's got a rhythm to (D) spare.
It's a beautiful (G) noise. And it's a sound that I (C) love. And it fits me as (F) well, as a hand in a (G) glove. Yes it does, yes it does.
What a beautiful (C) noise, comin' up from the (G) park. It's the song of the (G7) kids, and it plays until (C) dark. It's the song of the cars, on their furious (G) flights. But there's even romance in the way that they dance to the beat of the (C) lights.
It's a beautiful (F) noise. And it's a sound that I (G) love. And it fits me as (F) good. Like a hand in a (G) glove. Yes it does, yes it does. What a beautiful (C) noise. (G)(G)(C)
It's a beautiful noise, made of joy and of (G) strife. Like a symphony played by the passing parade it's the music of (C) life. It's a beautiful (F) noise. And it's a sound that I (G) love.
And it makes me feel (F) good, like a hand in a (G) glove. Yes it does, yes it does.
What a beautiful (C) noise, comin' into my (G) room. And it's beggin' for (G7) me, just to give it a (C) tune. (C) (G) (C)
(Neil Diamond) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE BED YOU MADE FOR ME – (Carlson) – Highway 101 (C2)
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INTRO: (G)(C)(D)(G)
(G) Darling were you listenin’, when I (C) called you late last (G) night. Or did the (C) sleep get in your (G) eyes, did it (A) blind me, from your (D) sight? Or (G) was she lying with you, was it (C) hard for you to (G) speak? And did you (C) tell her she was (G) sleepin’, in the (D) bed you made for (G) me?
And did you tell her, she was sleepin’, in the (C) bed you made for (Gadd) me? Did she (D) like my satin sheets, and did (C) you sing her to (D) sleep? And my (G) pillow, that she slept on, did it (C) bring her sweet (Gadd) dreams? Did you (C) tell her she was (G) sleepin’, in the (D) bed you made for (G) me?
The pillow that you made for me it was (C) soft with feather (G) down. And the (C) headboard it came, from an (G) old house, that was (A) ‘bout to be torn (D) down. And the (G) songs you always sang to me, (C) oh as I fall (G) asleep. Did they (C) sound the same to (G) her, in the (D) bed you made for (G) me?
And did you tell her, she was sleepin’, in the (C) bed you made for (Gadd) me? Did she (D) like my satin sheets, and did (C) you sing her to (D) sleep? And my (G) pillow, that she slept on, did it (C) bring her sweet (Gadd) dreams? Did you (C) tell her she was (G) sleepin’, in the (D) bed you made for (G) me? (G)(C)(D)(G)-(C)-(G)
Now you can take my old pillow, and (C) throw it out the (G) door. You can (C) buy another
(G) bed, you can (A) find, another head (D) board. Cause (G) I ain't gonna lie beneath, those
(C) satin sheets you (G) tore. The (C) bed you made for (G) me, it isn't (D) mine, any (G) more.
And did you tell her, she was sleepin’, in the (C) bed you made for (Gadd) me? Did she (D) like my satin sheets, and did (C) you sing her to (D) sleep? And my (G) pillow, that she slept on, did it (C) bring her sweet (Gadd) dreams? Did you (C) tell her she was (G) sleepin’, in the (D) bed you made for (G) me?
Did you (C) tell her she was (G) sleepin', in the (D) bed you made for (G) me- (F) (C) -ee (G).
(Highway 101) (Artist Index) - (Main Index) - (Song Index) (This Song)
BELLE STARR – (Harris) – Emmylou Harris and Mark Knopfler (C1)
TIP: The scarey looking (Fmaj7/A) is just (F) without the index finger barre. And since it follows the (F) and precedes the (C) all you do is lift off the bottom finger/1st fret for one strum and jump up to play the (C). Piece of cake.
TIP: The (FaddG) only appears once at the end is sort of like the procedure above but this time you keep (F) and just add your pinky to the bottom string/3rd fret for one strum (ignore the top string in the diagram) and then jump to the (C). This one can be skipped and just play with the (F) if you want.
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(C) My mamma and my daddy told me (F) love is a two (Fmaj7/A) way (C) street. But lately baby you've been finding (F) new ways of dragging (FaddG) your (C) feet. So (E) come on make your best shot, (F) you don't have to take the (G) blame. (C) I'll be your Belle Starr (G) you can be my Jesse (C) James.
There's lonely people everywhere from (G) Abilene to Arkan (C) sas. The way they run for cover
you'd think (G) love was against the (C) law. Well (E) I don't need a pistol baby (F) you won't have to rob a (G) train. (C) You can be my Belle Starr (G) I can be your, Jesse (C) James.
(C) Ohhh. (G)...(C) (C) Ohhh. (G)...(C)
I (F) know you've done some hard time (Bb) baby and you've got your (C) doubts. (E) When you feel surrounded and it's (F) looking like there's no way (G) out. I'll-come-(C)-riding to your rescue
all you (F) gotta do is call (Fmaj7/A) my (C) name. I'll be your Belle Starr (G) you can be the Jesse (C) James.
(C) Ohhh. (G)...(C) (C) Ohhh. (G)...(C)
It don't take a genius baby (F) there ain’t no big myste (C) ry. You can't, play it safe, and (F) still go down in his (FaddG) tor (C) y. So (E) saddle up the horses 'cuz we're (F) headed for the hall of (G) fame. (C) I'll be your Belle Starr (G) you can be my Jesse (C) James. I'll be your Belle Starr (G) you can be my Jesse (C) James.
(C) Ohhh. (G)...(C) (C) Ohhh. (G)...(C) (C) Ohhh. (G)...(C)
(Mark Knopfler) (Emmylou Harris) (Artist Index) - (Main Index) - (Song Index) (This Song)
BEN - (Black/Scharf) – Michael Jackson (C0)
TIP: In the last verse, the first two lines are sung like the first and second verses but the third line is sung differently. It starts with (Gadd) “They . . .” which is note and not note as in the first two verses.
TIP: If it helps, imagine you’re singing to a rat.
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INTRO: (G)(C), (G)(C), (G)(C), (G)(C)
(G) Ben, the two of us need (D) look no more. (G) We, both found what we were (D7) looking for.
(G) With, a friend to call my (B7) own, I'll never be alone, and (E) you my friend will (Am) see. You've (D) got a friend in (G) me. (You’ve (C) got a friend in (G) me.)
Ben, you're always running (D) here and there. (G) You, feel you're not wanted (D7) anywhere.
(G) If, you ever look be (B7) hind, and don't like what you find, there's (E) something you should (Am) know: You've (D) got a place to, (G) go. (You’ve (C) got a place to (G) go.)
I (Am) used to say, (D7) "I" and (G) "me". (Am) Now it's "us", (D7) now it's (G) "we".
I (Am) used to say, (D7) "I" and (G) "me". (Am) Now it's "us", (D7) now it's (G) "we".
Ben, most people would turn (D) you away. (G) I, don't listen to a (D7) word they say. (Gadd) They, don't see you as I (D) do. I wish they would try (C) to. I'm (E) sure they'd think a (Am) gain, if they (D) had a friend like (G) Ben (C). A (G) friend. (C) Li-ike (G) Ben (C). Like (G) Ben. (C) (G)
(Michael Jackson) (Artist Index) - (Main Index) - (Song Index) (This Song)
BIG IRON - Marty Robbins (C1)
TIP: Round out the bass by adding the pink above the ring finger on the (C) and (F).
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INTRO: (C) . . . (F)(C)
To the (C) town of Agua Fria rode a (Am) stranger one fine day. Hardly (C) spoke to folks around him, didn't have too much to (Am) say. No one (F) dared to ask his business, no one (C) dared to make a slip, for the stranger there among them had a (Am) big iron on his hip. (F) Big iron on his (C) hip.
It was (C) early in the morning when he (Am) rode into the town. He came (C) riding from the south side slowly lookin' all a (Am) round. “He's an (F) outlaw loose and running,” came the (C) whisper from each lip. He's here to do some business with the (Am) big iron on his hip. (F) Big iron on his (C) hip.
In this (C) town there lived an outlaw by the (Am) name of Texas Red. Many (C) men had tried to take him and that many men were (Am) dead. He was (F) vicious and a killer, though a (C) youth of twenty four. And the notches on his pistol numbered (Am) one and nineteen more. (F) One and nineteen (C) more.
Now the (C) stranger started talking made it (Am) plain to folks around. He was an (C) Arizona Ranger wouldn't be too long in (Am) town. He came (F) here to take an outlaw back a (C) live or maybe dead. He said it didn't matter, he was (Am) after Texas Red. (F) After Texas (C) Red.
Wasn't (C) long before the story was re (Am) layed to Texas Red. But the (C) outlaw didn't worry men that tried before were (Am) dead. Twenty (F) men had tried to take him twenty (C) men had made a slip. Twenty one would be the ranger with the (Am) big iron on his hip. (F) Big iron on his
(C) hip.
The (C) morning passed so quickly it was (Am) time for them to meet. It was (C) twenty past eleven when they walked out in the (Am) street. Folks were (F) watching from their windows every (C) body held their breath. They knew this handsome ranger was a (Am) bout to meet his death. A (F) bout to meet his (C) death.
There was (C) forty feet between them when they (Am) stopped to make their play. And the (C) swiftness of the ranger is still talked about (Am) today. Texas (F) Red had not cleared leather when a (C) bullet fairly ripped. And the ranger's aim was deadly with the (Am) big iron on his hip. (F) Big iron on his (C) hip.
It was (C) over in a moment and the (Am) folks had gathered round. There be (C) fore them lay the body of the outlaw on the (Am) ground. Oh he (F) might have gone on living, but he (C) made one fatal slip. When he tried to match the ranger with the (Am) big iron on his hip. (F) Big iron on his (C) hip.
Big (Am) iron, big (C) iron. When he tried to match the ranger with the (Am) big iron on his hip. (F) Big iron on his (C) hip.
(Marty Robbins) (Artist Index) - (Main Index) - (Song Index) (This Song)
BIG ROCK CANDY MOUNTAIN – (Traditional) Harry McClintock (C0)
TIP: The song was written and performed, as it is here, in the key of (C) on the O Brother soundtrack but can also be done in the key of G using (G)(C) and (D).
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Intro: (C) (F) (C) (F) (C) (G) (C)
One (C) evening (F) as the (C) sun went (F) down and the (C) jungle (G) fire was
(C) burn (CaddG) ing. Down the (C) track came a (Am) hobo (C) hikin’, and-he-said-"Boys (G) I'm not (C) turn (CaddG) ing. I'm (F) headed-for-a (C) land that's (F) far (C) away, be (Am) sides the (C) crystal (G) fountains. So (C) come with (F) me we'll (C) go and (F) see the (C) Big Rock
(G) Candy (C) Mountains.
In the Big Rock (G) Candy (C) Mountains, there's a (F) land that's fair and (C) bright. Where the (F) handouts grow on (C) bushes, and you (F) sleep (C) out every (G) night. Where the (C) boxcars all are emp (CaddG) ty, and the (F) sun shines every (C) day, on the (F) birds and the (C) bees and the (F) cigarette (C) trees, the (F) lemonade (C) springs where the (F) bluebird (C) sings in the Big Rock (G) Candy Moun (C) tains.
In the Big Rock (G) Candy (C) Mountains, all the (F) cops have wooden (C) legs. And the (F) bulldogs all have (C) rubber teeth, and the (F) hens (C) lay soft-boiled (G) eggs. The (C) farmers' trees are full of (CaddG) fruit, and the (F) barns are full of (C) hay. Oh I'm (F) bound to (C) go where there (F) ain't no (C) snow where the (F) rain don't (C) fall the
(F) winds don't (C) blow in the Big Rock (G) Candy Moun (C) tains.
In the Big Rock (G) Candy (C) Mountains, you (F) never change your (C) socks. And the (F) little streams of (C) alcohol, come (F) trick (C) ling down the (G) rocks. The (C) brakemen have to tip their (CaddG) hats and the (F) railroad bulls are (C) blind. There's a (F) lake of (C) stew and of (F) whiskey (C) too, you can (F) paddle all a (C) round ‘em in a (F) big can (C) oe. In the Big Rock (G) Candy Moun (C) tains.
In the Big Rock (G) Candy Mountains, the (F) jails are made of (C) tin. And you can (F) walk right (C) out again, as (F) soon (C) as you are (G) in. There (C) ain't no short-handled (CaddG) shovels, no (F) axes saws nor (C) picks. I'm (F) goin’ to (C) stay where you (F) sleep all (C) day where they (F) hung the (C) jerk that in (F) vented (C) work. In the Big Rock
(G) Candy Moun (C) tains.
(whistle) (C) (F) (C), (F)(C) - (F)(C)
I'll (F) see you (C) all this (F) coming (C) fall in the Big Rock (G) Candy Moun (C) tains.
(Traditional)(Harry McClintock) (Artist Index) - (Main Index) - (Song Index) (This Song)
BIG WEEKEND - Tom Petty (C0)
TIP: The (D) to (Dsus) to (D) bits are easy. Just keep the (D) formation and add your pinky to the bottom string/3rd fret for the two notes that follow and then lift to return to (D).
TIP: Likewise, the (A) to (A6+) to (A6) to (A) series is also easy and fun to play. Keep the (A) formation throughout. Add your pinky (don't play a barre) to the bottom string/3rd fret to play the (A6+) and then just slide it back one fret for the (A6). Then remove the pinky to get back to the (A) before jumping to the (D). Easy cheesy.
TIP: Like it says, the bridge is just a repeat of the chords you play in one verse and a chorus, and in the same cadence. So play the melody without singing the words.
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Intro: Strum (D)
There's some friends (Dsus) that I (D) know, living (Dsus) in this (D) town and I've, come
(Dsus) far to (D) see them. Gonna (Dsus) track em' (D) down. They (A) live in a brick house, (A6+) painted (A6) white (A) and (D) brown.
Left a tip (Dsus) for the (D) maid and I, packed up (Dsus) my gui (D) tar dropped my key (Dsus) on the (D) counter, rent (Dsus) ed a (D) car gonna (A) hook up with em' later, and (A6+) go (A6) hit (A) the (D) bars.
I need a (G) big, (D) week, (A) end. (G) Kick, (D) up the (A) dust. (D) Yeah a (G) big, (D) week, (A) end. If you (A6+) don't (A6) run you (D) rust.
Well I may (Dsus) shake your (D) hand but I, won't (Dsus) know your (D) name. The joke (Dsus) in your (D) language don't come (Dsus) out the (D) same. There's (A) times when I'm down and, there's (A6+) noth (A6) ing (A) to (D) blame.
I need a (G) big, (D) week, (A) end. Kick, (D) up the (A) dust. (D) Yeah a (G) big, (D) week,
(A) end. If you (A6+) don't (A6) run you (D) rust.
BRIDGE: [Play the chords in one verse and the chorus]
I can work (Dsus) I can (D) travel, sleep (Dsus) any (D) where, cross (Dsus) every (D) border with nothing (Dsus) to de (D) clare. (A) You can look back babe, but it's (A6+) best (A6) not (A) to (D) stare.
I need a (G) big (D) week (A) end. (G) Kick (D) up the (A) dust. (D) Yeah a (G) big (D) week
(A) end. If you (A6+) don't (A6) run you (D) rust.
(D)(G)(D)-(A)-(D)
(Tom Petty) (Artist Index) - (Main Index) - (Song Index) (This Song)
BILLY BAYOU - (Miller) - Jim Reeves (C0 or C1)
TIP: "Bayou" is pronounced "Bye-yoh". This song can be made easier to play by ignoring the "add" chords and just playing the majors (i.e., play (G) instead of (Gadd) and (C) instead of (Cadd).
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INTRO: (Gadd)(C)(Gadd)(C)(Gadd)(Em)(D)(G) [chords from first line of the song]
(Gadd) Back about (C) eighteen (Gadd) hundred and (C) some, a (Gadd) Louisiana (Em) couple had a (D) red-headed (G) son. (Gadd) No name (C) suited him (Gadd) Jim Jack or (C) Joe, (Gadd) they just (Em) called him (D) Billy Bay (G) ou.
(C) Billy Billy (CaddG) Bay (C) ou (G) watch where you go. You're (D) walkin' on quick sand (G), walk (Gadd) slow. (C) Billy Billy (CaddG) Bay (C) ou (G) watch what you say. A (D) pretty girl'll get you one of (G) these days. (Gadd)(C)(Gadd)(C)(Gadd)(Em)(D)(G)
(Gadd) Billy was a (C) boy kinda (Gadd) big for his (C) size, (Gadd) red hair and (Em) freckles and (D) big blue (G) eyes. (Gadd) Thirteen (C) years from the (Gadd) day he was (C) born, (Gadd) Bill fought the (Em) battles of the (D) Little Big (G) Horn.
(C) Billy Billy (CaddG) Bay (C) ou (G) watch where you go. You're (D) walkin' on quick sand (G), walk (Gadd) slow. (C) Billy Billy (CaddG) Bay (C) ou (G) watch what you say. A (D) pretty girl'll get you one of (G) these days. (Gadd)(C)(Gadd)(C)(Gadd)(Em)(D)(G)
(Gadd) One sad (C) day Billy (Gadd) cried "Ho (C) Ho. (Gadd) I can whip the (Em) feathers of
(D) Gee-roni (G) mo." (Gadd) He smarted (C) off, the (Gadd) chief got (C) mad. (Gadd) This nearly (Em) ended our (D) Louisiana (G) lad.
(C) Billy Billy (CaddG) Bay (C) ou (G) watch where you go. You're (D) walkin' on quick sand (G), walk (Gadd) slow. (C) Billy Billy (CaddG) Bay (C) ou (G) watch what you say. A (D) pretty girl'll get you one of (G) these days. (Gadd)(C)(Gadd)(C)(Gadd)(Em)(D)(G)
(Gadd) One day in (C) Eighteen (Gadd) Seventy (C) Eight, a (Gadd) pretty girl (Em) walked through (D) Bill's front (G) gate. (Gadd) He didn't (C) know whether to (Gadd) stand there and (C) run. He (Gadd) wound up (Em) married cause he (D) did neither (G) one.
(C) Billy Billy (CaddG) Bay (C) ou (G) watch where you go. You're (D) walkin' on quick sand (G), walk (Gadd) slow. (C) Billy Billy (CaddG) Bay (C) ou (G) watch what you say. A (D) pretty girl'll get you one of (G) these days. A (D) pretty girl'll get you one of (G) these days.
(Jim Reeves) (Artist Index) - (Main Index) - (Song Index) (This Song)
BLACK AND WHITE (Arkin/Robinson) - Three Dog Night (C0)
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INTRO: (G)(C)(D)(G)
The (G) ink is black, the page is white. Together we (C) learn, to (D) read and write.
A (G) child is black, a child is white. The whole world (C) looks, up (D) on the (D7) sight. A beautiful (G) sight (C)(G). And (D) now a child, can (G) understand, that (D) this is the law, of (D7) all the land. (D) All the land (D7).
The (G) world is black, the world is white. It turns by (C) day, and (D) then by night. A
(G) child is black, a child is white. Together they (C) grow, to (D) see the (D7) light. To see the (G) light (C)(G). And (D) now at last, we (G) plainly see. We'll (D) have a dance, of
(D7) liberty. (D) Liberty (D7).
The (G) world is black, the world is white. It turns by (C) day, and (D) then by night. A
(G) child is black, a child is white. The whole world (C) looks, up (D) on the (D7) sight. A beautiful (G) sight (C)(G).
The (G) world is black, the world is white. It turns by (C) day, and (D) then by night. A
(G) child is black, a child is white. Together they (C) grow, to (D) see the (D7) light. To see the (G) light (C)(G).
The (G) world is black, the world is white. It turns by (C) day, and (D) then by night. A
(G) child is black, a child is white. The whole world (C) looks, up (D) on the (D7) sight. A beautiful (G) sight (C)(G).
The (G) world is black, the world is white. It turns by (C) day, and (D) then by night. A
(G) child is black, a child is white. Together they (C) grow, to (D) see the (D7) light. To see the (G) light (C)(G).
(Three Dog Night) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE BLIZZARD - (Howard) - Jim Reeves (C0)
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TIP: Originally done in key of C using (C)(C7)(F)and (Am), also nice.
INTRO: (Em)(D)(D7)(G)
There's a (G) blizzard, comin' (G7) on, how I'm (C) wishin', I was (G) home, for my pony's lame and he can't, hardly (D7) stand. Listen (G) to that northern (G7) sigh, if we (C) don't get home, we'll (G) die, but it's (D) only seven miles to Mary (Em) Ann's. It's (D) only seven miles to Mary
(G) Ann's.
You can bet we're, on her (G7) mind, for it's (C) nearly, supper (G) time, and I'll bet, there's hot biscuits, in the (D7) pan. Lord my (G) hands feel like they're (G7) froze, and there's a
(C) numbness, in my (G) toes, but it's (D) only five more miles to Mary (Em) Ann's. It's (D) only five more miles to Mary (G) Ann's.
That wind's howlin', and it (G7) seems, mighty (C) like a, woman's (G) screams, and we'd best be, movin' faster, if we (D7) can. Dan just (G) think a, bout that (G7) barn, with that (C) hay so soft and (G) warm, for it's (D) only three more miles to Mary (Em) Ann's. It's (D) only three more miles to Mary (G) Ann's.
Dan get up, your ornery (G7) cuss, or (C) you'll be the death of (G) us. I'm so weary, but I'll help you, if I (D7) can. All right (G) Dan, perhaps it's (G7) best, that we'll just (C) stop, a while and (G) rest, for it's (D) still a hundred yards to Mary (Em) Ann's. It's (D) still a hundred yards to Mary (G) Ann's.
Late that night, the storm was (G7) gone, and they (C) found him, there at (G) dawn, He had made it, but he couldn't, leave ol' (D7) Dan. Yes they (G) found him, there on the (G7) plains, his
(C) hands froze, to the (G) reins. He was (D) just a hundred yards from Mary (Em) Ann's. He was (D) just a hundred yards from Mary (G) Ann's.
(Jim Reeves) (Artist Index) - (Main Index) - (Song Index) (This Song)
BLOOD ON THE COAL - (Guest/McKean/Shearer) – The Folksmen (C0)
TIP: The intro looks messy but it's simple. The numbers indicate which string to pluck. The pinky is the only finger lifting off or on (hammer). So start by forming (Dm) and then pluck the string indicated. End by strumming (Dm).
TIP: To get the end of the chorus right, the line ends with note (2nd string with (Dm) formed). And this is key, the first refrain starts with (bottom string with (Dm) formed). The next one begins with (3rd string with (Dm formed). Just elevate your voice a little each time.
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INTRO: (Dm) 3,2,2 (lift) 1,1 (hammer) 1,1, (lift) 1, 3, 2, 2, 1,1, (hammer) 1,1, (lift) 1,3 (Dm)
It was (Dm) April 27th in the (C) year of '91. 'Bout a (Am) mile below the surface, in the (Dm) warm Kentucky sun. The late shift was ending and the (C) early shift was late, and the (Am) foreman ate his dinner from a (Dm) dirty, tin, plate.
Blood on the tracks, (C) blood in the mine. (Am) Brothers and sisters what a (Dm) terrible time. Old '97 went (C) in the wrong hole now in, (Am) mine number 60 there's (Dm) blood on the coal. (Dm) Blood on the coal, (Dm) blood on the co (C) al (Am)(Dm).
Well the slag pits was steamin' it was (C) seven twenty-five. Every (Am) miner worked the coalface every (Dm) one of them alive. Train came round the corner you could (C) hear the trestle groan. But the (Am) switcher wasn't listenin' so he (Dm) left the switch alone.
Blood on the tracks, (C) blood in the mine. (Am) Brothers and sisters what a (Dm) terrible time. Old '97 went (C) in the wrong hole now in, (Am) mine number 60, there's (Dm) blood on the coal. (Dm) Blood on the coal, (Dm) blood on the co (C) al (Am)(Dm).
Well the walls began to tremblin' and the (C) men began to yell. They could (Am) hear that lonesome whistle like an (Dm) echo out of . . . well. They dropped their picks and shovels as to (C) safety they did run, for to (Am) stay amongst the living in the (Dm) year of '91.
Blood on the tracks, (C) blood in the mine. (Am) Brothers and sisters what a (Dm) terrible time. Old '97 went (C) in the wrong hole now in, (Am) mine number 60, there's (Dm) blood on the coal. (Dm) Blood on the coal, (Dm) blood on the co (C) al (Am)(Dm).
Now an Irishman named Murphy said "I'll (C) stop that iron horse," As he (Am) stood athwart its passage, and it (Dm) crushed him dead of course. And I hope he hears the irony when (C) e'er this tale is told that the (Am) train that took his life was burnin' (Dm) good Kentucky coal. (HEY!)
Blood on the tracks, (C) blood in the mine. (Am) Brothers and sisters what a (Dm) terrible time. Old '97 got (C) in the wrong hole no in, (Am) mine number 60, there's (Dm) blood on the coal. (Dm) Blood on the coal, (Dm) blood on the co- [slow down!] (C) -oh- (Am) -oh- (Dm) -oal.
(The Folksmen) (Artist Index) - (Main Index) - (Song Index) (This Song)
BLOWIN’ IN THE WIND – (Dylan) - Bob Dylan/Peter, Paul and Mary (C0 or C1)
TIP: For (D4) simply play (D) and add the pinky to the bottom string, 3rd fret.
The (D)(D4)-(D) series here is a one-note (the D4) trill.
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INTRO: (G)(C)(D)(G); (C)(D)(G)
(G) How many (C) roads must a (G) man walk down, before you (C) call him a (D) man (D4)-(D)? And (G) how many (C) seas must a (G) white dove sail, before she (C) sleeps in the (D) sand (D4)-(D)? And (G) how many (C) times must the (G) cannon balls fly, before they're (C) forever (D) banned (D4)-(D)?
The (C) answer, my (D) friend, is (G) blowin' in the (Em) wind, the (C) answer is (D) blowin' in the (G) wind.
(G) How many (C) times must a (G) man look up, before he can (C) see the (D) sky (D4)-(D)? And (G) how many (C) ears must (G) one man have, before he can (C) hear people (D) cry (D4)-(D)? And (G) how many (C) deaths will it (G) take till he knows, that too many (C) people have (D) died (D4)-(D)?
The (C) answer, my (D) friend, is (G) blowin' in the (Em) wind, the (C) answer is (D) blowin' in the (G) wind.
How many (C) years can a (G) mountain exist, before it is (C) washed to the (D) sea (D4)-(D)? And (G) how many (C) years can some (G) people exist, before they're a (C) llowed to be (D) free (D4)-(D)? And (G) how many (C) times can a (G) man turn his head, pretending he (C) just doesn't (D) see (D4)-(D)?
The (C) answer, my (D) friend, is (G) blowin' in the (Em) wind, the (C) answer is (D) blowin' in the (G) wind.
Oh the (C) answer, my (D) friend, is (G) blowin' in the (Em) wind, the (C) answer is (D) blowin' in the (C) wi (G) nd.
(Bob Dylan)(Peter, Paul and Mary) (Artist Index) - (Main Index) - (Song Index) (This Song)
BLUE BAYOU - (Orbison/Melson) - Roy Orbison/Linda Ronstadt (C0)
TIP: There are a few different versions out there. This is Orbison's original lyrics.
TIP: For the intro, hold (A) and pluck the open 5th string and then strum (A). Do this a few times.
TIP: The verses begin with (A) followed by the (C#m). So form (A) like you would a (D7) with middle and ring finger forward and index finger behind the two, all on the second fret. Now you can then just slide the index finger back one fret and your at the (C#m). Same thing for the next line of the verse.
TIP: In the Roy Orbison version, all the verses end with little lick that goes (A)-(A)-(A/F#)-(A). One strum each in rapid succession. It's easy to play. Just hold (A) and wrap your thumb over the top string to cover the base note . Linda doesn't do this.
TIP: To play the (A+) just keep the bottom two fingers from the preceding (A) and drop the top finger down to the bottom string/1st fret - kind of like an (Am) but down one string/set - and put the pinky up top at the 4th string/3rd fret.
TIP: Don't sweat the (B). It's only played once at the end and the (E) precedes it so you're already in finger position to move up the fret and grab it.
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INTRO: Strum (A), Strum (A), Strum (A), Strum (A)
(A) I feel so bad I got a (C#m) worried mind. (E) I'm so (E7) lonesome, all the time. (E) Since I left my (E7) baby behind, on (A) Blue Bayou. (E7) (A) Saving nickels, (C#m) saving dimes. (E) Working (E7) til, the sun don't shine. (E) Looking forward to (E7) happier times on (A) Blue Bayou. (A)-(A)-(A/F#)-(A)
I'm going back someday, come what may to (E7) Blue Bayou. Where you sleep all day and the catfish play on (A) Blue Bayou. All those fishing boats, with their (A+) sails afloat, if (D) I could only (Dm) see. That fam (A) iliar sunrise, through (E) sleepy (E7) eyes, how (A) happy I'd be.
(A)-(A)-(A/F#)-(A)
Oh to see, my (C#m) baby again. (E) And to be, with (E7) some of my friends. (E) Maybe I'd, be (E7) happy again, on (A) Blue Bayou. (A)-(A)-(A/F#)-(A)
I'm going back someday, gonna stay, on (E7) Blue Bayou. Where the folks are fine, and the world is mine on (A) Blue Bayou. With that girl of mine, (A+) by my side. The (D) silver moon
and the (Dm) evening tide. Oh (A) some sweet day, gonna (E) take a (E7) way, this (A) hurting inside. (A)-(A)-(A/F#)-(A)
I'll (E7) never be blue, my (E) dreams come true, on (B) Blue, (E7) Bay, (A) you.
(A)-(A)-(A/F#)-(A)
(Roy Orbison) (Linda Ronstadt) (Artist Index) - (Main Index) - (Song Index) (This Song)
BLUE EYES CRYING IN THE RAIN – (Rose) – Willie Nelson (C0)
TIP: This song really only has 3 chords - (D), (A), and (G) - and everything else can be ignored without consequence. But the variations are very easy to play and are just finger additions:
The (Dsus) is just (D) with the pinky added (and removed) above the ring finger while holding position.
Same thing with the (A) and (A6) with the pinky added (and removed) below the ring finger on the bottom string/2nd fret.
For the (G4), hold the bottom string and swing your index finger over to the 2nd string/1st fret note. The finger can come off the top string. And if that is too complicated you can just play a (C). Piece of cake.
TIP: For the intro try not to strike the bottom string. Start with two upstrokes beginning with the 2nd string, then two downstrokes with the 5th-2nd. Repeat
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INTRO: (D)
(D) In, (Dsus) the (D) twilight glow (Dsus) I (D) see her. (A) Blue, (A6) eyes (A) crying, in the (D) rain (A). (D) When, (Dsus) we (D) kissed goodbye (Dsus) and (D) parted, I (A) knew, (A6) we'd (A) never, meet a (D) gain.
(G) Love, (G4) is (G) like, a dy (G4) ing (G) ember, and (D) on - ly memories re (A) main (A7). And (D) through, (Dsus) the (D) ages, I'll (Dsus) re (D) member, (A) Blue, (A6) eyes (A) crying, in the (D) rain.
Repeat chords from first verse: (D)(Dsus)(D)(Dsus)(D), (A)(A6)(A)(D)(A); (D)(Dsus)(D)(Dsus)(D), (A)(A6)(A)(D);
(G) Some (G4) day, (G) when we meet (G4) up (G) yonder, (D) we'll, stroll hand in hand a (A) gain (A7). (D) In, (Dsus) a (D) land, that knows (Dsus) no (D) parting, (A) Blue (A6) eyes (A) crying, in the (D) rain.
(Willie Nelson) (Artist Index) - (Main Index) - (Song Index) (This Song)
BLUE MOON - (Rodgers/Hart) - The Mavericks (C0)
TIP: This is not the Marvel's version, it's the one from the movie Apollo 13. Remember, nice and slow. To keep things simple you can just play (C), (Am), (F), and (G) and the song will sound just fine, but Raul plays them as indicated below.
TIP: In order to cover the bass note (top string, 1st fret) while playing the (F) you have to barre the 1st fret which many find difficult. Or wrap your thumb over the top string at the 1st fret, easier but still difficult. If you can do either of these, great, otherwise just play (F) and remember not to strike the top string.
TIP: For the (Gadd) chord in the second line of the verse (before "dream" and "saying"), you're coming off an (F) and the correct chord is actually the (G7/D) -- played like a regular (G7) with pinky added to 2nd string/3rd fret -- which is an easy transition if you can smoothly place the pinky. I find it awkward and the (Gadd) easier so that's what I put in the lyrics. Either one (or a G7) can be played.
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(Acapella/No Chords): Blue moon. Oooooh-ooh-ooh. Ooooooh-ooh-ooh-oooh.
Without a love of my (C) own. (Am)(F)(G)
Blue (CaddG) moon (Am), (F) you saw me (G) standing a (C) lone (Am)(F). Without a (Gadd) dream in my (C) heart (Am)(F). Without a love of my (C) own. (Am)(F)(G)
Blue (CaddG) moon (Am), (F) you knew just (G) what I was (C) there for (Am)(F). You heard me (Gadd) saying a (C) prayer for (Am)(F). Someone I really could (C) care for. (Am)(F)(G)
(C) Blue . . . (Am)(F) . . . (G) oooooh - (C) -ooh-ooh (Am)(F). Ooh- (G) -oooh (C) -oooh (Am)(F). Without a love of my (C) own. (Am) (F)(G)
Blue (CaddG) moon (Am), (F) you saw me (G) standing a (C) lone (Am)(F)? Without a (Gadd) dream in my (C) heart (Am)(F). Without a love of my (C) own. (Am)(F)(G)
(C) Oooooooh . . . (Am)(F) . . . (G) oooooh - (C) -ooh-ooh (Am)(F). Ooh- (G) -oooh (C) -oooh (Am)(F). Without a love of my (C) own. (Am) (F)(G)
Blue (CaddG) moon (Am), (F) Ooh- (G) -oooh (C) -oooh (Am)(F). Ooh- (G) -oooh (C) -oooh (Am)(F). Without a love of my (C) own. (Am) (F)(G)
(C)(Am)(F)(G) repeat and continue through spoken lines: La luna. Esta, en el cielo. Con todas las estrellas. Riendo, my remenante?
(C) Blue . . . (Am)(F) . . . (G) oooooh - (C) -ooh-ooh (Am)(F). Ooh- (G) -oooh (C) -oooh (Am)(F). Without a love of my (C) own. (Am) (F)(G)
(C)(Am)(F)(G), (C)(Am)(F)(G) . . .
(The Mavericks) (Artist Index) - (Main Index) - (Song Index) (This Song)
BLUE MOON NIGHTS – John Fogerty (C0)
TIP: The intro notes are: = open 3rd string; = 4th string/4th fret; = 4th string/3rd fret
TIP: Can also be played in (G) using (G)(C)(D)and (D7).
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Intro: (D)
(D) Help me fellas I'm (G) feelin' kind a (D) weak. The (G) way I'm livin' (D) just, ain't, (A) right. I (D) need somebody to (G) watch over (D) me. (G) All my (A7) blue moon (D) nights.
I want a girl to (G) take me by the (D) hand. (G) Follow me (D) right down, the, (A) line.
(D) Hold me gently (G) while we (D) dance. (G) All my (A7) blue moon (D) nights.
(G) Heaven only knows I don't (D) want to be, (A7) just a fool, (D) passin' through. (G) Won't you send an angel to (D) walk with me, (G) all my (A7) blue moon (D) nights?
(D)(G)(D); (G)(D)(A); (D)(G)(D); (G)(A7)(D)
Help me fellas it's (G) gettin' kind a (D) late. (G) Runnin' out of (D) pre, cious, (A) time. (D) She might pass me (G) while I (D) waste, (G) all my (A7) blue moon (D) nights.
(G) Heaven only knows I don't (D) want to be, (A7) just a fool, (D) passin' through. (G) Won't you send an angel to (D) walk with me, (G) all my (A7) blue moon (D) nights?
(G) All my (A7) blue moon (D) nights. (D) All my (A7) blue moon (D) nights.
(John Fogerty) (Artist Index) - (Main Index) - (Song Index) (This Song)
BLUE MOON OF KENTUCKY – (Monroe) – Roy Acuff/Patsy Cline (C0 or C1)
TIP: Can also be played with (A) (D) and (E)
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INTRO: (D)(A)(D)
I said blue (D) moon, of Kentucky keep on (G) a-shinin'. Shine (D) on the one that's gone and left me (A) blue. I said blue (D) moon of Kentucky keep on (G) a-shinin'. Shine (D) on the one that's (A) gone, and left me (D) blue.
Well it was (G) on one moonlit night, (D) stars shinin' bright. (G) Whispered on high, your (D) love said good (A) bye.
I said blue (D) moon, of Kentucky keep on (G) a-shinin'. Shine (D) on the one that's gone and left me (A) blue. I said blue (D) moon of Kentucky keep on (G) a-shinin'. Shine (D) on the one that's (A) gone, and left me (D) blue.
Well it was (G) on one moonlit night, (D) stars shinin' bright. (G) Whispered on high, your (D) love said good (A) bye.
Blue (D) moon of Kentucky keep on (G) a-shinin'. Shine (D) on the one that's gone and left me (A) blue. I said blue (D) moon of Kentucky keep on (G) a-shinin'. Shine (D) on the one that's (A) gone and left me (D) blue.
Shine (D) on the one that's (A) gone and left me (D) blue. (D)
(Acuff) (Cline) (Artist Index) - (Main Index) - (Song Index) (This Song)
BLUE SUEDE SHOES – (Perkins) – Carl Perkins/Elvis Presley/Buddy Holly (C3)
TIP: The A in brackets |A| means strum once at that point.
TIP: For a zingy rendition, play the (A) as a barre and then extend your pinky over to the bottom string two frets over from the barre to grab the treble . Then you can hammer/on/off the pinky while strumming. In the bridgee (only) do the same for the (D).
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Well it's |A)| one for the money. |A| Two for the show. |A| Three to get ready now (A7) go cat go but (D) don't you, step on my blue suede (A) shoes. Well you can (E) do anything but lay (D) off of my blue suede (A) shoes.
Well you can |A| knock me down, |A| step in my face. |A| Slander my name all |A| over the place. |A| Do anything that you |A| want to do, but uh-uh Honey lay (A7) off of my shoes and (D) don't you, step on my blue suede (A) shoes. Well you can (E) do anything but lay (D) off of my blue suede (A) shoes.
(A)...(A7)(D)(A)(E)(D)(A)
Well you can |A| burn my house. |A| Steal my car. |A| Drink my liquor from an |A| old fruit jar. |A| Do anything that you |A| want to do. But uh-uh Honey lay (A7) off of my shoes and (D) don't you, step on my blue suede (A) shoes. Well you can (E) do anything but lay (D) off of my blue suede (A) shoes.
(A)...(A7)(D)(A)(E)(D)(A)
Well it's |A)| one for the money. |A| Two for the show. |A| Three to get ready now (A7) go cat go but (D) don't you, step on my blue suede (A) shoes. Well you can (E) do anything but lay (D) off of my blue suede (A) shoes.
Well it's blue blue, blue suede shoes. Blue blue, blue suede shoes. Yeah (D) blue blue, blue suede shoes. (A) Baby blue blue, blue suede shoes. Well you can (E) do anything but lay (D) off of my blue suede (A) shoes. (A)
(Carl Perkins) (Elvis Presley) (Artist Index) - (Main Index) - (Song Index) (This Song)
BOATS TO BUILD – (Clark) - Jimmy Buffett & Alan Jackson (C1)
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INTRO: (C)(Am); (C)(Am); (C)(Am); (C)(Am);
It's (C) time, for a (F) change. I'm (C) tired, of that (F) same ol same. The (G) same ol words, the (Am) same ol lines, the (Bb) same ol tricks and the (G) same ol rhymes.
(C) Days, precious (F) days. (C) Roll, in and (F) out like waves. I got (G) boards to bend, I got (Am) planks to nail, I got (Bb) charts to make, I got (G) seas to sail.
I'm gonna (F) build me a boat, with (G) these two hands she'll be a, (C) fair curve from a (F) noble plan. (Dm7) Let the chips fall, (G) where they will, cause I've, got (C) boats to build.
(C) Sails, are just like (F) wings. The (C) wind, can (F) make 'em sing. (G) Songs of life, (Am) songs of hope, (Bb) songs to keep your (G) dreams afloat.
I'm gonna (F) build me a boat, with (G) these two hands. She'll be a, (C) fair curve from a (F) noble plan. (Dm7) Let the chips fall, (G) where they will, cause I've, got (C) boats to build.
(C)(Am), (C)(Am)
(C) Shores, distant (F) shores. (C) There's, where I'm (F) headed for. I (G) got the stars, to (Am) guide my way, (Bb) sail into the (G) light of day.
I'm gonna (F) build me a boat, with (G) these two hands. She'll be a, (C) fair curve from a (F) noble plan. (Dm7) Let the chips fall (G) where they will, cause I'm . . . gonna (F) build me a boat, with (G) these two hands. She'll be a, (C) fair curve from a (F) noble plan. (Dm7) Let the chips fall, (G) where they will, cause I've, got (C) boats to build.
(G) I've, got (C) boats to build. (G) I've, got (C) boats to build.
(Alan Jackson) (Jimmy Buffett) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE BOXER – (Simon) - Simon and Garfunkel (C0)
TIP: Important! For the intro you must play the (C) with the top base note covered as shown in the first (C) diagram. Strum first from the 5th string down and then come up and include the top string. Repeat. Play this cadence through to the first (Am) in the opening verse. Sweet!
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INTRO: (C)
(C) I am just a poor boy though my story's seldom (Am) told I have (G) squandered my resistance, for a (F) pocket full of (G7) mumble such are (C) promises. All lies and (Am) jest, still a
(G) man hears what he (F) wants to hear and disregards the (C) rest. (G) (C) When I left my home and my family I was no more than a (Am) boy in the (G) company of strangers, in the (Dm7) quiet of a railway (G7) station running (C) scared. Laying (Am) low seeking (G) out the poorer (F) quarters where the ragged people (C) go, looking (G) for the places (F) only (Em) they (G) would (C) know.
Lie la (Am) lie -- Lie la (G) lie Lie la lie Lie -- la lie (Am) Lie -- la lie (G) lie lie lie (F) lie -- lie lie lie lie lie (C) lie
Asking only workman's wages I come looking for a (Am) job but I get no (G) offers. Just a
(F) come-on from the (G7) whores on 7th Aven (C) ue. I do de (Am) clare, there were (G) times when I was so (F) lonesome I took some comfort (C) there. Ooh lah (G) lah lah lah lah (C) lah.
(C)(CaddG)(C)(Am)(G); (Gadd), (C)(Am),(C)(Am)(G),(F)(F)(C)(G)(F)(C)
Lie la (Am) lie -- Lie la (G) lie Lie la lie Lie -- la lie (Am) Lie -- la lie (G) lie lie lie (F) lie -- lie lie lie lie lie (C) lie
Then I'm laying out my winter clothes and wishing I was (Am) gone, going (G) home. Where the
(F) New York city (G7) winters are not (C) bleeding me. Leading (Em) me (Am), going (G) home. In the (C) clearing stands a boxer and a fighter by his (Am) trade and he (G) carries a reminderance, of (G7) ev’ry glove that laid him down or (C) cut him till he cried out, in his anger and his (Am) shame, I am lea (G) veing I am lea (F) ving but the (G7) fighter still re (C) mains (G)(F)(C).
Lie la (Am) lie -- Lie la (G) lie Lie la lie Lie -- la lie (Am) Lie -- la lie (G) lie lie lie (F) lie -- lie lie lie (G) lie (C) lie.
Lie la (Am) lie -- Lie la (G) lie Lie la lie Lie -- la lie (Am) Lie -- la lie (G) lie lie lie (F) lie -- lie lie lie lie (C) lie.
(Simon and Garfunkel) (Artist Index) - (Main Index) - (Song Index) (This Song)
BRIDGE OVER TROUBLED WATER - (Simon) – Simon and Garfunkel (C1)
TIP: Not the easiest to play. For (Cadd9) just play (C) and add pinky to second string/3rd fret. To play (Cmaj7sus4) simply play (C) and roll your index finger over to the left to cover the bottom two strings of the first fret. For (Dsus2) just play (D) and then lift the middle finger.
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Intro: (G)(G)(C)(D)(Dsus2)(Gadd)(G)(Gadd)(C)(D)(Em), (C) (G) (C)
(C) When you're (G) weary, (C) feel (Cadd9) in’ (G) small. (C) When (Cmaj7sus4) tears (C) are (Gadd) in, your (C) eyes, I will (G) dry them all- (CaddG) -ll (G). I'm (D) on (Em) your (D) side, (D7) oh, when, times get (G) rough. And (Em) friends just (C) can't, (Am) be, (D) found.
(G) Like a (C) bridge (D) o (Dsus2) ver troub (Gadd) led (G) wat (Gadd) er, (C) I will (D) lay me (Em) down. (G) Like a (C) bridge (D) o (Dsus2) ver troub (Gadd) led (G) wat (Gadd) er, (C) I will (D) lay me (G) down. (C) (G) (C)
When you're (G) down and out. (C) When you're on (Cadd9) the (G) street. (C) When
(Cmaj7sus4) eve (C) ning (Gadd) falls, so (C) hard, I will (G) comfort you- (CaddG) -ou (G). I'll (D) take (Em) your (D) part, (D7) oh, when darkness (G) comes. And (Em) pain is (C) all, (Am) a, (D) round.
(G) Like a (C) bridge (D) o (Dsus2) ver troub (Gadd) led (G) wat (Gadd) er, (C) I will (D) lay me (Em) down. (G) Like a (C) bridge (D) o (Dsus2) ver troub (G) led (C) water, I will (D) lay me (G) down. (G)(Em)(C)(C)(C)(G), (G)(C)(G), (G)(C)
Sail on (G) Silver Girl, (C) sail (Cadd9) on (G) by. (C) Your (Cmaj7sus4) time has (Gadd) come, to (C) shine. All your (G) dreams are on their (C) way (G). See, (D) how, (Em) they, (D) shine. (D7) Oh, if you (G) need a friend, I'm sailing (C) right, (Am) be, (D) hind.
(G) Like a (C) bridge (D) o (Dsus2) ver troub (Gadd) led (C) water, I will (D) ease your (Em) mind. Like a (C) bridge (G) o (D) ver (G) troubled (C) water (Am), I will (Em) ease (Am) your (Em) mind. (G) (Em) (C) (Am) (F) (Gadd)
(Simon and Garfunkel) (Artist Index) - (Main Index) - (Song Index) (This Song)
BUILD ME UP BUTTERCUP - (D'Abo/Tony Macaulay) - The Foundations (C1)
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INTRO: (C)(C7)(F)(G), (C)(E)(E7)(F)(G)
Why do you (C) build me up, (E) Buttercup (E7) baby just to (F) let me down, and (Dm) mess me
a (G7) round and then (C) worst of all, you (E) never call (E7) baby when you (F) say you will. But (Dm) I love you (G7) still. I need (C) you, more than (C7) anyone darlin'. You (F) know that I have from the (Fm) start. So (C) build me up, (G) Buttercup, don't break my (F) heart (C).
"I'll be over at (G) ten" you told me (Bb) time and a (F) gain but you're (C) late. I wait
a (F) round and then. I (C) went to the (G) door I can't (Bb) take any (F) more it's not
(C) you. You let me (F) down again.
(G7) Hey hey (Dm) hey. Baby baby, try to find. (G7) Hey hey (Em) hey. A little time, and
(A7) I'll make you happy. (Dm) I'll be home, I'll be be (D7) side the phone waiting for (G) you.
Ooo-oo-ooo, ooo-oo-ooo.
Why do you (C) build me up, (E) Buttercup (E7) baby just to (F) let me down, and (Dm) mess me
a (G7) round and then (C) worst of all, you (E) never call (E7) baby when you (F) say you will. But (Dm) I love you (G7) still. I need (C) you, more than (C7) anyone darlin'. You (F) know that I have from the (Fm) start. So (C) build me up, (G) Buttercup, don't break my (F) heart (C).
You were my (G) toy but I (Bb) could be the (F) boy you a (C) dore. If you'd just (F) let me know. Al (C) though you're un (G) true I'm a (Bb) ttracted to (F) you all the (C) more. Why do I
(F) need you so.
(G7) Hey hey (Dm) hey. Baby baby, try to find. (G7) Hey hey (Em) hey. A little time, and
(A7) I'll make you happy. (Dm) I'll be home, I'll be be (D7) side the phone waiting for (G) you.
Ooo-oo-ooo, ooo-oo-ooo.
Why do you (C) build me up, (E) Buttercup (E7) baby just to (F) let me down, and (Dm) mess me
a (G7) round and then (C) worst of all, you (E) never call (E7) baby when you (F) say you will. But (Dm) I love you (G7) still. I need (C) you, more than (C7) anyone darlin'. You (F) know that I have from the (Fm) start. So (C) build me up, (G) Buttercup, don't break my (F) heart (C).
I-I-I need you-oo-oo more than (C7) anyone baby. You (F) know that I have from the (Fm) start.
So (C) build me up, (G) Buttercup, don't break my (F) heart (C).
(The Foundations) (Artist Index) - (Main Index) - (Song Index) (This Song)
BUSY BEING FABULOUS - (Henley/Frey) - The Eagles (C2)
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Intro: (C)(Am)(F)(G); (C)(Am)(F)(G)
(C) I came home, to an (Am) empty house, (C) and I found your little (Am) note: (F) "Don't wait up, for (G) me tonight." (F) And that was all she (G) wrote. Do you (C) think I don't know, that you're (Am) out on the town, (C) with all of your high-rollin' (Am) friends? (F) What do you do, when you (G) come up empty? (F) Where do you go, when the (G) party ends?
And you were (C) just too busy being (Am) fabulous. (F) Too busy, to (G) think about us. (C) I don't know what you were (Am) dreaming of. (F) Some, how, you for (G) got about love. And you were (C) just too busy being (Am) fabu (F) lous, (G) uh (C) huh.
A little time, in the (Am) country, (C) a day or two to slow (Am) down. (F) A bottle of wine, and a (G) walk in the moonlight. (F) Maybe some foolin' a (G) round. But (C) you think time, is just a (Am) magazine, (C) and money's just a (Am) thrill. (F) I've waited so long for you to (G) change your way of livin'. (F) Now I realize that, (G) you never will.
'Cause you were (C) just too busy being (Am) fabulous. (F) Too busy, to (G) think about us.
(C) Lookin' for something you'll (Am) never find. (F) You'll never know what you (G) left behind
'cause you were (C) just too busy being (Am) fabu (F) lous, (G) uh (C) huh.
(Cmaj7) You tell a (C) joke and (Am) every (A7) body's (C) laughin'. (Cmaj7) That's (C) something you (Am) know (A7) how to (C) do. You've always been, the (Am) life of the party, (D7) but now my baby, the (G) joke is on you.
'Cause you were (C) just too busy being (Am) fabulous. (F) Too busy, to (G) think about us.
(C) Running after something that (Am) never comes. (F) What in the world are you (G) runnin' from?
And you were (C) just too busy being (Am) fabulous. (F) Too busy, to (G) think about us. (C) To drink the wine from your (Am) winner's cup. (F) To notice, the children were (G) growin' up. And you were (C) just too busy being (Am) fabulous. (F) Too busy, (G) too busy.
(C)(Am)(F)(G); (C)(Am)(F)(G); (C)(Am)(F)(G); (C)
(The Eagles) (Artist Index) - (Main Index) - (Song Index) (This Song)
BYE BYE LOVE – (Bryant/Bryant) – The Everly Brothers (C0)
TIP: One downstroke per chord in the opening.
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INTRO: (A)(A)(A)(C)(D)(A); (muted strum) (A)(A)(A)(C)(D)(A) (muted strum)
(D) Bye bye (A) love. (D) Bye bye (A) happiness. (D) Hello (A) loneliness. I think I'm a
(E) gonna cry (A) -y. (D) Bye bye (A) love. (D) Bye bye (A) sweet caress. (D) Hello (A) emptiness. I feel like (E) I could di- (A) ie. Bye bye my (E) love goodby- (A) eye.
There goes my (E) baby, with a someone (A) new. She sure looks (E) happy, I sure am (A) blue. She was my (D) baby, til he stepped (E) in. Goodbye to (E7) romance, that might have (A) been.
(D) Bye bye (A) love. (D) Bye bye (A) happiness. (D) Hello (A) loneliness. I think I'm a
(E) gonna cry (A) -y. (D) Bye bye (A) love. (D) Bye bye (A) sweet caress. (D) Hello (A) emptiness. I feel like (E) I could di- (A) ie. Bye bye my (E) love goodby- (A) eye.
I'm a through with (E) romance. I'm a through with (A) love. I'm through with a (E) countin', the stars a (A) bove. And here's the (D) reason, that I'm so (E) free: My lovin' (E7) baby, is a through with (A) me.
(D) Bye bye (A) love. (D) Bye bye (A) happiness. (D) Hello (A) loneliness. I think I'm a
(E) gonna cry (A) -y. (D) Bye bye (A) love. (D) Bye bye (A) sweet caress. (D) Hello (A) emptiness. I feel like (E) I could di- (A) ie. Bye bye my (E) love, goodby- (A) eye.
Bye bye my (E) love, goodby- (A) ye. Bye bye my (E) love, goodby- (A) ye.
(The Everly Brothers) (Artist Index) - (Main Index) - (Song Index) (This Song)
CALIFORNIA BLUE - (Lynne/Orbison/Petty) - Roy Orbison (C0)
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Working all (D) day, and the sun don't (G) shine. Trying to get (A) by, and I'm just killin' (D) time. I feel the rain, fall the whole night (G) through. Far away from (Em) you (A),
California (D) Blue.
California (G) Blue. Dreaming all a (D) lone. Nothing else to (A7) do. California (D) Blue.
Everyday I (G) pray, I'll be on my (D) way. Saving love for (A7) you. California (D) Blue.
(A7) One Sunny Day, I'll get (D) back again. (G) Somehow, some (A) way, but I (D) don't know when.
California (A) Blue. California (D) Blue.
(NC) Living my (D) life, with you on my (G) mind. Thinking of (A) things, that I left far be (D) hind. It's been so (D) long, doing all I can (G) do, to get back to (Em) you (A). California (D) Blue.
California (G) Blue. Dreaming all a (D) lone. Nothing else to (A7) do. California (D) Blue.
Everyday I (G) pray, I'll be on my (D) way. Saving love for (A7) you. California (D) Blue.
(A7) One Sunny Day, I'll get (D) back again. (G) Somehow, some (A) way, but I (D) don't know when.
California (A) Blue. California (D) Blue.
Still missing (Em) you (A), California (D) Blue. Still missing (Em) you (A), California (D) Blue.
Still missing (Em) you (A), California (D) Blue.
(Roy Orbison) (Artist Index) - (Main Index) - (Song Index) (This Song)
CAN YOU FEEL THE LOVE TONIGHT – (John/Rice) – Elton John (C1)
TIP: A fairly easy song to try out picking the notes along with the chords.
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INTRO: (C)(G)(Am); (F)(C)(Gadd)
(F) There's a calm surr (C) ender, (F) to the rush of (C) day. (F) When the heat of a (C) rolling wind, (Dm) can’t be turned a (G) way. (F) An enchanted (C) moment, (F) and it sees me (C) through. (F) It's enough for this (C) restless (Am) warrior, (Dm) just to be with (G) you.
And (C) can, you (G) feel, the (Am) love, to (F) night? (C) It is (F) where, (C) we (G) are.
(F) It's enough, for this (C) wide, eyed, (Am) wanderer, (Dm) that, we, got, this (G) far. And
(C) can, you (G) feel, the (Am) love, to (F) night? (C) How it's (F) laid, to (G) rest. (F) It's enough, to make (C) kings, and, (Am) vagabonds, be (Dm) lieve (Am) the (G) very (C) best.
(F) There's a time for (C) everyone, (F) if they only (C) learn. (F) That the twisting kal (C) eidoscope, (Dm) moves us all in (G) turn. (F) There's a rhyme and (C) reason, (F) to the wild out (C) doors. (F) When the heart of this (C) star-crossed (Am) voyager, (Dm) beats in time with (G) yours.
And (C) can, you (G) feel, the (Am) love, to (F) night? (C) It is (F) where, (C) we (G) are.
(F) It's enough, for this (C) wide, eyed, (Am) wanderer, (Dm) that, we, got, this (G) far. And
(C) can, you (G) feel, the (Am) love, to (F) night? (C) How it's (F) laid, to (G) rest. (F) It's enough, to make (C) kings, and, (Am) vagabonds, be (Dm) lieve (Am) the (G) very (C) best.
(F) It's enough, to make (C) kings, and, (Am) vagabonds, be (Dm) lieve (Am) the (G) very (C) best.
(Elton John) (Artist Index) - (Main Index) - (Song Index) (This Song)
CANDLE IN THE WIND – (John/Taupin) - Elton John (C3)
TIP: The intro is single strokes, 1-2-3, 1-2 and quickly (D)(G).
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INTRO: (C)(C)(C)(G)(G)(D)-(G)
(G) Goodbye Norma Jean, though I never, (C) knew you at all you had the grace to (G) hold yourself, while those around you (C) crawled. They crawled out of the (G) woodwork, and they whispered, (C) into your brain they set you on the (G) treadmill, and they made you change your (C) name.
And it (D) seems to me, you (D7) lived your life, like a (G) candle in the (C) wind. Never
(G) knowing who to cling to, when the (D) rain set in. And I (C) would have liked to have known you, but I was (Em) just a kid. Your candle burned out (D) long before, your (C) legend ever
(Em) did.
(G) Loneliness was tough, the toughest (C) role, you ever played Hollywood created a (G) superstar. And pain was the price you (C) paid. Even when you (G) died, oh the press (C) still hounded you, all the papers (G) had to say, was that Marilyn, was found (C) in the nude.
And it (D) seems to me, you (D7) lived your life, like a (G) candle in the (C) wind. Never
(G) knowing who to cling to, when the (D) rain set in. And I (C) would have liked to have known you, but I was (Em) just a kid. Your candle burned out (D) long before, your (C) legend ever
(Em) did.
(G) Goodbye Norma Jean, though I never, (C) knew you at all you had the grace to (G) hold yourself, while those around you (C) crawled. (G) Goodbye Norma Jean, from the young man in the (C) 22nd row, who sees you as something more than (G) sexual. More than just our, Marilyn Mon (C) roe.
And it (D) seems to me, you (D7) lived your life, like a (G) candle in the (C) wind. Never
(G) knowing who to cling to, when the (D) rain set in. And I (C) would have liked to have known you, but I was (Em) just a kid. Your candle burned out (D) long before, your (C) legend ever
(Em) did. Your candle burned out (D) long before, your (C) legend ever (Em) did. (G)
(Elton John) (Artist Index) - (Main Index) - (Song Index) (This Song)
CAN'T GET IT OUT OF MY HEAD (Lynne) – Electric Light Orchestra (C2)
TIP: The bridge and outro looks messy but it's easy. It starts with a sing-song alternating on-off of (C) and (CaddG) meaning just add your pinky to the bottom string. One strum each, count 16 strokes. And one strum each for the (Am)(G)and (F)s, etc. There's no pause so at the end of the last (G) move immediately to the next set.
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INTRO: (C)(G)(F)(G); (C)(G)(F)(G)
(C) Midnight, on the (Cmaj7) wa (Am) ter. I (C) saw, the ocean's (CaddD) daugh (Am) ter.
(F) Walking on a wave she (Dm) came. (F) Staring as she called my (Am) na - (G) ame.
And I (C) can't get it (G) out of my (F) head (G). No I (C) can't get it (G) out of my (F) head (G). Now my (C) old world is (G) gone for (F) dead (G). Cuz I (C) can't get it (G) out of my (F) head (G) (C).
(Am) Break (C) down, on the (Cmaj7) shore (Am) line. Can't (C) move, it's an (CaddD) ebb
(Am) tide. (F) Morning don't get here to (Dm) night, (F) searching for her silver
(Am) li - (G) ight.
And I (C) can't get it (G) out of my (F) head (G). No I (C) can't get it (G) out of my (F) head (G). Now my (C) old world is (G) gone for (F) dead (G). Cuz I (C) can't get it (G) out of my (F) head (G) now now.
(C)-(CaddG) x 8; (Am)(Am)(Am)(Am), (G)(G)(G)(G) go
(C)-(CaddG) x 8; (Am)(Am)(Am)(Am), (G)(G)(G)(G) go
(C)-(CaddG) x 8; (Am)(Am)(Am)(Am), (G)(G)(G)(G) go
(C)-(CaddG) x 8; (Am)(Am)(Am)(Am), (G)(G)(G)(G), (F)(F)(F)(F), (Gadd)(Gadd)(Gadd)(Gadd), (C)
(Am) Bank (C) job, in the (Cmaj7) ci- (Am) ty. (C) Robin Hood and William Tell and Ivanhoe and Lancelot, they don't (Am) envy me yeah. (F) Sitting til the sun goes (Dm) down. In (F) dreams the world keep going (Am) round and (G) round.
And I (C) can't get it (G) out of my (F) head (G). No I (C) can't get it (G) out of my (F) head (G). Now my (C) old world is (G) gone for (F) dead (G). Cuz I (C) can't get it (G) out of my (F) head (G) no no.
No I (C) can't get it (G) out of my (F) head (G). No I (C) can't get it (G) out of my
(F) head (G). Now my (C) old world is (G) gone for (F) dead (G). Cuz I (C) can't get it (G) out of my (F) head (G) no no (C) no.
(C)-(CaddG) x 8; (Am)(Am)(Am)(Am), (G)(G)(G)(G), (F)(F)(F)(F), (Gadd)(Gadd)(Gadd)(Gadd), (C)
(ELO) (Artist Index) - (Main Index) - (Song Index) (This Song)
CAN'T HELP FALLING IN LOVE - (Peretti/Creatore/Weiss) - Elvis Presley (C1 or C0)
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INTRO: (C)(G)(Am)(G)
(C) Wise, (Em) men, (Am) say, only (F) fools, (C) rush, (G) in. But (F) I, (G) can't, (Am) help,
(Dm) falling in (C) love, (G) with, (C) you. Shall, (Em) I, (Am) stay? Would it (F) be, (C) a,
(G) sin, if (F) I, (G) can't, (Am) help, (Dm) falling in (C) love, (G) with, (C) you?
(Em) Like a river (Am) flows, (Em) surely to the (Am) sea, (Em) darling so it (Am) goes.
(Em) Some things, are meant to (Dm) be. (G7)
(C) Take, (Em) my, (Am) hand. Take my (F) whole, (C) life, (G) too. For (F) I, (G) can't,
(Am) help, (Dm) falling in (C) love, (G) with, (C) you.
(Em) Like a river (Am) flows, (Em) surely to the (Am) sea, (Em) darling so it (Am) goes.
(Em) Some things are meant to (Dm) be. (G7)
(C) Take, (Em) my, (Am) hand. Take my (F) whole, (C) life, (G) too. For (F) I, (G) can't,
(Am) help, (Dm) falling in (C) love, (G) with, (C) you. For (F) I, (G) can't, (Am) help,
(Dm) falling in (C) love, (G) with, (C) you.
(Elvis Presley) (Artist Index) - (Main Index) - (Song Index) (This Song)
CAN'T KEEP IT IN - Cat Stevens (C2)
TIP: There's a tricky little bit during the chorus involving a transition from (G#m7) to (B) and (E). Rather than play a barre on the (G#m7), try cramming four fingers onto the 4th fret, then lift up one string-set and rotate your wrist to cover the bottom string of the 2nd fret with your pinky. Too difficult? Just play the barre.
TIP: There's a key change from (A) to (G). It's not complicated and the instrumental bridge gets you there and the quick (F)-(G) is key.
TIP: The sustained chords at the outro is a bit messy but are all simple additions of one finger to the major chord. You can fake it with the major chords just fine. Just finish with an (E).
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Intro: (A)(E)(D)(E)(Esus)-(E)
Oh I (A) can't keep it in. I can't keep it and I've (E) gotta let it out. I've (D) got to show the world, world's got to see, (E) see all the love, love that's in me I said (A) why walk alone, why worry when it's (E) warm over here. You've got (D) so much to say, say what you mean, (E) mean what you're thinking and think anything oh (A) why, why must you (F#m) waste your life away? You've got to (D) live for to (E) day, then let it (G#m7) go, (B) oh. (A) Lover, I want to spend this (F#m) time with you. There's nothing (D) I wouldn't (E) do, if you let me
(G#m7) know- (B)- oh (E) -oh.
And I (A) can't keep it in. I can't hide it and I (E) can't lock it away. I'm (D) up for your love, love heats my blood, (E) blood spins my head and my head falls in love oh.
(A)(E)(D)(E)(F)-(G)
No I (C) can't keep it in. I can't keep it and I've (G) gotta let it out. I've (F) gotta show the world, world's got to know, (G) know of the love, love that lies low so (C) why can't you say? If you know then (G) why can't you say? You've got (F) too much deceit, deceit kills the light,
(G) light needs to shine I said (D) shine light (E) shine light (A) Love,
That's no way to (F#m) live your life. You allow too (D) much to go (E) by, and that won't (G#m7)do, (B) no. (A) Lover, I want to have you (F#m) here by my side. Now don't you (D) run, don't you (E) hide, while I'm with (G#m7) you, (B) oh (E) -oh.
And I (A) can't keep it in, I can't keep it and I've (E) gotta let it out. I've (D) got to show the world, world's got to see, (E) see all the love, love that's in me I said (A) why walk alone, now why worry when it's (E) warm over here? You've got (D) so much to say, say what you mean,
(E) mean what you're thinking, and think anything. (A) Why not? (Asus)(A)(Asus)(A). Now why why not? (Esus)(E)(Esus)(E)
(Dsus)(D)(Dsus)(D) (Cmaj7sus4)(C)(Cmajsus4)(C) (Esus)(E)(Esus)(E)
(Cat Stevens) (Artist Index) - (Main Index) - (Song Index) (This Song)
CAP IN HAND - (Reid/Reid) - The Proclaimers (C2)
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Intro: Strum (D)
(D) I could tell the meaning of a (G) word like "ser (A) ene." (D) I got some 'O' Grades when
(G) I was six (A) teen. (D) I can tell the difference 'tween (G) magarine and (A) butter. (D) I can say "Saskatchewan" without (G) starting to (A) stutter.
But I can't under (D) stand why we (G) let someone (D) else rule our (A) land. Cap in
(D) hand (G)(D).
I could get a broken jaw from (G) being in a (A) fight. (D) I know it's evenin' when (G) day turns to (A) night. (D) I can understand why Stran (G) raer lie so (A) lowly. (D) They could save a lot of points by (G) signing Hibs' (A) goalie.
But I can't under (D) stand why we (G) let someone (D) else rule our (A) land. Cap in
(D) hand (G)(D).
(G) We, (D) fight, (A) when they (D) ask us. (G) We, (D) boast, (A) then we (D) cower. (G) We,
(D) beg, (A) for a (D) piece of, (G) what's already (what), what's already (what), what's already (A) ours.
Intstrumental (D)(G)(A), (D)(G)(A), (D)(G)(A), (G)-(G)-(G) (A)
(G) We, (D) fight, (A) when they (D) ask us. (G) We, (D) boast, (A) then we (D) cower. (G) We,
(D) beg, (A) for a (D) piece of, (G) what's already (what), what's already (what), what's already (A) ours.
(D) Once I thought I could (G) make God a (A) bribe. (D) So I said I was (G) in his lost
(A) tribe. (D) Getting handouts can (G) be so frust (A) rating. (D) "Get in line son there's
(G) five million (A) waiting."
I can't under (D) stand why you (G) let someone (D) else rule your (A) land. Cap in (D) hand.
No I can't under (D) stand why you (G) let someone (D) else rule our (A) land. Cap in (D) hand.
Cap in (G) hand, cap in (D) hand, cap in (G) hand.
No I (A) can't under (D) stand why we (G) let someone (D) else rule our (A) land. Cap in (D) hand. Cap in (G) hand. Cap in (D) hand. Cap in (G) hand. Cap in (D) hand. Umda latta latta, umda latta lataa, umda latta latta, la.
(The Proclaimers) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE CAR SONG – Woody Guthrie (C4)
TIP: As you've probably guessed, you can substitute any car sound for the “Brrm brm brm” part. I personally recommend the “raspberry” sound made with tongue between closed lips.
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INTRO: (G)(C)(D)(G)
(G) Brrrm brm brm brm brm brm brm, (D) brrrm b' brrrm. Brrrm brm brm brm brm (G) brm brrrm b' brrrm. Brrrm brm brm brm brm (C) brm brrrm b' brrrm. (G) Brrrm brm (D) brm brm brm brm (G) brrrm.
(G) Take me riding in the (D) car car. Take me riding in the (G) car car. Take you riding in the (C) car car. I'll (G) take you (D) riding in my (G) car.
(G) Brrrm brm brm brm brm brm brm, (D) brrrm b' brrrm. Brrrm brm brm brm brm (G) brm brrrm b' brrrm. Brrrm brm brm brm brm (C) brm brrrm b' brrrm. (G) Brrrm brm (D) brm brm brm brm (G) brrrm.
Click clack open up the (D) door girls. Click clack open up the (G) door boys. Front door back door (C) clickety clack (G) take you (D) riding in my (G) car.
(G) Brrrm brm brm brm brm brm brm, (D) brrrm b' brrrm. Brrrm brm brm brm brm (G) brm brrrm b' brrrm. Brrrm brm brm brm brm (C) brm brrrm b' brrrm. (G) Brrrm brm (D) brm brm brm brm (G) brrrm.
Climb climb rattle on the (D) front seat. Spree I spraddle on the (G) backseat. Turn my key,
(C) step on my starter (G) take you (D) riding in my (G) car.
Engine it goes (D) brrm brrm. Engine it goes (G) brrm brrm. Front seat backseat (C) boys and girls. (G) Take you (D) riding in my (G) car.
Trees and the houses (D) walk along. Trees and the houses (G) walk along. Truck and a car and a (C) garbage can. I’ll (G) take you (D) riding in my (G) car.
(G) Brrrm brm brm brm brm brm brm, (D) brrrm b' brrrm. Brrrm brm brm brm brm (G) brm brrrm b' brrrm. Brrrm brm brm brm brm (C) brm brrrm b' brrrm. (G) Brrrm brm (D) brm brm brm brm (G) brrrm.
Ships and the little boats (D) chug along. Ships and the little boats (G) chug along. Brrrm brm brm brm brm brm (C) brrrm b' brrrm. (G) Take you (D) riding in my (G) car.
I'm a gonna send you (D) home again. I'm a gonna send you (G) home again. Brrrm brm brm brm brm brm brrrm (C) rolling home (G) take you (D) riding in my (G) car.
I'm a gonna let you (D) blow the horn. I'm a gonna let you (G) blow the horn. A oorah a oorah oo (C) rah oorah. I'll (G) take you (D) riding in my (G) car.
(G) Brrrm brm brm brm brm brm brm, (D) brrrm b' brrrm. Brrrm brm brm brm brm (G) brm brrrm b' brrrm. Brrrm brm brm brm brm (C) brm brrrm b' brrrm. (G) Brrrm brm (D) brm brm brm brm (G) brrrm.
(G) Brrrm brm brm brm brm brm brm, (D) brrrm b' brrrm. Brrrm brm brm brm brm (G) brm brrrm b' brrrm. Brrrm brm brm brm brm (C) brm brrrm b' brrrm. (G) Brrrm brm (D) brm brm brm brm (G) brrrm.
(Woody Guthrie) (Artist Index) - (Main Index) - (Song Index) (This Song)
CARELESS HEART - (Hammond/Orbison/Warren) - Roy Orbison (C4)
TIP: In the intro, play the full (E7) which is just (E) with pinky on 2nd string/3rd fret. It only comes once. The (Bm) is also only played once, in the bridge, and it comes after the (D) so if you want you can fake it by keeping the (D) and adding the pinky to the 3rd string/4th fret.
TIP: The (F#) is just (F) moved up one fret.
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INTRO: (A)(F#m)(E7full)(A)
(A) I had somebody, some (D) body who loved me, (E) someone so good, to (A) me. You were my angel, (D) you were my heaven. (E) But I-was too blind, to (A) see.
(F#) I let you slip (D) away. (E) I guess I nev (A) er knew. (F#) I had the (D) world with you.
I'd be (Bm) there, still be there, in your (Dm) arms.
If not for my, (A) careless heart, you'd still be (D) loving me (Dm). If not for my, (A) careless heart, you'd still be (C#m) mine (E). I (A) wouldn't have this (F#m) hurt inside. I (D) wouldn't have these (Dm) tears to cry if-not-for-my, (A) careless heart. If not for my, (E) careless heart.
(A) I had my chances, (D) I took advantage, (E) I took it all too (A) far. So now you're gone
and, (D) I'm all alone. (E) Alone with my lonely (A) heart.
(F#) I let it fall (D) apart. (E) I didn't care e (A) nough. (F#) I lost your (D) precious love.
You'd be (Bm) here, you'd be here, in my (Dm) arms.
If not for my, (A) careless heart, you'd still be (D) loving me (Dm). If not for my, (A) careless heart, you'd still be (C#m) mine (E). I (A) wouldn't have this (F#m) hurt inside. I (D) wouldn't have these (Dm) tears to cry if-not-for-my, (A) careless heart. If not for my, (E) careless heart.
If not for my, (E) careless heart, you'd still be (A) mind.
(Dm) I'd be loving you, (A) I'd be holding you. (Dm) I'd be loving you (E). If not for my, (A) careless heart. (D)(A),(C#m)(E)
I (A) wouldn't have this (F#m) hurt inside. I (D) wouldn't have these (Dm) tears to
cry-if-not-for-my, (A) careless heart. If not for my, (E) careless heart. If not for my
(A) careless heart (D) you'd still be loving me. If not for my (A) careless heart . . . (D) (A)
(Roy Orbison) (Artist Index) - (Main Index) - (Song Index) (This Song)
CATTLE CALL – (Owens) – Eddy Arnold/Leann Rimes/Dwight Yoakum (C0)
TIP: The Woo-hoo is the yodeling part. It really doesn’t matter what you sing. There are very minor variations in how the versions are sung by Dwight Yoakum, Eddy Arnold, and the Arnold/Rimes duet. The inflection and cadence here is from the Yoakum recording.
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INTRO: (D)(A7)(D); (D)(A7)(D)
(D) Woo-hoo, woo-ooo ti-do. (A) Woo-hoo, ooo-oop-i-do-dee-do. (D) Woo-hoo, woo-ooo ti-do.
(A) Woo-hoo, woo-oo ti (D) do.
The cattle are prowlin', the (G) coyotes are howlin', way (A) out where the doggies (D) bawl.
Where spurs are a jinglin', a (G) cowboy is singing, (A) his lonesome (A7) cattle (D) call.
(D) Woo-hoo, woo-ooo ti-do. (A) Woo-hoo, ooo-oop-i-do-dee-do. (D) Woo-hoo, woo-ooo ti-do.
(A) Woo-hoo, woo-oo ti (D) do.
He (G) rides in the sun til his (D) days work is done, and he (E) rounds up the cattle each
(A) fall. (D) Woo-hoo, woo-ooo ti-do. (A) Singing his cattle (D) call.
For hours he’d ride on the (G) range far and wide. When the (A) night wind blew up a (D) squall.
His heart is a feather, in (G) all kinds of weather, as (A) he sings his (A7) cattle (D) call.
(D) Woo-hoo, woo-ooo ti-do. (A) Woo-hoo, ooo-oop-i-do-dee-do. (D) Woo-hoo, woo-ooo ti-do.
(A) Woo-hoo, woo-oo ti (D) do.
He's (G) browned as a fairy from (D) ridin' the prairie. And he (E) sings with an old western
(A) drawl. (D) Woo-hoo, woo-ooo ti-do. (A) Singing his cattle (D) call.
(D) Woo-hoo, woo-ooo ti-do. (A) Woo-hoo, ooo-oop-i-do-dee-do. (D) Woo-hoo, woo-ooo ti-do.
(A) Woo-hoo, woo-oo ti (D) do.
(D) Woo-hoo, woo-ooo ti-do. (A) Woo-hoo, ooo-oop-i-do-dee-do. (D) Woo-hoo, woo-ooo ti-do.
(A) Woo-hoo, woo-oo ti (D) do. (D) (A) (D)
(Eddy Arnold) (Dwight Yoakum) (Artist Index) - (Main Index) - (Song Index) (This Song)
CECILIA - (Simon) - Simon and Garfunkel (C4 or C5)
TIP: The intro is a little weird to play without drums but start by forming (G) and resting your pick hand palm across all the strings so everything is muted. Now lift briefly and strum once, emphasizing the open 2nd string and come right back down to mute all the strings. Now, still with your hand muting the strings, use downstrokes so there's a scraping sound. Now lift briefly again and with a downstroke emphasize the open 3rd string . Palm down again. Repeat this second part four more times and proceed into the song.
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INTRO: (G) muted . . . (G) muted x 4
(G) Celia, you're (C) breaking my (G) heart, you're (C) shaking my (G) confidence (D) daily. Oh Ce (C) cili (G) a, I'm (C) down on my (G) knees. I'm (C) begging you (G) please to come (D) home.
(G) Celia, you're (C) breaking my (G) heart, you're (C) shaking my (G) confidence (D) daily. Oh Ce (C) cili (G) a, I'm (C) down on my (G) knees. I'm (C) begging you (G) please to come (D) home.
Come on (G) home.
Making love in the (C) af (G) ter (D) noon with (G) Cecilia (C) up in (D) my bed (G) room. I got up to (C) wash (G) my (D) face. When I (G) come back to (C) bed someone's (D) taken my (G) place.
(G) Celia, you're (C) breaking my (G) heart, you're (C) shaking my (G) confidence (D) daily. Oh Ce (C) cili (G) a, I'm (C) down on my (G) knees. I'm (C) begging you (G) please to come (D) home.
Come on (G) home.
(G) Bo bo (C) bo bo bo, bo bo bo bo-bo (D) bo bo bo bo. (G)(C)(G)(C)(G)(D); (C)(G)(C)(G)(C)(G)(D)
Jubil (C) a (G) tion, she (C) loves me a (G) gain. I (C) fall on the (G) floor and I'm (D) laughing. Jubil (C) a (G) tion, she (C) loves me a (G) gain. I (C) fall on the (G) floor and I'm (D) laughing.
Whoah (C) ohh (G) oh, whoa (C) ohh-oh (G) oh, (C) ohh-oh (G) oh-oh (D) oh.
Whoah (C) ohh (G) oh, whoa (C) ohh-oh (G) oh, (C) ohh-oh (G) oh-oh (D) oh.
[repeat and fade]
(Simon and Garfunkel) (Artist Index) - (Main Index) - (Song Index) (This Song)
CENTERFIELD – John Fogerty (C1)
TIP: Okay, about the Intro. First there’s the clapping part. Either you know the cadence or you don’t. Then there’s the opening guitar riff which is played three times. Note the slight pause between the and the . Listed are the individual . You play the entire run three times and then finish with the chords. Listed below are where you can find the notes so you can pick them out. Practice it a few times; it’s pretty easy:
= top string/3rd fret
= 5th string open
= 5th string/2rd fret
= 5th string/3rd fret
= 4th string open
= 4th string/2nd fret
= 4th string/4th fret
= 3rd string open
= 3rd string/2nd fret
= 3rd string open
= 3rd string/2nd fret
= 2nd string open
= 4th string open
TIP: The verse is carried in (G). But Fogerty wrote the song with a little sing-song melody that sounds better if you alternate a (G) and a (G-add). The (G-add) is indicated with a word in brackets, such as: “We’re a . . .” The words “We’re and “a” are in natural (G) and the words and are in (G-add). See the chord diagram. If this is all too messy just play (G).
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INTRO: (Claps) Riff: (ever-so-brief-pause) - (repeat twice more) - (C) (G) (A) (D) (G)
Well, the , and the . The (C) sun came out to (G) day. We're a there's (Em) new grass on the (D) field (D7). (G) A din' , and for , it's a (C) brown-eyed handsome (G) man. Any (C) one, can under (D) stand, the way I
(G) feel.
Oh put me in Coach. I'm ready to (C) play, to (G) day. Put me in Coach. I'm ready to (C) play, to (G) day. Look at (D) me, I can (D7) be, Center (G) field.
Well I some in the ville (C) watchin' it from the (G) bench. You know I some when the (Em) Mighty Case struck (D) out (D7). So (G) the and (C) Joe DiMaggi (G) o. Don't (C) say "it ain't so", you (D) know the time is (G) now.
Oh put me in Coach. I'm ready to (C) play, to (G) day. Put me in Coach. I'm ready to (C) play, to (G) day. Look at (D) me, I can (D7) be, Center (G) field.
INTRO (but no claps)
(Yeah! I got it I got it!)
Got a up , a made and (C) brand new pair of (G) shoes. You know I it's , to (Em) give this game a (D) ride (D7). Just to the and 'em a (C) moment in the (G) sun. (Pop) It's a (C) gone and you can (D) tell that one good (G) bye!
Oh put me in Coach. I'm ready to (C) play, to (G) day. Put me in Coach. I'm ready to (C) play, to (G) day. Look at (D) me, I can (D7) be . . .
Oh put me in Coach. I'm ready to (C) play, to (G) day. Put me in Coach. I'm ready to (C) play, to (G) day. Look at (D) me, gotta (D7) be, Center (G) field.
Yeah!
(C) (G) (A) (D) (G)
(John Fogerty) (Artist Index) - (Main Index) - (Song Index) (This Song)
CHAPEL OF LOVE – (Barry/Greenwich/Specter) – Dixie Cups (C1)
TIP: (A) will be preceded by (Em) so it will be easier to play the (A) with the middle, ring, and pinky fingers as all you have to do is drop down string-set.
TIP: It will really sound better if you can hit at least the pinky on the 4th string/4th fret of the F#m as shown in the second diagram (forget about the 5th and top string).
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(D) Going to the chapel and we're, gonna get married. (Em) Going to the (A) chapel and we're, (Em) gonna get (F#m) married. (D) Gee I really love you and we're, gonna get married. (Em) Going, to the (F#m) chapel, of (D) love. (A)
(D) Spring is here, the-uh, sky is blue. Whoa-ah, (Em) birds all (A) sing, as, (Em) if they
(A) knew. (D) Today's the day, we'll say "I (B) do." And we'll (Em) never, be (F#m) lonely any (D) more (A).
Because we’re, (D) going to the chapel and we're, gonna get married. (Em) Going to the (A) chapel and we're, (Em) gonna get (F#m) married. (D) Gee I really love you and we're, gonna get married. (Em) Going, to the (F#m) chapel, of (D) love. (A)
(D) Bells will ring, the-uh, sun will shine. Whoa-ah, (Em) I'll be (A) hers, and (Em) she'll be (A) mine. (D) We'll love until, the end of (B) time. And we'll (Em) never, be (F#m) lonely any (D) more (A).
Because we’re, (D) going to the chapel and we're, gonna get married. (Em) Going to the (A) chapel and we're, (Em) gonna get (F#m) married. (D) Gee I really love you and we're, gonna get married. (Em) Going, to the (F#m) chapel, of (D) love. Yeah yeah yeah yeah, (Em) going, to the (F#m) chapel, of (D) love. Yeah yeah yeah yeah, (Em) going, to the (F#m) chapel, of (D) love. (A) (D)
(The Dixie Cups) (Artist Index) - (Main Index) - (Song Index) (This Song)
CHRISTIAN ISLAND – Gordon Lightfoot (C2)
TIP: (CaddD) is just (C) with pinky added to 2nd string/3rd fret. You can keep the index finger right where it normally goes. You can also pick out the notes for the intro which are just the bottom two stings. And the (G7) can be replaced with regular (G) without consequence.
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INTRO: (Softly) (C)(C)(C)(CaddD)(C), (C)(C)(C)(CaddD)(C); (C)(C)(C)(CaddD)(C), (C)(C)(C)(CaddD)(C)
I'm (C) sail - in' down, the summer (F) wind, I got (C) whiskers on my (G7) chin, and I (F) like the mood I'm (C) in. As I while away, the (F) time of day, in the (C) lee of Christian (G7) Island.
(C) Tall, and strong, she dips and (F) reels. I (C) call her Silver (G7) Heels, and she (F) tells me how she (C) feels. She's a good old boat and she'll (F) stay afloat, through the (C) toughest gale and keep (G7) smilin'. But for (C) one more day she would (F) like to stay, in the (G7) lee of Christian (C) Island.
I'm sail - in' down, the summer (F) day, where (C) fish and seagulls (G7) play. I put my (F) troubles all a (C) way. And when the gale comes up I'll (F) fill me cup, with the (C) whiskey of the (G7) Highlands. She's a (C) good old ship and she'll (F) make the trip, from the (G7) lee of Christian (C) Island.
(C)(F)(C)(G7); (G7)(C)(G)(G7)(C)
Tall, and strong, she slips a (F) long. I (C) sing for her a (G7) song, and she (F) leans into the (C) wind. She's a good old boat and she'll (F) stay afloat, through the (C) toughest gale and keep (G7) smilin'. And when the (C) summer ends we will (F) rest again, in the (G7) lee of Christian (C) Island.
(Gordon Lightfoot) (Artist Index) - (Main Index) - (Song Index) (This Song)
CIRCLE – Harry Chapin (C2)
TIP: The (CaddG) will always follow the (Am7). And if you look at the diagram, all you have to do to play the (CaddG) is add your pinky to the bottom string/3rd fret. Doesn’t really matter if you play the upper .
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INTRO: (Gadd)(Am7)(G)(D) x 4
(G) All my life's a circle, sunrise and sun (Am7) down. The (Am) moon rolls thru the nighttime, till the (D7) daybreak comes a (G) round. All my life's a circle, but I can't tell you (Am7) why. (CaddG) Season's spinning round (D7) again, the (C) years keep (D7) rollin' (G) by.
It seems like I've been here before, I can't remember (Am7) when. But (Am) I have this funny feeling, that we'll (D7) all be together a (G) gain. No straight lines make up my life, and all my roads have (Am7) bends. There's (CaddG) no clear-cut be (D7) ginnings, and (C) so far (D7) no dead (G) ends.
(G) All my life's a circle, sunrise and sun (Am7) down. The (Am) moon rolls thru the nighttime, til the (D7) daybreak comes a (G) round. All my life's a circle, but I can't tell you (Am7) why. (CaddG) Season's spinning round (D7) again, the (C) years keep (D7) rollin' (G) by.
I found you a thousand times. I guess you done the (Am7) same. But (Am) then we lose each other, it's (D7) like a children's (G) game. As I find you here again, a thought runs through my
(Am7) mind: Our (CaddG) love is like a (D7) circle, let's (C) go 'round (D7) one more (G) time.
(G) All my life's a circle, sunrise and sun (Am7) down. The (Am) moon rolls thru the nighttime, til the (D7) daybreak comes a (G) round. All my life's a circle, but I can't tell you (Am7) why. (CaddG) Season's spinning round (D7) again, the (C) years keep (D7) rollin' (G) by.
The (C) years (the years), keep on (D7) rollin’ (keep on rollin’), (G) by. (Am7)(D7)(G)
(Harry Chapin) (Artist Index) - (Main Index) - (Song Index) (This Song)
CIRCLE OF STEEL – Gordon Lightfoot (C0)
TIP: The intro is just the chords from the beginning and end of the verse. In the song they're overlaid on a flute, so maybe whistle them?
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INTRO: (D)(C)(D)(G); (D)(G)(A)(Bm)(C)(D)
(D) Rows of lights in a (C) circle of steel where you (D) place your bets on a (G) great big wheel. (D) High windows flickerin' (C) down through the (G) snow. A time (D) you know. Sights and sounds of the (G) people goin' (A) round every (Bm) body's in (C) step with the (D) season.
(D) A child is born to a (C) welfare case where the (D) rats run around like they (G) own the place. (D) The room is chilly the (C) building is (G) old. (D) That's how it goes. The doctor’s found on his (G) welfare (A) rounds and he (Bm) comes and he (C) leaves on the (D) double.
(D) "Deck the Halls" was the (C) song they played in the (D) flat next door where they (G) shout all day. (D) She tips her gin bottle (C) back till it’s (G) gone. The child (D) is strong. A week a day they will (G) take it a (A) way for they (Bm) know about (C) all her bad (D) habits.
(D)(G)(A)(Bm)(C)(D)
(D) Christmas dawns and the (C) snow lets up and the (D) sun hits the handle of her (G) heirloom cup. (D) She hides her face in her (C) hands for a (G) while. Says "Look (D) here child. Your fathers pride was his (G) means to pro (A) vide and he's (Bm) servin' three (C) years for that
(D) reason."
(D) Rows of lights in a (C) circle of steel where you (D) place your bets on a (G) great big wheel. (D) High windows flickerin' (C) down through the (G) snow. A time (D) you know. Sights and sounds of the (G) people goin' (A) round every (Bm) body's in (C) step with the (D) season.
(Gordon Lightfoot) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE CITY OF NEW ORLEANS – (Goodman) - Arlo Guthrie (C1)
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INTRO: (G)...(D); (G)....(D)
(Gadd) Riding on (D) the City of New Or (G) leans. (Em) Illinois Central, (C) Monday morning
(Gadd) rail (D). (Gadd) Fifteen cars and (D) fifteen restless (G) riders, three con (Em) ductors, and (D) twenty-five sacks of (G) mail. All a (Em) long the south bound odyssey, the (Bm) train pulls out of Kankakee, and (D) rolls along past houses farms and (A) fields. (Em) Passing trains that have no name, and (Bm) freight yards of old black men, and (D) graveyards of (D7) rusted automo (G) biles.
(C) Good morning Am (D) erica how (G) are you? Say (Em) don't you know me, (C) I'm your native
(G) son (D). I'm, the (G) train they call the (D) City of New (Em) Orleans. I'll be (F) gone five (C) hundred (D) miles when the day is (G) done.
Dealing (Gadd) card games, with the (D) old men in the (G) club car. (Em) Penny a point ain't
(C) no one keeping (Gadd) score (D). (Gadd) Pass the paper (D) bag that holds the (G) bottle. Feel the (Em) wheels, (D) rumblin' 'neath the (G) floor. And the (Em) sons of Pullman porters, and the (Bm) sons of engineers, (D) ride their father's magic carpets, made of (A) steel. (Em) Mothers with their babes asleep, (Bm) rocking to the gentle beat, and the (D) rhythm of the (D7) rails is all they (G) feel.
(C) Good morning Am (D) erica how (G) are you? Say (Em) don't you know me, (C) I'm your native
(G) son (D). I'm, the (G) train they call the (D) City of New (Em) Orleans. I'll be (F) gone five (C) hundred (D) miles when the day is (G) done.
(Gadd) Nightime on the (D) City of New (G) Orleans. (Em) Changing cars in (C) Memphis Tennes- (Gadd) see (D). (Gadd) Half way home, (D) we'll be there by (G) morning, through the
(Em) Mississippi darkness (D) rolling down to the (G) sea. But (Em) all the towns and people seem, to (Bm) fade into a bad dream, and the (D) steel rail, still ain't heard the (A) news. The
con (Em) ductor sings his songs again, the (Bm) passengers will please refrain, this (D) train got the disa (D7) ppearing railroad (G) blues.
(C) Good morning Am (D) erica, how (G) are you? Say (Em) don't you know me, (C) I'm your native (G) son (D). I'm, the (G) train they call the (D) City of New (Em) Orleans. I'll be (F) gone five (C) hundred miles (D) when the day is (G) done.
(Arlo Guthrie) (Artist Index) - (Main Index) - (Song Index) (This Song)
CLASS OF '57 - (Reid/Reid) - The Statler Brothers (C0)
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INTRO: (C)(Em)(Am)(Em)
(C) Tommy's selling (Em) used cars, (Am) Nancy's fixing hair. (F) Harvey runs a grocery store and (D7) Margaret doesn't care. (C) Jerry drives a (Em) truck for Sears and (Am) Charlotte's on the make, and (F) Paul sells life insurance, and (G7) part time real es (C) tate. (G)
(C) Helen is a (Em) hostess, (Am) Frank works at the mill. (F) Janet teaches grade school and (D7) prob'ly always will. (C) Bob works for the (Em) city, and (Am) Jack's in lab research,
and (F) Peggy plays the organ at the (G7) Presbyterian (C) Church.
And the (F) class of '57 had its (C) dreams. Oh (Am) we all thought we'd change the world with (D7) our great works and (G7) deeds. Or (F) maybe we just thought the world would (C) change to (E7) fit our (Am) needs. The (F) class of fifty (G7) seven had its (C) dreams. (G)
(C) Betty runs a (Em) trailer park, (Am) Jan sells Tupperware. (F) Randy's on an insane ward, (D7) Mary's on welfare. (C) Charlie took a (Em) job with Ford, Joe (Am) took Freddie's wife.
(F) Charlotte took a millionaire, and (G7) Freddie took his (C) life. (G)
(C) John is big in (Em) cattle, (Am) Ray is deep in debt. Where (F) Mavis finally wound up, is (D7) anybody's bet. (C) Linda married (Em) Sonny, Brenda (Am) married me. And the (F) class of all of us, is just a (G7) part of histor (C) y.
And the (F) class of '57 had its (C) dreams. But (Am) living life from day to day is (D7) never like it (G7) seems. (F) Things get complicated, when (C) you get (E7) past eight (Am) een but the (F) class of fifty (G7) seven had its (C) dreams (Am). Oh the (F) class of fifty (G7) seven had its (C) dreams.
(The Statler Brothers) (Artist Index) - (Main Index) - (Song Index) (This Song)
CLOSE ENOUGH TO PERFECT – (Chambers) - Alabama (C0)
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INTRO: (C)(Am)(C)(G)
(G) Sometimes her morning (D) coffee's way too (Am7) strong. And (C) sometimes what she (D) says, she says all (G) wrong (D). Right or (G) wrong she's there (D) beside me, like (C) only a (Am) friend could (C) be. And that's (Am) close enough to (C) perfect for (G) me. (D)
Now (G) she's been know to (D) wear her her pants too (Am7) tight. And (C) drinking puts her (D) out just like a (G) light (D). Heaven (G) knows she's not an (D) angel, but she'd (C) really (Am) like to (C) be. And that's (Am) close enough to (C) perfect for (G) me.
(C) She kisses me each (Am) morning, (G) and smiles her sleepy smile. (C) And she don't have to (Am) say it, I can (F) see it in her (D) eyes. Don't you (G) worry about my (D) woman, or what you (C) think she (Am) ought to (C) be. Cause she’s (Am) close enough to (C) perfect for (G) me.
(C)(Am)(C)(G)
(G) Sometimes she gets (D) down and starts to (Am7) cry. (C) But then again a (D) lady has the
(G) right (D). She's (G) everything I ever (D) wanted, she's (C) all I'll (Am) ever (C) need. She's (Am) close enough to (C) perfect for (G) me.
(C) She kisses me each (Am) morning, (G) and smiles her sleepy smile. (C) She don't have to
(Am) say it, I can (F) see it in her (D) eyes. Don't you (G) worry about my (D) woman, or what you (C) think she (Am) ought to (C) be. She’s (Am) close enough to (C) perfect for (G) me. Whoa she’s (Am) close enough to (C) perfect . . for (Gadd) me.
(Alabama) (Artist Index) - (Main Index) - (Song Index) (This Song)
COAL MINER'S DAUGHTER - Loretta Lynn (C1)
TIP: The original version of this song has three key changes but the middle one (D#) is a bitch so I've kept the key of (D) for the first two verses. If you want you can keep the (D) for the third verse as well but (E) isn't that hard to play. The (B7) is the
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INTRO: (D)(G)(D)
(D) Well I, was born, a (G) coal, miner's (D) daughter. In a cabin, on a (E) hill in, Butcher
(A7) Holler. We were (D) poor, but we had (D7) love. That's the (G) one thing my daddy made
(D) sure of. He shoveled coal, to (A7) make, a poor man's (D) dollar.
My daddy worked all (G) night in the Van Lear (D) coal mines. All day long in a (E) field a-hoein' (A7) corn. Mommy (D) rocked, the babies at night, and read the (G) Bible by the coal-oil
(D) light. And-everything would start all (A7) over come break of (D) mornin'.
Daddy-loved and raised eight (G) kids on a miner's (D) pay. Mommy scrubbed our clothes on a
(E) washboard every (A7) day. Why I (D) seen her fingers bleed (D7), to com (G) plain, there was no (D) need. She'd smile, in mommy's (A7) understanding (D) way.
In the summer time we (G) didn't have shoes to (D) wear. But in the wintertime, we'd (E) all get a brand new (A7) pair. From a (D) mail-order cata (D7) log, money (G) made, from sellin' a (D) hog.
Daddy always managed to (A7) get, the money (D) somewhere.
[Key Change] Strum (E)
Yeah I'm proud to be a (A) coal, miner's (E) daughter. I remember well, the (F#) well where I drew (B7) water. The (E) work, we done, was (E7) hard. At-night we'd (A) sleep, 'cause we were
(E) tired. I never thought of ever (B7) leavin' Butcher (E) Holler.
Well a lot, of things have (A) changed since way back (E) then. And it's so good, to (F#) be back home a (B7) gain. Not much (E) left, but the (E7) floor, nothin' (A) lives here, any (E) more. 'Cept the memories of a (B7) coal, miner's (E) daughter.
(Loretta Lynn) (Artist Index) - (Main Index) - (Song Index) (This Song)
COAT OF MANY COLORS - Dolly Parton (C0)
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(D)(D)(G)(A); (D)(D)(G)(A)
(D) Back through the years I go wondering once again, back to the seasons of my (G) youth. I
re (D) call a box of rags that someone gave us, and how my mamma put the rags to (G) use. There were (D) rags of many colors, and every piece was small, and I didn't have a coat, and it was
(A) way down in the fall. Mamma (D) sewed the rags together, sewing (G) every piece with love she made made my (D) coat of many colors that (A) I was so proud (D) of.
As she sewed she told a story, from the Bible she had read. 'Bout a coat of many colors, Joseph
(A) wore and then she said, "Per (D) haps this coat will bring you, good (G) luck and happiness" and I just (D) couldn't wait to wear it, and mamma (A) blessed it with a (D) kiss.
My (G) coat of many colors that my (D) mamma made for me. (G) Made only from rags, but I
(D) wore it so proud (A) ly. Al (D) though we had no money, I was (G) rich as I could be, in my
(D) coat of many colors, my (A) mamma made for (D) me.
strum (E)
(E) So with patches on my britches, holes in both my shoes, in my coat of many colors, I
(B7) hurried off to school. Just to (E) find the others laughing, and mak (A) ing fun of me in my (E) coat of many colors, my (B7) mamma made for (E) me.
And oh I couldn't understand it, for I felt, I was rich. And I told them of the love my mamma
(B7) sewed in every stitch. And I (E) told them all the story, mamma (A) told me while she sewed and how my (E) coat of many colors was worth (B7) more than all their (E) clothes.
But they (A) didn't understand it and I (E) tried to make them see, that (A) one is only poor, only (E) if they choose to (B7) be. Now I (E) know we had no money, but I was (A) rich as I could be, in my (E) coat of many colors, my (B7) mamma made for (A) me. Made just for (E) me.
(Dolly Parton) (Artist Index) - (Main Index) - (Song Index) (This Song)
COME DANCING – (Davies) – The Kinks (C2)
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Intro: (G)(D)(G); (G)(D)(G)
(G) They put a parking lot on a piece of land, (D) where the su, per, market used to (G) stand. Before that they put up a bowling alley, (D) on the site that used to be the local (G) palais.
(C) That's where the big bands (G) used to come and play. (D) My sister went there on a Satur (G) day. Come (C) dancing. All her boyfriends (G) used to come and call. Why not come (D) dancing, it's (C) only natur (G) al.
(G)(D)(G); (G)(D)(G)
Another Satur, day another date. (D) She would be ready but she'd always make them (G) wait. In the hallway in anticipation, (D) he didn't know the night would end up in frust (G) ration. (C) He'd end up blowing all his (G) wages for the week. (D) All for a cuddle and a (G) peck on the cheek. Come (C) dancing. That's how they did it when (G) I was just a kid. And when they said come (D) dancing, my (C) sister always (G) did.
(G)(D)(G); (G)(D)(G)
My (Em) sister should have (D) come in at (C) midnight (D). And my (Em) mom would always (D) sit up and (C) wait (D). It (Em) always ended (D) up in a big (C) row, (D) when my (Em) sister used to (D) get home (C) late.
(G) [Spoken] Out of my window I can see them in the moonlight. Two silhouettes saying goodnight by the garden gate.
The (Em) day, they, (D) knocked down the (C) palais (D). My (Em) sister, (D) stood and (C) cried (D). The (Em) day they (D) knocked down the pal (C) ais, (Em) part of my (D) childhood (C) died, just (G) died.
(Em)-(D)-(C) (D); (Em)-(D)-(C) (D); (Em)-(D)-(C) (D), (Em)-(D)-(C) (G)
Now I'm grown up, and playing in a band, (D) and there's a car park where the palais used to (G) stand. My sister's married and she lives on an estate. (D) Her daughters go out, now it's her turn to (G) wait. (C) She knows they get away with (G) things she never could. (D) But if I asked her I (G) wonder if she would . . . Come (C) dancing. Come on sister, (G) have yourself a ball. Don't be afraid to come (D) dancing. It's (C) only natur (G) al.
(G)(D)(G); (G)(D)(G); (C)(G) (D)(G)
Come (C) dancing. Just like the palais (G) on a Saturday. And all her friends will come (D) dancing, where the (C) big bands used to (G) play.
(G)(D)(G); (G)(D)(G); (G)(D)-(G)
(The Kinks) (Artist Index) - (Main Index) - (Song Index) (This Song)
COMFORTABLY NUMB – (Waters) - Pink Floyd (C0)
TIP: Feel it.
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Intro: Strum (Bm) slowly
(Bm) Hello. Is there anybody (A) in there? Just nod if you can (G) hear me. Is there (Em) any (Bm) one home? Come on, now. I hear you’re (A) feeling, down. Well (G) I can ease your pain, get you (Em) on your (Bm) feet again. Relax. I need some infor (A) mation, first. (G) Just the basic facts. Can you (Em) show me (Bm) where it hurts?
(D) There is no pain you are re (A) ceding. (D) A distant ship’s smoke on the hor (A) izon. (C) You are only coming through in (Gadd) waves. (G) Your (C) lips, move, but I can’t hear what you're (Gadd) saying. (G) When (D) I, was a child, I had a (A) fever. My (D) hands felt just like two ball (A) oons. (C) Now I’ve got that feeling once a (G) gain I can’t explain, you would not
(C) understand. This is not how I (G) am. (A) I . . (Gadd) . . I have become (G) comfortab (D) ly
numb.
(D) (A) (D) (A); (C) (G-add); (C) (G-add); (A) I . . (Gadd) . . I have become (G) comfortab (D) ly
numb.
(Bm) Ok. Just a little (A) pinprick. – ping - There’ll be no more (G) --aaaaaahhhhh! (Em) But you may (Bm) feel a little sick. Can you stand up? I do believe it's (A) working, good. That’ll keep you (G) going for the show. (Em) Come on (Bm) it’s time to go.
(D) There is no pain you are re (A) ceding. (D) A distant ship’s smoke on the hor (A) izon. (C) You are only coming through in (Gadd) waves. (G) Your (C) lips, move, but I can’t hear what you're (Gadd) saying. (G) When (D) I was a child, I caught a (A) fleeting glimpse. (D) Out of the corner of my (A) eye. (C) I turned to look but it was (G) gone, I cannot put my finger (C) on it now, the child is grown, the (G) dream is gone. (A) I . . (Gadd) . . I have become (G) comfortab- (D) ly numb.
(D) (A) (D) (A); (C) (G-add); (C) (G-add); (A)(Gadd)(G)(D) [now play David Gilmour's killer guitar solo for another 2 1/2 minutes -- I am not worthy!!]
(Pink Floyd) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE CONTINUING STORY OF BUNGALOW BILL (Lennon/McCartney) – The Beatles [C4]
TIP: At the end of the chorus, the transition from (A) to (Dm6) is easy: just keep the middle finger down and rotate the index finger down to the bottom string/1st fret, lifting the ring finger completely. The fingers are then in position to move up two strings to hit the (E7).
TIP: When coming to the (G)-(Am) combo in the first line of each verse, hit the (G) once and quickly move to the (Am).
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(C) Hey, (G7) Bungalow (C) Bill. (Fm6) What did you (C) kill, (Fm6) Bungalow (G7) Bill? (A) Hey, (E7) Bungalow (A) Bill. (Fm6) What did you (A) kill, (Dm6) Bungalow (E7) Bill?
He (Am) went out tiger (C) hunting with his (F) elephant and gun. (G)(G)-(Am) In case of (C) accidents he (F) always took his mum. (G) He's the all American bullet headed (Am) Saxon mother's (Fm6) son. All the children sing.
(C) Hey, (G7) Bungalow (C) Bill. (Fm6) What did you (C) kill, (Fm6) Bungalow (G7) Bill? (A) Hey, (E7) Bungalow (A) Bill. (Fm6) What did you (A) kill, (Dm6) Bungalow (E7) Bill?
(Am) Deep in the (C) jungle where the (F) mighty tiger lies. (G)(G)-(Am) Bill and his (C) elephants were (F) taken by surprise. (G) So Captain Marvel zapped him (Am) right between the (Fm6) eyes. All the children sing.
(C) Hey, (G7) Bungalow (C) Bill. (Fm6) What did you (C) kill, (Fm6) Bungalow (G7) Bill? (A) Hey, (E7) Bungalow (A) Bill. (Fm6) What did you (A) kill, (Dm6) Bungalow (E7) Bill?
The (Am) children (C) asked him if to (F) kill was not a sin. (G)(G)-(Am) "Not when he (C) looked so fierce” his (F) mummy butted in. (G) "If looks could kill it would have been (Am) us instead of (Fm6) him". All the children sing.
(C) Hey, (G7) Bungalow (C) Bill. (Fm6) What did you (C) kill, (Fm6) Bungalow (G7) Bill? (A) Hey, (E7) Bungalow (A) Bill. (Fm6) What did you (A) kill, (Dm6) Bungalow (E7) Bill?
(C) Hey, (G7) Bungalow (C) Bill. (Fm6) What did you (C) kill, (Fm6) Bungalow (G7) Bill? (A) Hey, (E7) Bungalow (A) Bill. (Fm6) What did you (A) kill, (Dm6) Bungalow (E7) Bill?
(C) Hey, (G7) Bungalow (C) Bill. (Fm6) What did you (C) kill, (Fm6) Bungalow (G7) Bill? (A) Hey, (E7) Bungalow (A) Bill. (Fm6) What did you (A) kill, (Dm6) Bungalow (E7) Bill? (C)
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
COOL WATER - (Nolan) - Marty Robbins/Sons of the Pioneers (C0)
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Intro: (A) (E7) (A) (E7)
(A) All day I've faced, a bar (E7) ren waste, with (A) out the taste of (E7) water. Cool, wat (A) er. Old (D) Dan and I, with (E7) throats burnt dry and (A) souls, that (D) cry, for (A) water. (E7) Cool, clear, wat (A) er.
The nights are cool and (E7) I'm a fool each (A) star's a pool of (E7) water. Cool, wat (A) er. And (D) with the dawn I'll (E7) wake and yawn and (A) car-ry (D) on, to (A) water. (E7) Cool, clear, wat (A) er.
Keep a movin' Dan don't you (E7) listen to him Dan. He's a (A) devil not a man and he (E7) spreads the burning sands with wa (A) ter. (D) Dan can you see, that (A) big green tree, where the (D) water's running free and it's (E7) waiting there for you and (A) me- (D) -ee. (A) Water. (E7) Cool, clear wa (A) ter.
The shadows sway, and (E7) seem to say, to (A) night we pray, for (E7) water. Cool, wa (A) ter. And (D) way up there he'll (E7) hear our prayer and (A) show, us (D) where, there's (A) water. Cool, (E7) clear, wa (A) ter.
Keep a movin' Dan don't you (E7) listen to him Dan. He's a (A) devil not a man and he (E7) spreads the burning sands with wa (A) ter. (D) Dan can you see that (A) big green tree, where the (D) water's running free, and it's (E7) waiting there for you and (A) me- (D) -ee. (A) Water. (E7) Cool, clear wa (A) ter. (E7) Cool, (D) clear, wa (A) ter.
(Marty Robbins) (Sons of the Pioneers) (Artist Index) - (Main Index) - (Song Index) (This Song)
COTTON JENNY – (Lightfoot) - Gordon Lightfoot/Anne Murray (C0)
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INTRO: (G)(C)(Gadd)(C) x 4
There's a (G) house, on a hill, by a (C) worn down weathered old (G) mill in a valley be (D) low where the river winds, there's no such thing as bad (G) times. And a soft, southern flame, oh (C) Cotton Jenny's her (G) name she wakes me (D) up when the sun goes down, and the wheel of love goes (G) round.
Wheels of love go (C) round, love go (G) round. Love go (A) round, a joyful (D) sound. I ain’t (G) got a penny for (C) Cotton Jenny to (D) spend, but then, the wheels go (G) round (G)(C)(Gadd)(C); (G)(C)(Gadd)(C)
When the (G) new day begins, he goes (C) down to the cotton (G) gin and he makes his (D) time worth while to them. Then he climbs back up a (G) gain. And she waits, by the door, oh (C) Cotton Jenny I'm (G) sore and she rubs my (D) feet while the sun goes down, and the wheel of love goes (G) round.
It's a love go (C) round, love go (G) round. Love go (A) round, a joyful (D) sound. I ain’t (G) got a penny for (C) Cotton Jenny to (D) spend, but then, the wheels go (G) round (G)(C)(Gadd)(C); (G)(C)(Gadd)(C)
In the (G) hot, sickly South, when they (C) say “Well, shut my (G) mouth” I can never be (D) free from the cotton grind, but I know I got what’s (G) mine. With a soft, southern flame, oh (C) Cotton Jenny’s her (G) name she wakes me (D) up when the sun goes down, and the wheels of love go (G) round.
It's a love go (C) round, love go (G) round. Love go (A) round, a joyful (D) sound. I ain’t (G) got a penny for (C) Cotton Jenny to (D) spend, but then, the wheels go (G) round (G)(C)(Gadd)(C); (G)(C)(Gadd)(C) (G)
(Gordon Lightfoot) (Anne Murray) (Artist Index) - (Main Index) - (Song Index) (This Song)
COULD I HAVE THIS DANCE – (Holyfield/House) – Anne Murray (C5)
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INTRO: (E)(D)(A)
I'll (A) always, re (A7) member, the (D) song, they were (E) playin', the (D) first time, we (E) danced, and I (A) knew (E). As we (A) swayed to, the (A7) music, and (D) held, to each (E) other, (D) I fell in (E) love with (A) you (E).
Could (A) I have this (A7) dance, for the (D) rest of my life? Would (E) you be, my partner, (D) every (E) night? (A) When we're, to (A7) gether, it (D) feels, so (Dm) right. Could (A) I have this dance, for the (E) rest of my (A) life?
I'll (A) always, re (A7) member, (D) that magic (E) moment, when (D) I held, you (E) close, to (A) me (E). 'Cause (A) we moved, to (A7) gether, (D) I knew, for (E) ever, (D) you're all I'll (E) ever (A) need (E).
Could (A) I have this (A7) dance for the (D) rest of my life? Would (E) you be my partner (D) every (E) night? (A) When we're to (A7) gether, it (D) feels so (Dm) right. Could (A) I have this dance for the (E) rest of my (A) life?
Could (A) I have this (A7) dance, for the (D) rest of my life? Would (E) you be my partner, (D) every (E) night? (A) When we're, to (A7) gether, it (D) feels, so (Dm) right. Could (A) I have this dance, for the (E) rest of my (A) life?
Could (A) I have this (A7) dance, for the (D) rest of my life? Would (E) you be my partner, (D) every (E) night? (A) When we're, to (A7) gether, it (D) feels, so (Dm) right. Could (A) I have this dance, for the (E) rest, of, my (A) life? (D) (A)
(Anne Murray) (Artist Index) - (Main Index) - (Song Index) (This Song)
COUNTRY IS – Tom T. Hall (C0)
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INTRO: (C)(C)(G)(G)(C),(F)-(C)
(C) Country is (F): sittin' on the (C) back porch (F), listenin’ to the (C) whip, poorwills, late in the (G) day. Country (C) is (F): mindin' your (C) business (F), helpin' a (C) stranger, if he (G7) comes your (C) way.
Country (F) is: livin' in the (C) city (F), knowin' your (C) people, knowin' your (G7) kind. Country (C) is (F): what you (C) make it (F). Country (C) is (G7), all in your (C) mind. (C)(C)(G)(G)(C),(F)-(C)
Country is: (F) workin' for a (C) living (F), thinkin' your (C) own thoughts, lovin' your
(G) town. Country (C) is (F): teachin' your (C) children (F), findin’ out (C) what's right (G7), and standin’ your (C) ground.
Country (F) is: a havin' the (C) good times (F), listenin’ to the (C) music, singing your (G7) part. Country (C) is (F): walkin' in the (C) moonlight (F). Country (C) is (G7), all in your (C) heart. (C)(C)(G)(G)(C),(F)-(C)
(Tom T. Hall) (Artist Index) - (Main Index) - (Song Index) (This Song)
COVER OF THE ROLLING STONE - (Silverstein) – Dr. Hook and the Medicine Show (C1)
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INTRO: Spoken: Oh huh huh I don't believe it. Uh, uh, uh, don't touch me. Hey Ray, hey Sugar, tell them who we are (D)(D)(E)(E)(A).
(A) Well we're big rock singers we got golden fingers, and we're loved everywhere we (E) go. (That sounds like us). We sing about beauty and we sing about truth (E7) at ten-thousand dollars a
(A) show. We take all kinds of pills that give us all kind of thrills but the thrill we've never (D) known. Is the (E) thrill that'll gitcha when you get your picture on the cover of the Rollin’ (A) Stone.
Rollin’ (E) Stone. Wanna see my picture on the cover. (A) Wanna buy five copies for my mother. (E) Wanna see my smilin’ face on the (D) cover of the Rollin’ (A) Stone. (That's a very very good idea.)
I got a freaky ol’ lady name a Cocaine Katy who embroideries on my (E) jeans. I got my poor ol’ grey-haired daddy, (E7) drivin my limo (A) sine. Now it's all decided, to blow our minds, but our minds won't really be (D) blown. Like the (E) blow that'll gitcha when you get your picture on the cover of the Rollin’ (A) Stone.
Rollin’ (E) Stone. Wanna see my picture on the cover. (A) Wanna buy five copies for my mother. (E) Wanna see my smilin’ face on the (D) cover of the Rollin’ (A) Stone.
Hey I know how. Rock and roll! [Play some screaching nonsense] Ah, that's beautiful.
(A) We got a lot of little teenage, blue eyed groupies, who do anything we (E) say. We got a
genu-wine Indian Guru, (E7) who's teaching us a better (A) way. We got all the friends, that money can buy, so we never have to be (D) alone. And we (E) keep getting richer but we can't get our picture on the cover of the Rollin’ (A) Stone.
Rollin’ (E) Stone. Wanna see my picture on the cover. (A) Wanna buy five copies for my mother. (E) Wanna see my smilin’ face on the (D) cover of the Rollin (A) Stooone, on the (D) cover of the Rollin' - (E) gonna see my picture on the cover, (A) gonna buy five copies for my mother.
(E) Gonna see my smilin’ face on the (D) cover of the Rollin (A) Stone.
OUTRO: Spoken: Right up front man I can see it now, we'll be up in the front, smilin, man, ahh, beautiful.
(Dr. Hook) (Artist Index) - (Main Index) - (Song Index) (This Song)
COWARD OF THE COUNTY – (Bowling/Wheeler) – Kenny Rogers (C1 or C2)
TIP: The intro is just a strummed (A) but it's an alternating strum first emphasizing the middle three strings and then the top three strings.
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INTRO: (A)
(A) Everyone, considered him, the (D) coward of the (A) county. He'd never stood, one single time,
to prove the county (E) wrong. His (A) Mama named him Tommy, but (D) folks just called him (A) yellow. Something always told me, they were (E) reading Tommy (A) wrong.
He was only ten years old when his (D) daddy died in (A) prison. I looked after Tommy, cause he was my brother's (E) son. I (A) still recall, the final words, my (D) brother said to (A) Tommy: “Son my life is over, but (E) yours has just be (A) gun.
Promise me son not to (D) do the things I've (A) done. (D) Walk away from (A) trouble if you
(E) can. Now (A) it don't mean you're weak, if you (D) turn the other (A) cheek, and I hope you're old e (D) nough to under (E) stand. Son (E7) you don't have to fight to be a (A) man.”
There's someone for everyone, and (D) Tommy's love was (A) Becky. In her arms, he didn't have,
to prove he was a (E) man. One (A) day while he was working, the (D) Gatlin boys came (A) callin’.
They took turns at Becky, (E) ‘n' there was three of (A) them.
Tommy opened up the door, and (D) saw his Becky (A) cryin’. The torn dress, the shattered look, was more than he could (E) stand. He (A) reached above the fireplace, and took (D) down his daddy's (A) picture. As his tears fell on his daddy's face he (E) heard these words a (A) gain.
Promise me son not to (D) do the things I've (A) done. (D) Walk away from (A) trouble if you
(E) can. Now (A) it don't mean you're weak, if you (D) turn the other (A) cheek, and I hope you're old e (D) nough to under (E) stand. Son (E7) you don't have to fight to be a (A) man.”
The Gatlin boys just laughed at him, when he (D) walked into the (A) barroom. One of them got up
and met him half way cross the (E) floor. When (A) Tommy turned around they said “Hey (D) look old yeller's (A) leavin'.” But you could've heard a pin drop, when Tommy (E) stopped and blocked the (A) door.
Twenty years of crawling, was (D) bottled up in (A) side him. He wasn't holding nothing back, he let 'em have it (E) all. When (A) Tommy left the bar room, not a (D) Gatlin boy was (A) standing.
He said “This one's for Becky”, as he (E) watched the last one (A) fall. And I heard him say:
“I promised you Dad not to (D) do the things you've (A) done. I walk away from trouble when I
(E) can. Now (A) please don't think I'm weak, I didn't (D) turn the other (A) cheek. And Papa I should (D) hope you under (E) stand. Some (E7) times you gotta fight when you're a (A) man.
Everyone, considered him, the (D) coward of the coun (A) ty.
(Kenny Rogers) (Artist Index) - (Main Index) - (Song Index) (Last Song)
COWBOY MAN – Lyle Lovett (C0)
TIP: Because of Lyle's strumming pattern, chord placement comes at the end of a line rather than before the start of the next line. You'll notice this immediately.
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Intro: (A) (D) (A) (E); (A) (D) (A) (E) (A)
(A) She wore glass slippers (D)(A), she held her head up (E) high (A). She had that sparkle, (D) at her feet, and that (A)(E), twinkle in her (A) eye.
She smiled at me (D)(A), and as I wondered (E) why, she said (A), I'm looking for a (D) cow,
boy (A), to (E) take me for a (A) ride.
And he can (D) rope me, on the (A) prarie. And he can (D) ri-ide me on the (A) plain. And I will (D) be, his Cinder (F#m) ella, if he'll (A) be, my (E) cowboy (A) man. She said:
I gotta 40-gallon (D) Stetson hat with a (A), 38-foot (E) brim. We could (A), dance around, the (D) outside, baby (A), 'til we (E) both, fall, (A) in.
And you can (D) rope me, on the (A) prarie. And you can (D) ri-ide me on the (A) plain. And I will (D) be, your Cinder (F#m) ella, if he'll (A) be, my (E) cowboy (A) man.
(A)(D)(A), (A)(D)A), (A)(D)(A), (A)(E)(A)
Now I ain't never been no (D) cowboy (A); heaven knows I (E) try. I'll be (A), riding tall in my (D) saddle honey, with the, (A) Cinder (E) ella by my (A) side.
And I can (D) rope her, on the (A) prarie. And I can (D) ride, her on the (A) plain. And she will (D) be, my Cinder (F#m) ella, if I’ll (A) be, her (E) cowboy (A) man.
I can (D) rope, rope her on the (A) prarie. And I can (D) ri-ide her on the (A) plain. She will (D) be, my Cinder (F#m) ella, and I’ll (A) be, her (E) cowboy (A) man.
I can (D) rope, rope her on the (A) prarie. And I can (D) ri-ide her on the (A) plain. She will (D) be, my Cinder (F#m) ella, and I’ll (A) be, her (E) cowboy (A) man.
(Lyle Lovett) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE CRAWDAD SONG – Traditional (C3) [Can also be played with (A), (D), and (E)]
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(G) You get a line and I'll get a pole, honey. You get a line and I'll get a pole, (D) babe.
(G) You get a line and I'll get a pole. (C) And we'll go down to the crawdad hole. (G) Honey, oh (D) baby (G) mine.
(G) Yonder come a man with a sack on his back, honey. Yonder come a man with a sack on his back, (D) babe. (G) Yonder come a man with a sack on his back. (C) Look at them crawdads in that sack. (G) Honey, oh (D) baby (G) mine.
(G) The man fell down and he broke that sack, honey. The man fell down and he broke that sack, (D) babe. (G) The man fell down and he broke that sack. (C) Look at them crawdads crawlin’ back. (G) Honey, oh (D) baby (G) mine.
(G) Get up, old man, you slept too late, honey. Get up, old man, you slept too late, (D) babe. (G) Get up, old man, you slept too late. (C) Crawdad Man done passed your gate. (G) Honey, oh (D) baby (G) mine.
(G) Sittin' on the bank 'til my feet get cold, honey. Sittin' on the bank 'til my feet get cold, (D) babe. (G) Sittin' on the bank 'til my feet get cold. (C) Look at that empty crawdad hole. (G) Honey, oh (D) baby (G) mine.
(G) What you gonna do when the lake runs dry, honey? What you gonna do when the lake runs dry, (D) babe? (G) What you gonna do when the lake runs dry? (C) Sit on the bank and watch crawdads die. (G) Honey, oh (D) baby (G) mine.
(G) What did the duck say to the drake, honey? What did the duck say to the drake, (D) babe? (G) What did the duck say to the drake? (C) Ain’t no crawdads in this lake! (G) Honey, oh (D) baby (G) mine.
(G) Honey, oh (D) baby (G) mine. (G) Honey, oh (D) baby (G) mine. (G)
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
CRAZY - (Nelson) - Patsy Cline (C1)
TIP: The (Cmaj7) is just (C) without the index finger.
TIP: Willie wrote this song with the final verse a half-step up but it's full of sharps and a real mess so it's presented here without the half-step. Patsy and Willie sing the song a little differently, Patsy more hauntingly, and it's Patsy's cadence that appears here.
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INTRO: (C)(Dm),(F)(Em)(Dm7)
(C) Crazy, I'm (A7) crazy for feeling, so lone (Dm) ly. I'm (G7) crazy, crazy for feeling, so (C) blue (A7)(Dm7)(G7). (C) I knew, you'd (A7) love me as long, as you (Dm) wanted. And then (G7) someday, you'd leave me, for some, body (C) new (F)(C)(C7).
(F) Worry, why, do I let myself (C) worry? (C7) (D7) Wond'rin', what, in the world did I (G7) do? (Dm7)(G7)
(C) Crazy, for (A7) thinking that my love could (Dm) hold you. I'm (F) crazy for (Em) trying, and (Dm7) crazy for (Cmaj7) crying, and I'm (Dm7) crazy for (G7) loving (C) you.
(C) Crazy, for (A7) thinking that my love could (Dm) hold you. I'm (F) crazy for (Em) trying, and (Dm7) crazy for (Cmaj7) crying, and I'm (Dm7) crazy for (G7) lov, ing, (C) you. (F)(C)
(Patsy Cline) (Artist Index) - (Main Index) - (Song Index) (This Song)
CRAZY LITTLE THING CALLED LOVE - (Mercury) - Queen (C5)
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Intro: (D)(D)-(Dsus)-(D); (D)-(D)-(D)-(D)-(D)-(Dsus)-(D); (D)-(D)-(D)-(D)-(D)-(Dsus)-(D);
(D)-(D)-(D)-(D)-(D)-(Dsus)-(D);
This (D) thing, called love, I (G) just, can't (C) handle (G) it. This (D) thing, called love, I (G) must, get (C) round to (G) it. I ain't (D) ready. (Bb) Crazy little (C) thing called
(D) love.
This thing, called love, it (G) cries, in a (C) cradle all (G) night. It (D) swings, it jives,
(G) shakes all over like a (C) jelly (G) fish. I kinda (D) like it. (Bb) Crazy little
(C) thing called (D) love.
There goes my (G7) ba (G) by. She (C) knows how to rock n' (G) roll. She drives me (Bb) crazy. She gives me (E) hot and cold fever, then she (A) leaves me in a cool cool sweat. (A)-(E)-(D); (D)-(Dsus2)-(Gadd); (E)-(E)-(E)-(E)-(E)-(E)-(A)
I gotta be (D) cool, relax, get (G) hip, get on (C) my (G) tracks. Take a (D) back seat,
hitchhike. And (G) take a long ride on my (C) motor (G) bike. Until I'm (D) ready. (Bb) Crazy little (C) thing called (D) love.
(D)-(G7), (C)(G), (G)(Bb), (E)(A)
I gotta be (D) cool, relax, get (G) hip, get on (C) my (G) tracks. Take a (D) back seat, hitch-hike. And (G) take a long ride on my (C) motor (G) bike. Until I'm (D) ready (ready Freddie). (Bb) Crazy little (C) thing called (D) love.
This (D) thing, called love, I (G) just, can't (C) handle (G) it. This (D) thing, called love, I (G) must, get (C) round to (G) it. I ain't (D) ready. (Bb) Crazy little (C) thing called
(D) love.
(Bb) Crazy little (C) thing called (D) love. (Bb) Crazy little (C) thing called (D) love.
(Bb) Crazy little (C) thing called (D) love. (Bb) Crazy little (C) thing called (D) love.
(Bb) Crazy little (C) thing called (D) love.
(Queen) (Artist Index) - (Main Index) - (Song Index) (This Song)
CROCODILE ROCK – (John/Taupin) – Elton John (C3)
TIP: The intro looks strange but it very simple. The ellipses between the chord set
(e.g. (G) . . .(G)-(G4+)-(G/A) means strum the first chord (G),(Em), (C) or (D) and then strum it once more followed by the middle beat chord (G4+), (EmF), or (D4) just once, and then the ending chord again just once. Note "roll" after the (C) chord means roll your index finger down to cover the bottom string/first fret.
TIP: Still talking about the intro, to play the (G4+) just move your index finger down to the 1st fret/2nd string. Then just lift your index finger completely for the (G/A). To play the (EmF) just add your pinky to the bottom string/2nd fret. To play the (D4) just add your pinky to the bottom string/3rd fret (no need to remove your index finger). Again, it looks complicated but it’s really simple. Just look at the first eight chord diagrams - that’s the into (I even put the semicolons in for you).
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INTRO: (G). . .(G)-(G4+)-(G/A); (Em). . .(Em)-(EmF)-(Em); (C). . .(C)(roll)(C);
(D) . . .(D)-(D4)-(D)
I re (G) member when rock was young. Me and (Em) Suzie had so much fun, holding (C) hands and skimmin' stones. Had an (D) old gold Chevy and a place of my own but the (G) biggest kick I ever got, was doing a (Em) thing called the Crocodile Rock. While the (C) other kids were rockin’ round the clock, we were (D) hopping and bopping to the Crocodile Rock well . . .
(Em) ‘Dile Rockin', is something shockin' when your (A7) feet just can't keep still. (D7) I never knew me a better time and I (G) guess I never will. (E) Oh, lawdy mama, those Friday nights, when (A7) Suzie wore her dresses tight and, the (D7) 'Dile Rocking was ou-ow-out of (C) sight.
(G) La, la-la-la-la (Em) la, la-la-la-la (C) la, la-la-la-la (D) la (D)-(D)-(D)
But the (G) years went by and the rock just died. (Em) Suzie went and left us for some foreign guy. (C) Long nights cryin’ by the record machine, (D) dreamin’ of my Chevy and my old blue jeans. But they'll (G) never kill the thrills we got. Burnin’ (Em) up to the Crocodile Rock. Learning (C) fast as the weeks went past. We really (D) thought the Crocodile Rock would last well . . .
(Em) ‘Dile Rockin', is something shockin' when your (A7) feet just can't keep still. (D7) I never knew me a better time and I (G) guess I never will. (E) Oh, lawdy mama, those Friday nights, when (A7) Suzie wore her dresses tight and, the (D7) 'Dile Rocking was ou-ow-out of (C) sight.
(G) La, la-la-la-la (Em) la, la-la-la-la (C) la, la-la-la-la (D) la (D)-(D)-(D)
I re (G) member when rock was young. Me and (Em) Suzie had so much fun, holding (C) hands and skimmin' stones. Had an (D) old gold Chevy and a place of my own but the (G) biggest kick I ever got, was doing a (Em) thing called the Crocodile Rock. While the (C) other kids were rockin’ round the clock, we were (D) hopping and bopping to the Crocodile Rock well . . .
(Em) ‘Dile Rockin', is something shockin' when your (A7) feet just can't keep still. (D7) I never knew me a better time and I (G) guess I never will. (E) Oh, lawdy mama, those Friday nights, when (A7) Suzie wore her dresses tight and, the (D7) 'Dile Rocking was ou-ow-out of (C) sight.
(G) La, la-la-la-la (Em) la, la-la-la-la (C) la, la-la-la-la (D) la (D)-(D)-(D)
(G) La, la-la-la-la (Em) la, la-la-la-la (C) la, la-la-la-la (D) la (D)-(D)-(D)
(G) La, la-la-la-la (Em) la, la-la-la-la (C) la, la-la-la-la (D) la (D)-(D)-(D)(slowly)(C)-(D)-(G).
(Elton John) (Artist Index) - (Main Index) - (Song Index) (This Song)
CRUSH WITH EYELINER - (Berry, Buck, Mills, Stipe) - R.E.M. (C0)
TIP: This song was never meant to be played acoustically and you'll have to imagine/pretend the chords are power chords, striking them as such.
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INTRO: (A) . . . (A)(G)(D), (A)(G)(D)
(A) I, (G) know, (D) you. (A) I (G) know you've (D) seen her. (A) She's a (G) sad to (D) mato.
(A) She's, three (G) miles (D) of bad road. (A) Walking (G) down the (D) street. (A) Will I
(G) never, meet (D) her? (A) She's a (G) real (D) woman-child. (A) Oh my I (G) kiss breath
(D) turpentine.
(B)
(E) I, (D) am, smit (G) ten (A). (E) I'm the (D) real (G) thing (I'm the real (D) thing).
(E) Have you (D) seen, her, (G) come a (A) round? (Hold G) My crush, with eyeliner.
(A) I'm, (G) in, (D) like. (A) I'm in (G) fatu (D) ated. (A) It's (G) all too (D) much, pressure.
(A) She's all, that (G) I can (D) take. (A) What position (G) should I (D) wear? (A) Cop an
(G) atti (D) tude? Fake her. (A) How can (G) I con (D) vince her? Fake her. (A) That I'm
(G) invented (D) too, yeah.
(B)
(E) I, (D) am, smit (G) ten (A). (E) I'm the (D) real (G) thing (I'm the real (D) thing). (E) We (D) all, in (G) vent our (A) selves. (Hold G) And uh, you know me.
(A) She's a (G) sad to (D) mato. (A) She's, three (G) miles, (D) of bad road. (A) She's her
(G) own, in (D) vention (she's her own invention). (A) That (G) gets me (D) in the throat. What (A) can I (G) make (D) myself be? (G) Life is (D) strange, yeah life is (A) strange. What can I (G) make (D) myself be? Fake her. (G) To make her (D) mine?
(B)
(E) I, (D) am, smit (G) ten (A). (E) I'll do (D) any (G) thing (I'll do any (D) thing). (E) A kiss breath (G) turpen (D) tine. (Hold G) My crush, with eyeliner.
(E) I, (D) am, (G) smitten (A). (E) You know (D) me (yeah (G) you know (D) me). (E) I could
(D) be your (G) Franken (A) stein. (Hold G) My crush, with eyeliner.
(E) I, (D) am, smit (G) ten (A). (E) I'm the (D) real (G) thing (I'm the real (D) thing).
(E) Won't you (D) be, my, (G) valen (A) tine? (Hold G) My crush, with eyeliner.
(E)(D)(G)(A), (E)(D)(G) . . . (E)
(R.E.M.) (Artist Index) - (Main Index) - (Song Index) (This Song)
CRY, CRY, CRY – (Sherrill/Devaney) – Highway 101 (C1 or C2)
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Intro: (D) (A) (G) (D)
(D) It's just a little creek now, but when the rain comes down, it's (G) gonna be a raging (D) river. I just heard my baby, say good (A) bye. He (D) left me here, holding back my tears, (G) now he's gone for (D) ever. The dam's gonna break and (A) I'm a gonna cry cry, (G) cry (D).
I'm a gonna (G) cry and I don't, care who sees. I (D) wonder if he knows what he's done to me. Gonna (G) love that boy till the day I die. Til the (D) day I do I'm gonna (A) cry cry, (D) cry.
Now he's gone, the pain's comin' on, I can (G) feel my whole body (D) shakin'. Lookie here, now what's this, in my (A) eyes? (D) All I hear, ringing in my ear, is the (G) sound of my heart (D) breaking. The dam's gonna break and (A) I'm a gonna cry cry, (G) cry (D).
I'm a gonna (G) cry and I don't, care who sees. I (D) wonder if he knows what he's done to me. Gonna (G) love that boy till the day I die. Til the (D) day I do I'm gonna (A) cry cry, (D) cry.
I'm a gonna (G) cry and I don't, care who sees. I (D) wonder if he knows what he's done to me. Gonna (G) love that boy till the day I die. Til the (D) day I do I'm gonna (A) cry cry, (D) cry.
Til the (D) day I do I'm gonna (A) cry cry, (D) cry.
(Highway 101) (Artist Index) - (Main Index) - (Song Index) (This Song)
CRYING - Roy Orbison (C1)
TIP: This is a tough song to sing unless you've got a three octave range like Roy. Just change from one register to another as necessary and wing it.
TIP: That whole first line mess is actually easy to play. (D/A) is just (D) with the pinky extended to the 4th fret/4th string. If this is too painful just play the (D) instead. To play the (Bm) just move your pinky down one fret (if playing the D/A) or add the pinky (if playing D).
TIP: That funky looking (Bb+) comes after the (D) and is simply the (D) with your pinky added above your ring finger on the same fret. No sweat.
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INTRO: (D/A)
(D/A) I was all (Bm) right, (D/A) for a (Bm) while, (D/A) I could (Bm) smile (F#m) for a (D) while. But I saw you last night, you held my (Bb+) hand so tight, as you (G) stopped, to say
hel (Emsus4) lo. Oh you (D) wished me well, you (D6) couldn't (A7) tell, that I've been (D) cryyying, (F#m) over you, (D) cryyying, (F#m) over you. Then (G) you, said so (A) long. Left me stand (Gadd) ing, all a (A7) lone. Alone and (D) crying, (Bb+) crying, (G) crying,
(Bm) cryyy (A) ing. (Asus) It's hard to (D) understand, but the (A7) touch, of your hand, can start me (D) crying.
(D/A) I thought that (Bm) I, (D/A) was over (Bm) you, (D/A) but it's (Bm) true, (F#m) so (D) true. I love you even more, than I (Bb+) did before, but (G) darling, what can I (Bm) do (Emsus4)? For you (D) don't, love me, and I'll A7) always (A) be, (D) cryyying, (F#m) over you, (D) cryying, (F#m) over you.
(G) Yes, now you're (A) gone, and (Gadd) from, this moment (A7) on, I'll be (D) crying, (Bb+) crying, (G) crying, (Bm) cryyyyy (A) ing.
I'm (D) cryyyying, (F#m) cryyyyy (Bm) ing, (Gm) o----(A7)---over (D) you (G)(D)(G)(D)(D)(D).
(Roy Orbison) (Artist Index) - (Main Index) - (Song Index) (This Song)
CUPID - Sam Cooke (C1)
TIP: In the first verse, hold the (Em) through the words "bow" and "cry" and sing as a single syllable. In verses two and three the words are sung as two syllables.
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INTRO: (G)(Em), (G)(Em)
(G) Cupid (Em) draw back your bow, (G) and let (C) your arrow go. (G) Straight to, my (D7) lover's heart, for (G) me, for (D7) me. (G) Cupid (Em) please hear my cry (G), and let (C) your arrow
fly (G), straight to my (D7) lover's heart for (C) me (G).
Now I don't mean to bother you but (D7) I'm in distress. There's danger of me losin' all of (G) my happiness. For I love a girl who doesn't (C) know I exist. (D7) And this you can (G) fix.
So. Cupid (Em) draw back your bow- (G) ow, and let (C) your arrow go (G). Straight to, my (D7) lover's heart, for (G) me, no (D7) body but me. (G) Cupid (Em) please hear my cry- (G) -y and let (C) your arrow fly (G), straight to, my (D7) lover's heart, for (C) me (G).
Now Cupid if your arrow make a (D7) love strong for me, I promise I will love her until (G) eternity. I know between the two of us her (C) heart we can steal. (D7) Help me if you (G) will.
So. Cupid (Em) draw back your bow- (G) ow, and let (C) your arrow go (G). Straight to, my (D7) lover's heart, for (G) me, no (D7) body but me. (G) Cupid (Em) please hear my cry- (G) -y and let (C) your arrow fly (G), straight to, my (D7) lover's heart, for (C) me (G).
Now, Cupid. Don't you (Em) hear me. (G) Callin' you. I (Em) need you. (G) Cupid. (Em)(G)(Em)(G).
(Sam Cooke) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE DANCE – (Arata) – Garth Brooks (C1)
TIP: First off, the (C/F-) can be ignored in favor of straight (C). But it’s easy to play and covers the brief note that comes in the song. From the (G) move to (C) and tuck your pinky under your ring finger on the string below (4th string/3rd fret). Then lift the pinky and you’ve got (C) which comes next. Just try it – simple, eh?
TIP: The intro is a little tricky, but give it a try. The beat is 1,2,3,4 (brief pause) 5,6; 1,2,3,4 (brief pause) 5,6; 1,2,3,4 (brief pause) 5,6,7. The first set has four beats on the same cadence, three beats of (G) followed by a single beat of (C). This repeats in the second set. But in the third set notice there are only two beats of (G) and then a (C) and a (D), still all in the same tempo. This is the tricky bit and you’ll want to play three beats of (G) in the third set like you did in the first two.
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INTRO: (G)-(G)-(G)-(C), (C)-(D); (G)-(G)-(G)-(C),(C)-(D); (G)-(G)-(C)-(D), (D)-(C)-(G)
(G) Looking back, on the (C/F-) memory (C) of, the dance (D) we shared, beneath the (C) stars
a (G) bove (D). For a (G) moment, all the (C/F-) world (C) was right. How could I (D) have known, you'd (Cmaj7) ever say good (D) bye?
And (C) now, I'm glad I didn't (D) know, the way it all would (Bm) end; the way it all would (C) go (D). Our (C) lives, are better left to (D) chance. I could have missed the (Bm) pain, but I'd of had to (C) miss, (D) the, (G) dance. (C)(G)
Holding you I held (C/F-) every (C) thing. For a mo (D) ment wasn't (C) I the (G) king? (D) But if I'd (G) only known, how the (C/F-) king (C) would fall, hey who's (D) to say, you know I (Cmaj7) might have changed it (D) all.
And (C) now, I'm glad I didn't (D) know, the way it all would (Bm) end; the way it all would (C) go (D). Our (C) lives, are better left to (D) chance. I could have missed the (Bm) pain, but I'd of had to (C) miss, (D) the, (G) dance. (C)(G)
Yes my (C) life, is better left to (D) chance. I could have missed the (Bm) pain, but I'd of had to (C) miss, (D) the, (G) dance (CaddG)(Gadd).
(Garth Brooks) (Artist Index) - (Main Index) - (Song Index) (This Song)
DANIEL – (John/Taupin) – Elton John (C0)
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INTRO: (C) (F) (G) (F) (C)
Daniel is traveling tonight on a (Dm) plane. (G) I can see the red tail lights (E7) heading for Spa- (Am) -ain. Oh and, (F) I can see (G) Daniel wavin’ good (Am) bye. God it (F) looks like Daniel, (G7) must be the (F) clouds in my (C) eyes. (G7)
(C) They say-Spain-is-pretty, though I've never (Dm) been. (G) Well Daniel says-it's-the-best place, (E7) that he's ever (Am) seen. Oh and, (F) he should (G) know, he's been there e (Am) nough. Lord (F) I miss Daniel, (G7) oh I (F) miss him so (C) much.
Ohhhh, (F) Daniel my brother, you are, (C) older than me. Do you still (F) feel the pain, of the
(C) scars that won't heal? Your eyes have (Am) died, but you see more than (F) I. (Fm) Daniel you're a (C) star, (A7) in the face of the (Dm) sky (G7).
(C)(Dm), (Dm)(E7)(Am), (F)(G)(Am), (Am)(F), (F)(G), (G)(C)
Ohhhh, (F) Daniel my brother, you are, (C) older than me. Do you still (F) feel the pain, of the
(C) scars that won't heal? Your eyes have (Am) died, but you see more than (F) I. (Fm) Daniel you're a (C) star, (A7) in the face of the (Dm) sky (G7).
(C) Daniel is traveling tonight on a (Dm) plane. (G) I can see the red tail lights (E7) heading for Spa- (Am) -ain. Oh and, (F) I can see (G) Daniel wavin’ good (Am) bye. God it (F) looks like Daniel, (G7) must be the (F) clouds in my (C) eyes.
Oh God it (F) looks like Daniel, (G7) must be the (F) clouds in my (C) eyes.
(Elton John) (Artist Index) - (Main Index) - (Song Index) (This Song)
DANNY BOY – (Weatherly) - Traditional (C3)
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(G) Oh Danny boy, the pipes, the (G-add) pipes are call (C) ing. From glen to (G) glen, and (G-add) down the mountain (D) side (D7). The summer's (G) gone, and all the flowers are dy (C) ing. 'Tis you, 'tis (G) you, must (D) go, and I must (G) bide. (C) (G)
But (C) come (D7) ye (G) back, (D6) when sum (C) mer's, in the (G) meadow. Or (C) when (D7) the (G) val (D6) ley's hushed, (C) and (D) white with snow. And I'll be (G) here, in sun (C) shine or in (G) shadow. Oh Danny boy, oh Danny (D7) boy, I love you (G) so. (C) (G)
(G) And if you come, when all the (G-add) flowers are dy (C) ing. And I am (G) dead, as (G-add) dead I well may (D) be (D7). You'll come and (G) find, the place where I am ly (C) ing. And kneel and (G) say, an (D) "Ave" there for (G) me.
And (C) I (D7) shall (G) hear, (D6) tho' soft you (C) tread a (G) bove me. And (C) all (D7) my (G) dreams, (D6) will warm (C) and sweeter (D) be. If you'll not (G) fail, to tell (C) me that you (G) love me. I'll simply sleep, in peace un (D7) til you come to (G) me. (C) (G)
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
DAYDREAM BELIEVER – (Stewart) - The Monkees (C0)
Hint: The chords in little bridge between the verse and chorus are meant to be struck once each.
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INTRO: (G)(D7), (G)(D7)
Oh I could (G) hide, ‘neath the (Am) wings, of the (Bm) bluebird as she (C) sings. The (G) six o’clock a (Em) larm, would never (A7) ring (D7). But it (G) rings, and I (Am) rise, wipe the (Bm) sleep out of my (C) eyes. My (G) shavin’ (Em) razor’s (C) cold (D7) and it (G) stings.
(G)(D)(Em)(C)(G)(D)(G)
(C) Cheer up (D) sleepy (Bm) Jean. (C) Oh what (D) can it (Em) mean? (C) To a, (G) daydream
be (C) liever and a, (G) homecom (Em) ing (A7) queen (D7).
(G) You once thought of (Am) me, as a (Bm) white knight on a (C) steed. (G) Now you know how (Em) happy, I can (A7) be (D7). Oh and our (G) good times starts and (Am) end, without (Bm) dollar one to (C) spend. But (G) how much (Em) baby (C) do we (D7) really (G) need?
(G)(D)(Em)(C)(G)(D)(G)
(C) Cheer up (D) sleepy (Bm) Jean. (C) Oh what (D) can it (Em) mean? (C) To a, (G) daydream
be (C) liever and a, (G) homecom (Em) ing (A7) queen (D7).
(C) Cheer up (D) sleepy (Bm) Jean. (C) Oh what (D) can it (Em) mean? (C) To a, (G) daydream
be (C) liever and a, (G) homecom (Em) ing (A7) queen (D7).
(G)(D), (G)(D)
(C) Cheer up (D) sleepy (Bm) Jean. (C) Oh what (D) can it (Em) mean? (C) To a, (G) daydream
be (C) liever and a, (G) homecom (Em) ing (A7) queen (D7).
(C) Cheer up (D) sleepy (Bm) Jean. (C) Oh what (D) can it (Em) mean? (C) To a, (G) daydream
be (C) liever and a, (G) homecom (Em) ing (A7) queen (D7). (G)
(The Monkees) (Artist Index) - (Main Index) - (Song Index) (This Song)
DEAD MAN’S CURVE – (Kornfeld/Wilson/Berry/Christian) – Jan and Dean (C2)
TIP: In the intro, emphasize the downstroke on the bottom three strings, remembering to lift off the 2nd string for the (G), for the first two measures, then strike all strings for the final measure and procede into the song from the final (G).
TIP: If you can, include the pinky at 4th string/5th fret when playing the (D#). It's a quick slide so if you can’t, no biggie, just strike only the bottom three strings.
TIP: The little instrumental bridge after the chorus is two beats per chord each in rapid succession. And the spoken part towards the end has one strum before each line, indicated by a chord in brackets |G| |Em| |C| |D| before each line.
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Intro: (Gadd) . . . (G); (Gadd) . . . (G); (Gadd) . . . (G)
(G) I was cruisin’ in my Stingray (Gadd) late one night, when an (C) XKE pulled up on the right, and (G) rolled down the window of his (Gadd) shiny new Jag, and (D) challenged me then and there to a drag. I (G) said “You’re on buddy my, (Gadd) mill’s runnin’ fine. Let’s (C) come off the line now at Sunset and Vine. But I’ll (G) throw you one better if you’ve (Gadd) got the nerve, let’s (Am) race all the way (D) . . . to Dead Man’s
(G) Dead Man’s Curve, it’s no place to play. (Em) Dead Man’s Curve, you best keep away. (C) Dead Man’s Curve, I can hear ‘em say: (D) “Won’t come (D#) back from (Am7) Dead Man’s (D) Curve.”
(D)-(D7)-(Em)-(D)
(G) The street was deserted late (Gadd) Friday night. We were (C) buggin’ each other while we sat out the light. We (G) both popped the clutch when the (Gadd) light turned green. You (D) should of heard the whine from my screamin’ machine. I (G) flew past LaBrea Schwab’s and (Gadd) Crescent Heights, and (C) all the Jag could see were my six tail lights. He (G) passed me at Doheny then I (Gadd) started to swerve, but I (Am) pulled her out and there we (D) were, at Dead Man’s . . .
(G) Dead Man’s Curve, it’s no place to play. (Em) Dead Man’s Curve . . .
Spoken: |G| Well the last thing I remember Doc I started to swerve. |Em| And then I saw the Jag slide into the curve. |C| I know I’ll never forget that horrible sight. |D| I guess I found out for myself that everyone was right.
(D) Won’t come (D#) back from (Am7) Dead Man’s (D) Curve. (D)(D7)(Em)(D)
(G) Dead Man’s Curve, it’s no place to play. (Em) Dead Man’s Curve, you best keep away. (C) Dead Man’s Curve, I can hear ‘em say: (D) Won’t come (D#) back from (Am7) Dead Man’s (D) Curve. (D)(D7)(Em)(D)
(G) Dead Man’s Curve, it’s no place to play. (Em) Dead Man’s Curve, you best keep away. (C) Dead Man’s Curve, I can hear ‘em say: (D) Won’t come (D#) back from (Am7) Dead Man’s (D) Curve (D)(D7)(Em)(D) . . . (Em)
(Jan and Dean) (Artist Index) - (Main Index) - (Song Index) (This Song)
DEAD SKUNK - Loudon Wainwright III (C2)
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INTRO: (G)(D)(C)(G); (G)(D)(C)(G)
Crossin' the highway (D) late last night. He (C) shoulda looked left and he (G) shoulda looked right. He didn't see the station (D) wagon car. The (C) skunk got squashed and (G) there you are.
You got yer dead skunk in the (D) middle of the road. (C) Dead skunk in the (G) middle of the road. Dead skunk in the (D) middle of the road (C) stinkin' to high (G) heaven. (G)(D)(C)(G)
Take a whiff on me that (D) ain't no rose. (C) Roll up yer window and (G) hold yer nose. You don't have to look and you (D) don't have to see 'cause you can (C) feel it in your ol (G) factory.
You got yer dead skunk in the (D) middle of the road. (C) Dead skunk in the (G) middle of the road. Dead skunk in the (D) middle of the road (C) stinkin' to high (G) heaven. (G)(D)(C)(G); (G)(D)(C)(G)
Yeah you got yer dead cat and you (D) got yer dead dog. On a (C) moonlight night you got yer (G) dead toad frog. You got yer dead rabbit and yer (D) dead raccoon. The (C) blood and the guts they're gonna (G) make you swoon!
You got yer dead, skunk, (D) in the middle, (C) dead skunk in the (G) middle of the road. Dead skunk in the (D) middle of the road, (C) stinkin' to high (G) heaven. Come on stink. (G)(D)(C)(G); (G)(D)(C)(G)
You got it it's dead. (D) It's in the middle. (C) Dead skunk in the (G) middle. Dead skunk in the (D) middle of the road (C) stinkin' to high (G) heaven! (G)(D)(C)(G); (G)(D)(C)(G)
All over the road, technicolor man. (G)(D)(C)(G); (G)(D)(C)(G)
Oh you got pollution. It's dead, it's in the (D) middle, and it's (C) stinkin' to high high (G) heaven. (G)(D)(C)(G); (G)(D)(C)(G)
(Loudon Wainwright III) (Artist Index) - (Main Index) - (Song Index) (This Song)
DESPERADO – (Henley/Frey) – The Eagles/Linda Ronstadt (C0 or C5)
TIP: Sorry, no pass this time with the (Am7). In this song the “full version” should be played (if possible) rather than the Easy Chord. Both diagrams appear. The “full version” is simply a regular (Am) with the pinky extended to the 1st string/3rd fret.
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(G)(G7),(C)(A7),(G)(A7)(D7)
Desper (G) ado (G7), why don't you (C) come to your (A7) senses? You been (G) out ridin' fences, for (A7) so long (D7) now. Oh you're a (G) hard one. (G7) I know that (C) you got your
(A7) reasons. These (G) things that are (Em) pleasin' you, can (A7) hurt you (D7) some (G) how. (D)
Don't you (Em) draw the queen of (Bm) diamonds boy. She'll (C) beat you if she's a (G) ble. You know the (Em) queen of hearts is (C) always your best (G) bet (D). Now it (Em) seems to me some (Bm) fine things have been (C) laid upon your (G) table. But you (Em) only want the (A7) ones that you can't (Am7) get (D7).
Desper (G) ado (G7), oh you ain't (C) gettin' no (A7) younger. Your (G) pain and your (Em) hunger, they're (A7) drivin' you (D7) home. And (G) freedom, oh freedom (G7) well, that's just (C) some people (A7) talkin'. Your (G) prison is (Em) walking through this (A7) world all (D7) a (G) lone. (D)
Don't your (Em) feet get cold in the (Bm) winter time? The (C) sky won't snow and the (G) sun won't shine. It's (Em) hard to tell the (C) night time from the (G) day (D). You're (Em) losin' all your (Bm) highs and lows ain't it (C) funny how the (G) feeling goes a (Am7) way (D7)?
Desper (G) ado (G7), why don't you (C) come to your (A7) senses? Come (G) down from your (Em) fences, (A7) open the (D7) gate. It may be (G) rainin', (G7) but there's a (C) rainbow above (A7) you. You better (G) let somebody (Em) love you - (C) let somebody love (Am7) - you better (G) let somebody (Em) love you . . . [slow down] . . . be (Am7) fore it's (D7) too (G) late.(C)(G)
(The Eagles) (Linda Ronstadt) (Artist Index) - (Main Index) - (Song Index) (This Song)
DÉJÀ VU (ALL OVER AGAIN) – John Fogerty (C3)
TIP: If you can, play the (F#m) with the note at the 4th string/4th fret included (see diagram) as it will sound a little prettier. Try playing it with your index finger as a barre, on the three bottom strings and then stretch the ring finger or pinky to play the 4th string. If too hard, just play the (F#m) EASY chord and don’t strike the top three strings.
TIP: In the bridge, the first two chords are struck once.
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INTRO: (F#m) (A) (F#m) (A)
Did you (D) hear 'em talkin' (A) 'bout it, on the (F#m) radio? Did you (D) try to read the (A) writing, on the (F#m) wall? Did that (D) voice inside you (A) say, “I've heard it (F#m) all before?” It's like (D) Deja Vu all (E) over a (A) gain.
Day by day, I hear the (E) voices (A) rising. (D) Started with a (A) whisper, like it (E) did before. (A) Day by day, we count the (E) dead and (A) dying. (D) Ship the bodies home, while the (E) networks all keep score.
Did you (D) hear 'em talkin' (A) 'bout it, on the (F#m) radio? Could your (D) eyes believe the (A) writing, on the (F#m) wall? Did that (D) voice inside you (A) say, “I've heard it (F#m) all before?” It's like (D) Deja Vu all (E) over a (A) gain.
Bridge: (D) (A) (E); (D) (A) (F#m); (D) (A) (F#m); (E) (A)
One by one, I see the (E) old ghosts (A) rising. (D) Stumblin' 'cross Big (A) Muddy, where the (E) light gets dim. (A) Day after day, another (E) Momma's (A) crying. (D) She's lost her precious child, to a (E) war that has no end.
Did you (D) hear 'em talkin' (A) 'bout, it on the (F#m) radio? Did you (D) try to read the (A) writing, on the (F#m) wall? Did that (D) voice inside you (A) say, “I've heard it (F#m) all before?” It's like (D) Deja Vu all (E) over a (A) gain.
It's like (D) Deja Vu all (E) over a (A) gain. (A)(F#m)(A), (A)(F#m)(A), (A)(E)(A)
(John Fogerty) (Artist Index) - (Main Index) - (Song Index) (This Song)
DIAMONDS AND RUST – Joan Baez (C2)
TIP: The one (Fmaj7) is a little tough. Think (F) but without the bottom string. The pinky-base note (5th string/3rd fret above the ring finger) is optional but sounds better if you can include it. Don’t strike the top string in either case.
TIP: For the intro, play (Em) four times, then add the pinky to the bottom string (EmF), then slide it up one fret (EmG), back down one fret ((EmF) and lift (Em). Repeat. Or if you prefer, just strum (Em), "walking the strings" from the top three strings down to the bottom and back up again.
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INTRO: (Em)x4-(EmF)-(EmG)-(EmF)-(Em) . . . x 2
Well (Em) I'll be damned, here comes your (C) ghost again. But that's not un (G) usual. It's just that the (D) moon is full, and you happened to (Em) call. And here I sit, hand on the (C) telephone. Hearing a (G) voice I'd known, a couple of (D) light years ago, heading straight for a (Em) fall.
As I remember your eyes were bluer than (C) robin's eggs. My poetry was (G) lousy you said. Where are you (D) calling from? A booth in the (Em) midwest. Ten years ago I bought you some (C) cufflinks. You brought me (G) something. We both know what (D) memories can bring. They bring diamonds and (Em) rust. (Em)x4-(EmF)-(EmG)-(EmF)-(Em) . . . x 2
Well you, burst on the scene already a (C) legend. The unwashed phen (G) omenon, the original
(D) vagabond. You strayed into my (Em) arms. And there you stayed, temporarily (C) lost at sea. The Madonna was (G) yours for free. Yes the girl on the (D) half-shell, would keep you un (Em) harmed.
Now I (Bm) see you standing with brown leaves falling around and snow in your (Am) hair. Now you're (Bm) smiling out the window of that crummy hotel over Washington (Am) Square. Our (C) breath comes out white clouds mingles and hangs in the (G) air. Speaking (Fmaj7) strictly for me we both could have died then and (G) there. (B7)
Now (Em) you're telling me, you're not nos (C) talgic. Then give me another (G) word for it. You who are (D) so good with words, and at keeping things (Em) vague. Because I need some of that vagueness now it's all come back too (C) clearly. Yes I loved you (G) dearly, and if you're offering me (D) diamonds and rust, I've already (Em) paid.
(Joan Baez) (Artist Index) - (Main Index) - (Song Index) (This Song)
D-I-V-O-R-C-E - (Braddock/Putnam) - Tammy Wynette (C1)
TIP: For the intro form (C) but include your pinky on the top string above the ring finger (covering not ). Now strum 7 times, lifting off the top string for just the 5th strum. So it's 1 2 3 4 (lift) 6 7. The notes are: . Repeat.
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INTRO: (C) base x 2
(C) Our little boy is four years old and (F) quite a little (C) man. So we spell out the words we don't want (D) him to under (G) stand. Like (C) T-O-Y or maybe
S-U (C7) -R (F) -P-R (G7) -I-S (C) -E. But the (F) words we're hiding (C) from him now tear the heart right (G) out of (C) me.
(C) Our D-I-V-O-R-C (C7) -E (F) becomes (G7) final to (C) day. Me and little J-O-E (D) will be goin' a (G7) way. I (C) love you both and this will be pure H-E (F) double (G7) L for (C) me. Oh I (F) wish that we could (C) stop this D-I-V-O (G7) R-C (C) -E.
[Key Change}: Strum (D)
(D) Watch him smile, he thinks it Christmas, (G) or his 5th birth (D) day. And he thinks C-U-S-T-O-D-Y (E) spells fun or (A7) play. I (D) spell out all the hurtin' (D7) words and (G) turn my
(A7) head when I (D) speak. 'Cause (G) I can't spell a (D) way this hurt that's drippin' (A) down my (D) cheek.
(D) Our D-I-V-O-R-C (D7) -E (G) becomes (A7) final to (D) day. Me and little J-O-E (E) will be goin' a (A7) way. I (D) love you both and this will be pure H-E (G) double (A7) L for (D) me. Oh I (G) wish that we could (D) stop this D-I-V-O (A7) R-C (D) -E.
(Tammy Wynette) (Artist Index) - (Main Index) - (Song Index) (This Song)
DIXIE – (Emmett) - Traditional (C0 or C1)
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INTRO: (A)(A)(E)(A)
Oh I (A) wish I was in the land of cotton. (D) Old times there are not forgotten. Look (A) away! Look away! Look (E) away! Dixie (A) Land. In Dixie Land where I was born in, (D) early on a frosty mornin'. Look (A) away! Look away! Look (E) away! Dixie (A) Land.
Oh I wish I was in (D) Dixie! Hoo (B7) ray! Hoo (E7) ray! In (A) Dixie Land I'll (D) take my stand to (A) live and die in Dix (E7) ie. A (A) way, a (E7) way. A (A) way down south in
(E7) Dix (A) ie!
Oh-old Missus will-ill marry Bill the weaver. (D) William was a gay deceiver. Look (A) away! Look away! Look (E) away! Dixie (A) Land. But when he put his arm around her, (D) smiled as fierce as a forty pounder. Look (A) away, look away. Look (E) away, Dixie (A) land.
Oh I wish I was in (D) Dixie! Hoo (B7) ray! Hoo (E7) ray! In (A) Dixie Land I'll (D) take my stand to (A) live and die in Dix (E7) ie. A (A) way, a (E7) way. A (A) way down south in
(E7) Dix (A) ie!
There is buckwheat cakes and Injun batter, (D) makes you fat or a little fatter. Look (A) away, look away, look (E) away, Dixie (A) land. Then hoe it down and scratch your gravel, to (D) Dixie's land I'm bound to travel. Look (A) away, look away. Look (E) away, Dixie (A) land.
Oh I wish I was in (D) Dixie! Hoo (B7) ray! Hoo (E7) ray! In (A) Dixie Land I'll (D) take my stand to (A) live and die in Dix (E7) ie. A (A) way, a (E7) way. A (A) way down south in
(E7) Dix (A) ie.
A (A) way, a (E7) way. A (A) way down south in (E7) Dix (A) ie!
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
DOMINIQUE – (Deckers) - Debbie Reynolds (C0) or (C5)
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Intro: (A) (E7) (A)
(A) Dominique nique nique I will (D) tell of Dominique. His (A) goodness to a (E7) cclaim.
(E) And I (A) pray the song I sing, will some (D) simple pleasure bring, that the (A) world shall (E7) know his (A) name.
I will (D) tell of Domi (A) nique as I (E7) sing this little (A) song. And (B7) when I sing the chorus all the world will sing a (E) long.
Domi (A) nique nique nique it was (D) good Saint Dominique. He (A) lived for you and (E7) me.
(E) From his (A) labors long ago, came a (D) better world I know, and his (A) love shall
(E7) always (A) be.
“Though I’m (D) poor” said Domi (A) nique as he (E7) spoke unto the (A) Lord: “I will (B7) be your humble servent and your love is my re (E) ward.”
Domi (A) nique nique nique I will (D) follow Dominique. His (A) burdens will I (E7) share.
(E) For his (A) courage will I pray, his (D) teachings to obey. His (A) words shall (E7) be my (A) prayer.
By the (D) kindness of his (A) heart and the (E7) labor of his (A) hand. He brought (B7) love and understanding as he wandered through the (E) land.
(A) Dominique nique nique I will (D) tell of Dominique. His (A) goodness to a (E7) cclaim.
(E) And I (A) pray the song I sing, will some (D) simple pleasure bring, that the (A) world shall (E7) know his (A) name.
Domi (D) nique the mighty (A) warrior was a (E7) soldier of the (A) Lord. His (B7) armor was devotion and the Gospel was his (E) sword.
Domi (A) nique nique nique it was (D) good Saint Dominique. He (A) lived for you and (E7) me.
(E) From his (A) labors long ago, came a (D) better world I know, and his (A) love shall
(E7) always (A) be.
Through the (D) blazing heat of (A) summer and the (E7) chill of winter (A) snow. I will
(B7) follow Dominique. In his footsteps I will (E) go.
Domi (A) nique nique nique I will (D) follow Dominique. His (A) burdens will I (E7) share.
(E) For his (A) courage will I pray, his (D) teachings to obey. His (A) words shall (E7) be my (A) prayer.
(Debbie Reynolds) (Artist Index) - (Main Index) - (Song Index) (This Song)
DON QUIXOTE – Gordon Lightfoot (C0)
TIP: The (D/A) is nothing more than regular (D) with your pinky extended to the at 4th fret/4th string. There’s enough time that you can hit the regular (D) and then hunt with your pinky to find the right string/fret position. And if need by, you can just play regular (D) wherever you see the (D-A).
TIP: (E7 full) means include your pinky on the 3rd fret/2nd string.
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Intro: (A) (D/A) (A)-(A) (E7) (A)
(A) Through the woodland (D/A) through the (A) valley comes a horseman (E) wild and (A) free.
Tilting at the (D/A) windmills (A) passing who can the brave young (E) horseman (A) be?
He is wild but (D/A) he is (A) mellow he is strong but (E) he is (A) weak. He is cruel but (D/A) he is (A) gentle he is wise but (E) he is (A) meek.
(E) Reaching for his saddlebag he (D/A) takes a battered book into his (A) hand. (E) Standing like a prophet bold he (D/A) shouts across the ocean to the (A) shore, till he can shout no (E) more. (E7 full)
(A) I have come o’er (D/A) moor and (A) mountain like the hawk up (E) on the (A) wing. I was once a (D/A) shining (A) knight who was the guardian (E) of a (A) king. I have searched the (D/A) whole world (A) over looking for a (E) place to (A) sleep. I have seen the (D/A) strong sur (A) vive and I have seen the (E) lean grown (A) weak.
(A) (D-A) (A)-(A) (E7) (A)
(A) See the children (D/A) of the (A) earth who wake to find the (E) table (A) bare. (A) See the gentry (D/A) in the (A) country riding off to (E) take the (A) air.
(E) Reaching for his saddlebag he (D/A) takes a rusty sword into his (A) hand. Then (E) striking up a knightly pose, he (D/A) shouts across the ocean to the (A) shore, till he can shout no (E) more. (E7 full)
(A) See the jailor (D/A) with his key who (A) locks away all (E) trace of (A) sin. See the judge up (D/A) on the (A) bench who tries the case as (E) best he (A) can. See the wise and (D/A) wicked (A) ones who feed upon life’s (E) sacred (A) fire. See the soldier (D/A) with his (A) gun who must be dead to (E) be ad (A) mired.
(A) (D/A) (A)-(A) (E7) (A)
See the man who (D/A) tips the (A) needle see the man who (E) buys and (A) sells. See the man who (D/A) puts the (A) collar on the ones who (E) dare not (A) tell. See the (D/A) drunkard in the
(A) tavern stemming gold to (E) make ends (A) meet. See the youth in (D/A) ghetto (A) black,
condemned to life up (E) on the (A) street.
(E) Reaching for his saddlebag he (D/A) takes a tarnished cross into his (A) hand. Then
(E) standing like a preacher now he (D/A) shouts across the ocean to the (A) shore. Then (E) in a blaze of tangled hooves he (D/A) gallops off across the dusty (A) plain, in vain to search a (E) gain, where no one will (D) hear.
(pause)
(A) Through the woodland (D/A) through the (A) valley comes a horseman (E) wild and (A) free.
Tilting at the (D/A) windmills (A) passing who can the brave young (E) horseman (A) be?
He is wild but (D/A) he is (A) mellow he is strong but (E) he is (A) weak. He is cruel but (D/A) he is (A) gentle he is wise but (E) he is (A) meek.
(A) (D/A) (A)-(A) (E7) (A)
(Gordon Lightfoot) (Artist Index) - (Main Index) - (Song Index) (This Song)
DON'T BE CRUEL - (Blackwell) - Elvis Presley (C0)
TIP: The (Gadd) can be omitted in favor of plain ol' (G) if you'd rather. It just adds a little zing.
TIP: In the intro the move to (C) and back to (G) is a very quick. It's a bass beat so just aim for the top 3 strings.
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INTRO: (G)(G)-(C)-(G) x 4
(G) You know I can be found, (Gadd) sitting home all alone. If (C) you can't come around, at
(Gadd) least please telephone. Don't be (Am) cruel (D), to a heart that's (G) true.
Baby if I made you mad, for (Gadd) something I might have said, (C) please let's forget the past,
the (Gadd) future looks bright ahead. Don't be (Am) cruel(D), to a heart that's (G) true.
I don't (C) want no other (D) love. (C) Baby it's just (D) you I'm, thinking (G) of.
Hmmm. Don't stop thinking of me, don't (Gadd) make me feel this way. (C) Come on over here and love me, you (Gadd) know what I want you to say. Don't be (Am) cruel (D), to a heart that's
(G) true. Why (C) should we be a (D) part? I (C) really love you (D) baby cross my (G) heart.
Let's walk up to the preacher, and (Gadd) let us say I do. (C) Then you'll know you'll have me,
and (Gadd) I'll know that I'll have you. Don't be (Am) cruel (D), to a heart that's (G) true.
I don't (C) want no other (D) love. (C) Baby it's just (D) you I'm, thinking (G) of.
Don't be (Am) cruel (D), to a heart that's (G) true. Don't be (Am) cruel (D), to a heart that's (G) true. I don't (C) want no other (D) love. (C) Baby it's just (D) you I'm thinking (G) of.
(Elvis Presley) (Artist Index) - (Main Index) - (Song Index) (This Song)
DON’T LET ME DOWN – (Lennon/McCartney) - The Beatles [C0]
TIP: To find the right note to start singing with – bottom string/2nd fret - strum (D)
TIP: The intro is chord (D), then still holding (D), open 4th string, pinky on 4th string/4th fret, lift all fingers and pluck open 2nd string, form (D) and pluck 3rd string, pinky back on 4th string/4th fret, 3rd string covered, open 4th string, (D).
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INTRO: (D), (D)
Don't let me (Em) down, don't let me (D) down. Don't let me (Em) down, don't let me (D) down.
Nobody ever loved me like she (Em) does. Oooh she does, yes she (D) does. And if somebody loved me like she (Em) does. Oooh she do me, yes she (D) does.
Don't let me (Em) down, don't let me (D) down. Don't let me (Em) down, don't let me (D) down.
I'm in love for the first time. Don't you know it's gonna (A) last? It's a (A7) love that lasts for (A) ever. It's a (A7) love that had no (D) past.
Don't let me (Em) down, don't let me (D) down. Don't let me (Em) down, don't let me (D) down.
And from the first time that she really (Em) done me. Oooh she done me, she done me (D) good. I guess nobody ever really (Em) done me. Oooh she done me, she done me (D) good.
Don't let me (Em) down, don't let me (D) down. Don't let me (Em) down, don't let me (D) down. Ooooooh. (D)
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
DON’T LET THE SUN CATCH YOU CRYING – (Marsden) – Gerry and the Pacemakers (C0)
TIP: Don’t be spooked by the (maj7) chords, they’re easy to play. (Cmaj7) is just (C) without the index finger. And it will always precede (Fmaj7) so all you do is keep the finger placement just like it is but drop down one string-set, kind of like you’re playing a (C) and then add your pinky above the ring finger (you can even omit adding the ring finger if you want). Easy!
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INTRO: (Cmaj7) (Fmaj7); (Cmaj7) (Fmaj7)
(Cmaj7) Don't, let the (Fmaj7) sun, catch you (Cmaj7) cryin' (Fmaj7). (Cmaj7) The night's, the (Fmaj7) time, for all your (G) tears. (Am) Your heart may be (Em) broken tonight. (Am) But tomorrow in, the (Em) morning light. (F) Don't let the (G) sun, catch you (Cmaj7) cryin' (Fmaj7).
(Cmaj7)(Fmaj7)
(Cmaj7) The night time (Fmaj7) shadows, disap (Cmaj7) pear (Fmaj7). (Cmaj7) And, with them (Fmaj7) go, all your (G) tears. For the (Am) morning, will bring (Em) joy. For (Am) every, girl and (Em) boy. (F) So, don't let the (G) sun, catch you (Cmaj7) cryin' (Fmaj7). (Cmaj7)(Fmaj7)
(G) We know, that cryin's, not a (Am) bad, thi-ing. (F) But stop your cryin', when the (G) birds sing.
(Cmaj7) It may be (Fmaj7) hard, to dis (Cmaj7) cover (Fmaj7). (Cmaj7) That you've, been (Fmaj7) left, for a (G) noth-oth-er. But don't for (Am) get that love's a (Em) game. And it can
(Am) always, come a (Em) gain. (F) Oh, don't let the (G) sun, catch you (Cmaj7) cryin' (Fmaj7).
(F) Don't let the (G) sun catch you (Cmaj7) cryin' oh no. Oh, (G) oh, (Cmaj7) oh.
(Gerry and the Pacemakers) (Artist Index) - (Main Index) - (Song Index) (This Song)
DON'T THINK TWICE IT'S ALRIGHT - (Dylan) - Bob Dylan/Peter, Paul and Mary (C1)
TIP: Seems everyone who's performed this song has their own minor variations of the lyrics. Even Dylan performed the song live differently than the original studio version. The lyrics here are from a live Dylan concert.
TIP: The intro, as Dylan does it and shown here, are the chords from the first line (through babe) and then the last line of the first verse. PPM play the intro with all the chords through the first verse.
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INTRO: (G)(D)(Em),(C)(D)(G)
(G) It ain't no use to (D) sit and wonder (Em) why babe, (C) if'n you don't know by (D) now. And it (G) ain't no use to (D) sit and wonder (Em) why babe. (C) It don't matter any (D7) how. When your (G) rooster, crows, at the, (G7) break of dawn, (C) look out your window and (Em) I'll be gone. (G) You're the reason I'm (Em) traveling (C) on. (G) Don't think (D) twice it's all
(G) right.
And it ain't no use in (D) turning on your (Em) light babe. (C) That light, I never (D) knowed. And (G) it ain't no use in (D) turning on your (Em) light babe. (C) I'm on the dark side of the (D7) road. Still I (G) wish there was somethin' you would, (G7) do or say, (C) to try and make me change my, (Em) mind and stay. (G) But we never did too much (Em) talking any (C) way. (G) So don't think (D) twice it's all (G) right.
And it ain't no use in (D) calling out my (Em) name babe, (C) like you never did be (D) fore. And it (G) ain't no use in (D) calling out my (Em) name babe. (C) I can't hear you any (D7) more. I'm a (G) thinking and a-wond'rin' walking (G7) down the road. (C) I once loved a woman, a (Em) child I'm told. I've (G) given my heart but she (Em) wanted my (C) soul. (G) But don't think
(D) twice it's all (G) right.
I'm walkin' down that (D) long lonesome (Em) road babe. (C) Where I'm bound, I can't (D) tell. Cuz (G) goodbye's, (D) too good a (Em) word babe. (C) So I'll just say, fare thee (D7) well. (G) I ain't saying you treated (G7) me unkind. (C) You could have done better, but (Em) I don't mind.
(G) You just kinda wasted (Em) my precious (C) time. (G) But don't think (D) twice it's
all (G) right.
(G)(D)(Em),(C)(D)(G)
(Bob Dylan)(Peter, Paul and Mary) (Artist Index) - (Main Index) - (Song Index) (This Song)
DO RON RON – (Barry/Greenwich) - The Crystals (C1)
TIP: For the into, begin with a strong downstroke emphasizing the top 3 (base) strings, followed by six lighter alternating strokes. Repeat this pattern four times. And if you can, cover the top string (base ) with your pinky to mellow out the bottom.
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INTRO: (C), (C), (C), (C)
I (C) met her on a Monday and my (F) heart stood still. Da (G) doo ron ron ron, da (C) doo ron ron. Somebody told me that her (F) name was Jill. Da (G) doo ron ron ron, da (C) doo ron ron.
Yes, my (F) heart stood still. (C) Yes, her (G) name was Jill. (C) And, when I (F) walked her home. Da (G) doo ron ron ron, da (C) doo ron ron.
I knew what she was doin' when she (F) caught my eye. Da (G) doo ron ron ron, da (C) doo ron ron. I looked so quiet but (F) my oh my. Da (G) doo ron ron ron, da (C) doo ron ron.
Yes, she (F) caught my eye. (C) Yes, but (G) my oh my. (C) And, when I (F) walked her home, Da (G) doo ron ron ron, da (C) doo ron ron.
(C)(F) Da (G) doo ron ron ron, da (C) doo ron. (C)(F) Da (G) doo ron ron ron, da (C) doo ron.
I picked her up at seven and she (F) looked so fine. Da (G) doo ron ron ron, da (C) doo ron ron. Someday soon I'm gonna (F) make her mine. Da (G) doo ron ron ron, da (C) doo ron ron.
Yes, she (F) looked so fine. (C) Yes, I'll (G) make her mine. (C) And, when I (F) walked her home. Da (G) doo ron ron ron da, (C) doo ron ron.
Da (G) doo ron ron ron, da (F) doo ron ron. Da (G) doo ron ron ron, da (C) doo ron ron.
Da (G) doo ron ron ron, da (F) doo ron ron. Da (G) doo ron ron ron, da (C) doo ron ron [rpt and fade]
[Man, they don’t make lyrics like that anymore!]
(The Crystals) (Artist Index) - (Main Index) - (Song Index) (This Song)
DO WAH DIDDY – (Barry/Greenwich) - Manfred Mann (C1) or (C2)
TIP: The intro chords echo the refrain "Do wah diddy . . ." Then, without chords (NC), sing the opening line until you reach the first (G) in "Do wah".
TIP The bridges are a bit tricky to get the vocals right. Strike each chord once, which emulates the bells in the song. "Whoa" is sung as a four syllable sing-song. Start the downslope on the second syllable of "falling" with "love" being a five syllable descending/ascending valley. And there's a slight hesitation after "love" and before "Yes". Also note the last line in the bridge is a run-on sentence so you have to keep up. Listen to the song and you'll hear what I mean.
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(Gadd) (C) (Gadd)
(NC) There she was, just a walkin' down the street singin' (G) "Do wah diddy diddy (C) dum diddy (G) do." Snappin' her fingers and (C) shufflin' her (G) feet singin' "Do wah diddy diddy (C) dum diddy (G) do." She looked good, (looked good), she looked fine, (looked fine). She looked good she looked fine and I nearly lost my mind.
Before I knew it she was (C) walkin' next to (G) me singin' "Do wah diddy diddy (C) dum diddy
(G) do." Holdin' my hand just as (C) natural as can (G) be singin' "Do wah diddy diddy (C) dum diddy (G) do." We walked on, (walked on), to my door, (my door). We walked on to my door then we kissed a little more.
(G)-(C)-(D)-(C) Whoa-oh-oh-oh. I (Em) knew we was falling in lo-uh-uh-uh-ve. [Pause, 2,3]
(C) Yes I did-and-so-I-told-her-all the-things I'd been (D7) dreamin' of.
Now (G) we're together nearly (C) every single (G) day singin' "Do wah diddy diddy (C) dum diddy (G) do." A we're so happy and that's (C) how we're gonna (G) stay singin' "Do wah diddy diddy
(C) dum diddy (G) do." Well I'm hers, (I'm hers), she's mine (she's mine). I'm hers she's mine wedding bells are gonna chime.
(G)-(C)-(D)-(C) Whoa-oh-oh. I (Em) knew we was falling in lo-uh-uh-uh-ve. [Pause, 2,3]
(C) Yes I did-and-so-I-told-her-all the-things I'd been (D7) dreamin' of.
Now (G) we're together nearly (C) every single (G) day singin' "Do wah diddy diddy (C) dum diddy (G) do." A we're so happy and that's (C) how we're gonna (G) stay singin' "Do wah diddy diddy
(C) dum diddy (G) do." Well I'm hers, (I'm hers), she's mine, (she's mine). I'm hers she's mine wedding bells are gonna chime.
(G) Do wah diddy diddy (C) dum diddy (G) do. Do wah diddy diddy (C) dum diddy (G) do. (G) Do wah diddy diddy (C) dum diddy (G) do.
(Manfred Mann) (Artist Index) - (Main Index) - (Song Index) (This Song)
DOWN AT THE TWIST AND SHOUT – Mary Chapin Carpenter (C1)
TIP: The intro are the chords from the first line and the chords from the last line of the first verse. Start singing with note (bottom string open).
TIP: In the second and fourth verses, sing the words preceding the (A7) (“Lafayette” and “rain”) with an up-inflection.
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INTRO: (C)(G),(D)(G)
(C) Saturday night and the moon is out I wanna (G) head on over to the Twist and Shout. Find a
(D) two-step partner and a Cajun beat. When it (G) lifts me up I'm gonna find my feet, (C) out in the middle of a big dance floor when I (G) hear that fiddle wanna beg for more. Gonna (D) dance to a band from a-Lou'sian' to (G) night.
Well I (D) never have wandered down to New Orleans. (G) Never have drifted down a bayou stream.
But I (D) heard that music on the radio, and I (G) swore some day I was gonna go. Down
(Em) Highway 10 past Lafayette, to (A7) Baton Rouge and I won't forget, to (D) send you a card with my regrets, cuz I'm (D7) never gonna come back (G) home.
(C) Saturday night and the moon is out I wanna (G) head on over to the Twist and Shout. Find a
(D) two-step partner and a Cajun beat. When it (G) lifts me up I'm gonna find my feet, (C) out in the middle of a big dance floor. When I (G) hear that fiddle wanna beg for more. Wanna (D) dance to a band from a-Lou'sian' to (G) night. (C)(G),(D)(G)
They got a (D) alligator stew and a crawfish pie. A (G) golf storm blowin' into town tonight.
(D) Livin on the delta's quite a show. They got (G) hurricane parties every time it blows. And (Em) here up north it's a cold cold rain and there (A7) ain't no cure for my blues today,
ex (D) cept when the paper says “Beausoleil is (D7) coming into town” baby let's go (G) down.
(C) Saturday night and the moon is out I wanna (G) head on over to the Twist and Shout. Find a
(D) two-step partner and a Cajun beat. When it (G) lifts me up I'm gonna find my feet, (C) out in the middle of a big dance floor. When I (G) hear that fiddle wanna beg for more. Wanna (D) dance to a band from a-Lou'sian' to (G) night. (C)(G),(D)(G)
Bring your (D) mama bring your papa bring your sister too. They got (G) lots of music and lots of room. When they (D) play you a waltz from 1910 you gonna (G) feel a little bit young again. Well you (Em) learned to dance with your rock'n'roll. You (A7) learned to swing with a do-si-do.
But you (D) learn to love at the fais-so-do when you (D7) hear a little Jolie (G) Blon.
(C) Saturday night and the moon is out I wanna (G) head on over to the Twist and Shout. Find a
(D) two-step partner and a Cajun beat. When it (G) lifts me up I'm gonna find my feet, (C) out in the middle of a big dance floor. When I (G) hear that fiddle wanna beg for more. Wanna (D) dance to a band from a-Lou'sian' to (G) night. (C)(G),(D)(G)
(C) Saturday night and the moon is out I wanna (G) head on over to the Twist and Shout. Find a
(D) two-step partner and a Cajun beat. When it (G) lifts me up I'm gonna find my feet, (C) out in the middle of a big dance floor. When I (G) hear that fiddle wanna beg for more. Wanna (D) dance to a band from a-Lou'sian' to (G) night. (C)(G),(D)(G)(D)-(G)
(Mary Chapin Carpenter) (Artist Index) - (Main Index) - (Song Index) (This Song)
DOWN IN THE VALLEY – Traditional (C0) or (C5)
TIP: Good song for picking out the melody with the chords. The intro is the chords in the last line of the verse.
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INTRO: (D)(D7),(D7)(G)(C)(G)
Down in the valley, the valley so (D) low. Hang your head (D7) over, hear the wind
(G) blow (C)(G). Hear the wind blow dear, hear the wind (D) blow. Hang your head (D7) over, hear the wind (G) blow (C)(G).
Roses love sunshine, violets love (D) dew. Angels in (D7) heaven, know I love (G) you (C)(G). Know I love you, dear, know I love (D) you. Angels in (D7) heaven, know I love (G) you (C)(G).
If you don't love me, love whom you (D) please. Put your arms (D7) round me, give my heart (G) ease(C)(G) . Give my heart ease love, give my heart (D) ease. Put your arms (D7) round me, give my heart (G) ease (C)(G).
Write me a letter, send it by (D) mail. Send it in (D7) care of, the Birmingham (G) Jail (C)(G). The Birmingham Jail love, the Birmingham (D) Jail. Send it in (D7)care of, the Birmingham (G) Jail (C)(G).
Build me a castle, forty feet (D) high. So I can (D7) see her, as she rides (G) by (C)(G). As she rides by love, as she rides (D) by. So I can (D7) see her, as she rides (G) by (C)(G).
Down in the (G) valley, the valley so (D) low. Hang your head (D7) over, hear the wind (G) blow (C)(G)(C)(G).
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
DOWN IN THE RIVER TO PRAY - (Traditional) - Alison Krauss (C0)
(KEY OF D)
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As I went (D) down in the river to pray, (A) studying about that (D) good ol' way (G) and (D) who shall wear, the starry crown good (A) Lord (G) show me the (D) way. (A) O sisters (D) let's go down. (G) Let's go down, come on (D) down. (A) O sisters (D) let's go down. (G) Down in the river to (D) pray.
As I (G) went (D) down in the river to pray, (A) studying about that (D) good ol' way (G) and
(D) who shall wear, the robe and crown good (A) Lord (G) show me the (D) way. (A) O brothers
(D) let's down. (G) Let's go down, come on (D) down. (A) Come on brothers (D) let's go down.
(G) Down in the river to (D) pray.
As I (G) went (D) down in the river to pray, (A) studying about that (D) good ol' way (G) and
(D) who shall wear, the starry crown good (A) Lord (G) show me the (D) way. (A) O fathers
(D) let's go down. (G) Let's go down, come on (D) down. (A) O fathers (D) let's go down.
(G) Down in the river to (D) pray.
As I (G) went (D) down in the river to pray, (A) studying about that (D) good ol' way (G) and
(D) who shall wear, the robe and crown good (A) Lord (G) show me the (D) way. (A) O mothers
(D) let's go down. (G) Come on down, don't you wanna go (D) down. (A) Come on mothers, (D) let's go down. (G) Down in the river to (D) pray.
As I (G) went (D) down in the river to pray, (A) studying about that (D) good ol' way (G) and
(D) who shall wear, the starry crown good (A) Lord (G) show me the (D) way. (A) O sinners
(D) let's go down. (G) Let's go down, come on (D) down. (A) O sinners (D) let's go down.
(G) Down in the river to (D) pray.
As I (G) went (D) down in the river to pray, (A) studying about that (D) good ol' way (G) and
(D) who shall wear, the robe and crown good (A) Lord (G) show me the (D) way.
DOWN IN THE RIVER TO PRAY - (Traditional) - Alison Krauss (C0)
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(KEY OF G)
As I went (G) down in the river to pray, (D) studying about that (G) good ol' way (C) and (G) who shall wear, the starry crown good (D) Lord (C) show me the (G) way. (D) O sisters (G) let's go down. (C) Let's go down, come on (G) down. (D) O sisters (G) let's go down. (C) Down in the river to (G) pray.
As I (C) went (G) down in the river to pray, (D) studying about that (G) good ol' way (C) and
(G) who shall wear, the robe and crown good (D) Lord (C) show me the (G) way. (D) O brothers
(G) let's down. (C) Let's go down, come on (G) down. (D) Come on brothers (G) let's go down.
(C) Down in the river to (G) pray.
As I (C) went (G) down in the river to pray, (D) studying about that (G) good ol' way (C) and
(G) who shall wear, the starry crown good (D) Lord (C) show me the (G) way. (D) O fathers
(G) let's go down. (C) Let's go down, come on (G) down. (D) O fathers (G) let's go down.
(C) Down in the river to (G) pray.
As I (C) went (G) down in the river to pray, (D) studying about that (G) good ol' way (C) and
(G) who shall wear, the robe and crown good (D) Lord (C) show me the (G) way. (D) O mothers
(G) let's go down. (C) Come on down, don't you wanna go (G) down. (D) Come on mothers, (G) let's go down. (C) Down in the river to (G) pray.
As I (C) went (G) down in the river to pray, (D) studying about that (G) good ol' way (C) and
(G) who shall wear, the starry crown good (D) Lord (C) show me the (G) way. (D) O sinners
(G) let's go down. (C) Let's go down, come on (G) down. (D) O sinners (G) let's go down.
(C) Down in the river to (G) pray.
As I (C) went (G) down in the river to pray, (D) studying about that (G) good ol' way (C) and
(G) who shall wear, the robe and crown good (D) Lord (C) show me the (G) way.
(Traditional)(Alison Krauss) (Artist Index) - (Main Index) - (Song Index) (This Song)
DO YOU LOVE ME – (Gordy) – The Contours
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(D) You broke my heart, (G) 'cause I couldn't dance. (A) You didn't even, want me around (D). And now I'm back, to let you know, (A) I can really shake 'em down (D). (A7)-(A7)-(A7)
Do you (D) love me? I can (G) really (A) move. Do you (D) love me? I'm, (G) in the (A) groove.
Do you (D) love me? (G) Do you (A) love me. (G) Now, that (Gm) I, can (A) dance. (A7) Dance, dance. Watch me now.
(D) Work, work. Ah (G) work it all ba (A) by. (D) Work work. Well you're (G) drivin' me cra (A) zy. (D) work work. With a (G) little bit of soul (A) now. (D) work. (G)(A)
I can (D) mash potato. I can (G) mash po (A) tato. And I can (D) do the twist. I can (G) do the (A) twist. Now (D) tell me baby. (G) Tell me (A) baby, do you (D) like it like this? Do you (G) like it like (A) this? Tell me. Tell me. (A7) Tell me.
Do you (D) love me? (G) Do you (A) love me? Now do you (D) love me? (G) Do you (A) love me?
Now do you (D) love me? (G) Do you (A) love me? (G) Now, that (Gm) I, can (A) dance. (A7) Dance, dance. Watch me now.
(D) Work, work. Ah, (G) shake it up (A) shake it. (D) Work, work. Ah (G) shake 'em shake 'em (A) down. (D) Work work. Ah (G) little bit of soul (A) now. (D) Work. (G)(A)
(D) Work, work. Ah (G) work it all ba (A) by. (D) work, work. Ah you're (G) driving me cra (A) zy. (D) Work, work. Ah (G) don't get la (A) zy. (D) Work. (G)(A)
I can (D) mash potato. I can (G) mash po (A) tato. And I can (D) do the twist. I can (G) do the (A) twist. Now (D) tell me baby. (G) Tell me (A) baby, do you (D) like it like this? Do you (G) like it like (A) this? Tell me. Tell me. (A7) Tell me.
Do you (D) love me? (G) Do you (A) love me? Now do you (D) love me? (G) Do you (A) love me?
Now do you (D) love me? (G) Do you (A) love me? Now, now, now.
(D) Work, work. Ah I'm (G) working hard ba (A) by. (D) Work, work. Well you're (G) driving me cra (A) zy. (D) Work, work. And (G) don't you get la (A) zy. (D) Work.
(D) Work, work. Ah I'm (G) working hard ba (A) by. (D) Work, work. Well you're (G) driving me cra (A) zy. (D) Work, work. And (G) don't you get la (A) zy. (D) Work.
(The Contours) (Artist Index) - (Main Index) - (Song Index) (This Song)
DRAGGIN' THE LINE - (James) - Tommy James and the Shondells (C1)
TIP: To play the intro, place your middle finger on the 5th string/2nd fret (like you're forming an (Em) but leave the ring finger off. Now pluck the (covered) 5th string, then the open 4th string, now hammer down your ring finger on the 4th string/2nd fret (like an Em) and finish by plucking the open top string six times. Repeat. Do it slowly the first couple of times until you get the hang of the cadence. Pretty easy actually. Remember to form an (E) before beginning the song.
TIP: At the end of each "draggin the line (dragging the line)" make two sharp downstrokes on the bottom string to simulate the horn "beep".
TIP: At the end of the song, if you have two people, person 1 continues with "draggin the line" while person 2 sings "la la la" emulating the same melody as the first line in the song. Both parts are all in (E). Repeat and fade out.
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INTRO: / . . .
(E) Makin' a livin' the old hard way. Takin' and givin' by day-by-day. I dig snow and rain and bright sun (D) shine. Draggin' the (E) line (draggin' the line).
My dog Sam eats purple flowers. We ain't got much but what we-got's ours. We dig snow and rain and the bright sun (D) shine. Draggin' the (E) line (draggin' the line). Draggin' the line (draggin' the line).
I, (D) feel, (E) fine. I'm talkin' bout peace, (D) of, (E) mind. I'm gonna take, (D) my,
(E) time. I'm gettin' the (D) good sign. Draggin' the (E) line (draggin' the line). Draggin' the line (draggin' the line).
Loving the free and feelin' spirit. Huggin' a tree when you get near it. Diggin' the snow and the rain and the bright sun (D) shine. Draggin' the (E) line (draggin' the line). Draggin' the line (draggin' the line).
I, (D) feel, (E) fine. I'm talkin' bout peace, (D) of, (E) mind. I'm gonna take, (D) my,
(E) time. I'm gettin' the (D) good sign. Draggin' the (E) line (draggin' the line). Draggin' the line (draggin' the line).
P1: Draggin' the line (draggin' the line). Draggin' the line (draggin' the line). Draggin' the line (draggin' the line)... repeat and fade
P2: La la la la, la la la... repeat and fade
(Tommy James & the Shondells) (Artist Index) - (Main Index) - (Song Index) (This Song)
DREAM LOVER – Bobby Darin (C2)
TIP: Okay, you can ignore this completely, but . . . look at the last two verses of the song above and below where it says "CAPO SHIFT". They repeat. But Bobby recorded the second verse one half-key (sharped) higher than the preceding one. So if you want to play it this way you're going to need someone to capo (or move the capo) quickly up one fret at the end of the verse and before playing/singing the final full verse. If you don't want to mess around with all that then just play the second verse again in (C).
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INTRO: (C)(Am); (C)(Am)
(C) Every night, I hope and pray (Am), a dream lover, will come my way (C). A girl to hold, in my arms (Am), and know the magic, of her charms. Because I (C) want, a (G7) girl, to (C) call, my
(F) own. I want a, (C) dream lov (Am) er, so (Dm7) I don't have to, (G7) dream a (C) lone (G).
(C) Dream lover, where are you (Am)? With a love, oh so true (C). And the hand, that I can hold (Am), to feel you near, as I grow old. Because I (C) want, a (G7) girl, to (C) call, my (F) own. I want a, (C) dream lov (Am) er, so (Dm7) I don't have to, (G7) dream a (C) lone.
(F) Someday, I don't know how (C), I hope she'll hear my plea (D7). Some way, I don't know how (G7), she'll bring her love to me.
(C) Dream lover, until then (Am), I'll go to sleep and dream again (C). That's the only thing to do (Am), til all my lover's dreams come true. Because I (C) want, a (G7) girl, to (C) call, my
(F) own. I want a (C) dream lov (Am) er, so (Dm7) I don't have to, (G7) dream a (C) lone (G).
[CAPO SHIFT]
(C) Dream lover, until then (Am), I'll go to sleep and dream again (C). That's the only thing to do (Am), til all my lover's dreams come true. Because I (C) want, a (G7) girl, to (C) call, my
(F) own. I want a (C) dream lov (Am) er, so (Dm7) I don't have to, (G7) dream a (C) lone.
(F) Please don't make me (G7) dream a (C) lone. (F) I beg you don't make me (G7) dream a (C) lone. (F) No I don't want to (G7) dream a (C) lone. (C)
(Bobby Darin) (Artist Index) - (Main Index) - (Song Index) (This Song)
DRIVE - (Berry, Buck, Mills, Stipe) - R.E.M. (C0)
TIP: The last word in the verse is "baby". The (G) that precedes it doesn't really mesh well with the first syllable "ba" but the (Dm) is definitely for the second syllable "by". So either don't strum or pick - i.e. (NC) - on "ba", or if you're careful you can pluck the high note (1st string/1st fret) which you'll naturally hit when forming the (Dm).
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INTRO: (Dm)
Smack, crack, bush, whacked. (G) Tie another one to your racks, ba (Dm) by. Hey, kids, rock and roll. (G) Nobody tells you where to go, ba (Dm) by.
(F) What if I ride? What if you walk? (Am) What if you rock around the clock? (Gadd) Tick. Tock. Tick. Tock. (Em) What if you did? What if you walk? What if you tried, to get off,
ba (Dm) by?
Hey, kids, where are you? (G) Nobody tells you what to do, ba (Dm) by. Hey, kids, shake a leg.
(G) Maybe you're crazy in the head, ba (Dm) by.
(F) Maybe you did, maybe you walked. (Am) Maybe you rocked around the clock. (Gadd) Tick. Tock. Tick. Tock. (Em) Maybe I ride, maybe you walk. Maybe I try to get off, ba (Dm) by.
Hey, kids, shake a leg. (G) Maybe you're crazy in the head, ba (Dm) by. (C) Ollie. Ollie. Ollie ollie ollie, ollie ollie in come free, ba (Dm) by. (C) Hey, kids, where are you? (Gadd) Nobody tells you what to do, ba (Dm) by.
Smack, crack, shack-a-lack. (G) Tie another one to your back, ba (Dm) by. Hey, kids, rock and roll. (G) Nobody tells you where to go, ba (Dm) by.
(F) Maybe you did, maybe you walked. (Am) Maybe you rocked around the clock. (Gadd) Tick. Tock. Tick. Tock. (Em) Maybe I ride, maybe you walk. Maybe I try to get off, ba (Dm) by.
(C) Hey, kids, where are you? Nobody tells you what to do, ba (Dm) by. (Em) Hey, kids, rock and roll. Nobody tells you where to go, baby. Baby. Baby.
(R.E.M.) (Artist Index) - (Main Index) - (Song Index) (This Song)
DUKES OF HAZZARD THEME – Waylon Jennings (C0)
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INTRO: (D)(A)(D)
Just a’good ol' (D) boys. Never meanin' no (G) harm. Beats (D) all you never saw been in (A) trouble with the law since the day they was (D) born.
Straightnin' the curves, flattenin’ the (G) hills. Some (D) day, the mountain, might (A) get 'em
but the law never (D) will.
Makin' their (A) way, the only way they know how. That's just a little bit more than the law will (D) allow.
(D)(G),(D)(A)(D)
Makin' their (A) way, the only way they know how. That's just a little bit more than the law will (D) allow.
Just a’good ‘ol boys. Wouldn't change if they (G) could. (D) Fightin' the system like a (A) true modern day Robin (D) Hood.
I'm a good ol' boy. You know my momma loves (G) me. But she (D) don't understand they keep
a (A) showin my hands and not my face on T (D) V. (D)(G),(D)(A)(D)
(Waylon Jennings) (Artist Index) - (Main Index) - (Song Index) (This Song)
DUST IN THE WIND – (Livgren) – Kansas (C1)
TIP: The intro is really easy. Play (Cadd9) as (C) with the pinky added to the 2nd string/3rd fret. Keep the index finger where it normally is when playing (C). Then just lift the pinky to get to (C), and lift the index finger to get to (Cmaj7). Same thing with the set of (A) chords. Play (Asus) as (Am) with the pinky added to 2nd string/3rd fret. Keep the index finger where it normally is when playing (Am). Then lift the pinky to get to (Am), and lift the index finger to get to (A4). Voila.
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Intro: (Cadd9)(C)(Cmaj7)(C); (Asus)(Am)(A4)(Am) x 2;
I (C) close, (G) my, (Am) eyes, (G) only for a (Dm7) moment and the (Am) moment's gone. (C) All, (G) my, (Am) dreams, (G) pass before my (Dm7) eyes a curi (Am) osity. (G) Dust, in the (Am) wind. (G) All they are is dust in the (Am) wind.
(C) Same, (G) old, (Am) song. (G) Just a drop of (Dm7) water in an (Am) endless sea. (C) All, (G) we, (Am) do, (G) crumbles to the ground (Dm) though we re (Am) fuse to see. (G) Dust in the (Am) wind. (G) All we are is dust in the (Am) wi- in - (G) -ind. (Dm) Oh... (G) oh (Am) oh.
(Am)(G),(Am)(G)-(Am); (Am)(G),(Am)(G)-(Am);
Now (C) don't, (G) hang, (Am) ah-on. (G) Nothing lasts for (Dm) ever but the (Am) earth and sky. It (C) slips ,(G) a, (Am) way. (G) All your money, (Dm7) won't another, (Am) minute buy.
(G) Dust in the (Am) wind. (G) All we are is dust in the (Am) wind. (G) Dust, in the (Am) wind. (G) Everything is dust in the (Am) wind. (Cadd9)(C)(Cmaj7)(C); (Asus)(Am)(A4)(Am)...(C)
(Kansas) (Artist Index) - (Main Index) - (Song Index) (This Song)
EARLY MORNING RAIN – (Lightfoot) - Peter, Paul & Mary/Gordon Lightfoot (C1)
TIP: An (F) can be substituted for the (Dm) if you're more comfortable playing an (F).
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INTRO: (C)(Dm)(G)(Dm), (C)(Dm)(G)(Dm)
(C) In the early morning (Em) rain, (Dm) with a (G) dollar in my (C) hand. With an aching in my (Dm) heart, (G) and my pockets full of (C) sand. I'm a long way from (Dm) home, (G) Lord I miss my loved one (C) so. In the early morning (Em) rain, (Dm) with (G) no place to (C) go.
Out on runway number (Em) nine, (Dm) big seven oh (G) seven set to (C) go. And I'm stuck here in the (Dm) grass, (G) where the pavement ever (C) grows. Now the liquor tasted (Dm) good, (G) and the women were all (C) fast. Well there she goes my (Em) friend, (Dm) she'll be (G) rollin’ down at (C) last.
Here the mighty engines (Em) roar, (Dm) see the (G) silver wing on (C) high. She's away and westward (Dm) bound, far a (G) bove the clouds she'll (C) fly. Where the morning rain don't (Dm) fall, (G) and the sun always (C) shines. She'll be flying o'er my (Em) home, (Dm) in a (G) bout three hours (C) time.
This old airport's got me (Em) down, (Dm) it's no earthly good to (C) me. And I'm stuck here on the (Dm) ground, (G) as cold and drunk as I might (C) be. You can't jump a jet (Dm) plane, (G) like you can a freight (C) train. So I'd best be on my (Em) way, (Dm) in the (G) early morning (C) rain.
You can't jump a jet (Dm) plane, (G) like you can a freight (C) train. So I'd best be on my (Em) way, (Dm) in the (G) early morning (C) rain. (C)(Dm)(G)(Dm), (C)(Dm)(G)(Dm), (C)
(Gordon Lightfoot) (Peter, Paul & Mary) (Artist Index) - (Main Index) - (Song Index) (This Song)
EARTH ANGEL – (Williams/Belvin/Hodge) – The Penguins (C0)
TIP: The chord cadence is important. It’s hard to explain but kind of goes 1 (pause) 1-2-3-4 (pause) 1-2-3-4 (pause) 1-2-3-4, and the sequence pretty much repeats for the whole song. Try it on the intro to get the hang of it.
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Intro: (G) (Em) (C) (D)
(G) Oh oh oh (Em) oh, wah-ah-ah (C) oh-oh-oh (D) oh.
Earth (G) angel, earth (Em) angel, (C) will you be (D7) mine. (G) My darling (Em) dear, (C) love you all the (D7) time. (G) I'm just a (Em) fool, (C) a fool in (D) love with (G) you
(G)-(C)-(G)-(D).
Earth (G) angel, earth (Em) angel, (C) the one I a (D7) dore. (G) Love you for (Em) ever, and (C) ever (D7) more. (G) I'm just a (Em) fool, (C) a, fool in (D) love with (G) you (G)-(C)-(G).
I (C) fell, for you, (G) and I knew, the (D7) vision of your love, loveli (G) ness (G7). I (C) hope, and I (D7) pray, (G) that some day-(Em)-ay. I'll be the (Am) vision, of your hap, happi (D) ness. Oh-oh-oh-oh.
Earth (G) angel, earth (Em) angel, (C) please be (D7) mine. (G) My darling (Em) dear, (C) love you all the (D7) time. (G) I'm just a (Em) fool, (C) a, fool in (D) love with (G) you (G)-(C)-(G).
I (C) fell for you, (G) and I knew, the (D7) vision of your loveli (G) ness (G7). I (C) hope and I (D7) pray, (G) that some day. I'll be the (Am) vision of your happi (D) ness. Oh-oh-oh-oh.
Earth (G) angel, earth (Em) angel, (C) please be (D7) mine. (G) My darling (Em) dear, (C) love you all the (D7) time. (G) I'm just a (Em) fool, (C) a fool in (D) love . . . (G) with, you (G-add).
(The Penguins) (Artist Index) - (Main Index) - (Song Index) (This Song)
EDELWEISS – (Rogers/Hammerstein) – Julie Andrews (C6)
TIP: There’s a lonely (Dm) sandwiched between two (F) chords in the bridge. Rather than playing the (Dm) as you normally would just keep the (F) format and add/remove your pinky to the 2nd string/3rd fret. Much easier!
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(C) Edel (G7) weiss, (C) Edel (F) weiss. (C) Every (Am) morning you (Dm7) greet (G7) me. (C) Small and (G7) white, (C) clean and (F) bright, (C) you look (G7) happy to (F) meet (C) me.
(G7) Blossom of snow may you (C) bloom and grow. (F) Bloom and (Dm) grow (F) for (G) ev (G7) er.
(C) Edel (G7) weiss, (C) Edel (F) weiss. (C) Every (Am) morning you (Dm7) greet (G7) me. (C) Small and (G7) white, (C) clean and (F) bright, (C) you look (G7) happy to (F) meet (C) me.
(C) Edel (G7) weiss, (C) Edel (F) weiss. (C) Bless my (G7) homeland for (C) ev (F) (C) er.
(Julie Andrews) (Artist Index) - (Main Index) - (Song Index) (This Song)
END OF THE LINE - (Petty, Lynne, Dylan, Harrison) - Traveling Wilburys (C2)
TIP: INTRO/OUTRO: I've included three ways to play the intro/outro, represented by the three lines of chord diagrams. The top line is easy. The middle line, while not really all that hard, will be difficult to play on a small scale, 12-fret guitar. Better on a 14-fretter and better still with a cutaway. Even then, string spacing may still be an issue for fat fingers.
Middle line: This is how George plays it. These are not the real names of the chords, (D@7) for example is actually another way to play a (G) -- they're all just variations of (G)(A) and (D) -- but I've changed their names so hopefully they'll make sense as to where on the fingerboard you're going and how you'll be playing them. (D@7) means play the chord as you would a (D) but on the 7th fret (you can forget about the note at the 4th string but if you can add the pinky all the better). You can play the (F@12), (F@14), and (D@14) chords as indicated, or play them as a mini-barre with ring or middle finger arched over the bottom string as shown below, except playing the (F) with the 3rd string instead of the 2nd string, and playing the (D) as indicated.
Bottom line: This is just a hybrid of the two. Playing the D@7 is pretty easy, as is the D@9 as you simply slide up two frets. It's when you move even further up that finger spacing gets a little difficult. If you can handle the F@10, fine, but if not then drop back down the fingerboard and finish the sequence with a normal (D)(A)(D).
EASY: [pic][pic], [pic][pic][pic], [pic][pic][pic][pic][pic]
AS PLAYED BY G.H.: [pic][pic], [pic][pic][pic], [pic][pic][pic][pic][pic];
HYBRID: [pic][pic], [pic][pic][pic], [pic][pic][pic][pic][pic];
INTRO EASY: (G)(D), (G)(A)(D), (G)(A)(D)(A)(D) or . . .
INTRO G.H.: (D@7)(D), (D@7)(D@9)(F@10), (D@7)(D@9)(F@10) (F@12)(D@14) or . . .
INTRO ALT: (D@7)(D), (D@7)(D@9)(D), (D@7)(D@9)(D)(A)(D)
(D) Well it's alllll right, riding a (A) round in the (G) breeze. Well it's (D) alllll right, if you live the life (A) you (D) please. Well it's alllll right, doing the (A) best you (G) can. Well it's (D) all, right, as long as you lend (A) a (D) hand.
(G) You can sit around and wait for the (D) phone to ring (at the end of the line). (G) Waiting for someone to tell you (D) everything (at the end of the line). (G) Sit around and wonder what to (D) morrow'd bring (at the end of the line). Maybe a (A) diamond ring.
Well it's (D) alllll right, even if they (A) say you're (G) wrong. Well it's (D) alllll right, sometimes you (A) gotta be (D) strong. Well it's alllll right, as long as you got (A) somewhere to (G) lay. Well it's (D) alllll right, everyday is Judge (A) ment (D) Day.
(G) Maybe somewhere down the (D) road aways (at the end of the line). (G) You'll think of me and wonder where I (D) am these days (at the end of the line). (G) Maybe somewhere down the road, when some (D) body plays, (at the end of the line) (A) purple haze.
Well it's (D) alllll right, even when (A) push comes to (G) shove. Well it's (D) alllll right, if you got (A) someone to (D) love. Well it's alllll right, everything'll (A) work out (G) fine. Well it's (D) alllll right, we're going to the end (A) of the (D) line.
(G) Don't have to be ashamed of (D) the car I drive (at the end of the line). (G) I'm glad to be here, happy to (D) be alive (at the end of the line). (G) And it don't matter, if you're (D) by my side, (at the end of the line). I'm (A) satisfied.
Well it's (D) alllll right, even if you're (A) old and (G) gray. Well it's (D) alllll right, you still got some (A) thing to (D) say. Well it's alllll right, remember to (A) live and let
(G) live. Well it's (D) alllll right, the best you can do (A) is for (D) give.
Well it's alllll right, riding a (A) round in the (G) breeze. Well it's (D) alllll right, if you live the life (A) you (D) please. Well it's alllll right, even if the (A) sun don't (G) shine. Well it's (D) alllll right, we're going to the end (A) of the (D) line.
OUTRO EASY: (G)(D), (G)(A)(D), (G)(A)(D)(A)(D) or . . .
OUTRO G.H.: (D@7)(D), (D@7)(D@9)(F@10), (D@7)(D@9)(F@10) (F@12)(D@14) or . . .
OUTRO HYBRID: (D@7)(D), (D@7)(D@9)(D), (D@7)(D@9)(D)(A)(D)
(Traveling Wilburys) (Artist Index) - (Main Index) - (Song Index) (This Song)
EIGHT DAYS A WEEK – (Lennon/McCartney) - The Beatles [C1]
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Intro: (C) (D) (F) (C)
(C) Ooh I need your (D7) love babe, (F) guess you know it's (C) true. Hope you need my (D7) love babe, (F) just like I need (C) you. (Am) Hold me, (F) love me, (Am) hold me, (D7) love me. (C) I ain't got nothin' but (D7) love babe, (F) eight days a (C) week.
(C) Love you ev'ry (D7) day girl, (F) always on my (C) mind. One thing I can (D7) say girl, (F) love you all the (C) time. (Am) Hold me, (F) love me, (Am) hold me, (D7) love me. (C) I ain't got nothin' but (D7) love girl, (F) eight days a (C) week.
(G) Eight days a week, I (Am) love you. (D7) Eight days a week, is (F) not enough to (G7) show I care.
(C) Ooh I need your (D7) love babe, (F) guess you know it's (C) true. Hope you need my (D7) love babe, (F) just like I need (C) you. Oh-oh-ho (Am) hold me, (F) love me, (Am) hold me, (D7) love me. (C) I ain't got nothin' but (D7) love babe, (F) eight days a (C) week.
(G) Eight days a week, I (Am) love you. (D7) Eight days a week, is (F) not enough to (G7) show I care.
(C) Love you ev'ry (D7) day girl, (F) always on my (C) mind. One thing I can (D7) say girl, (F) love you all the (C) time. (Am) Hold me, (F) love me, (Am) hold me, (D7) love me. (C) I ain't got nothin' but (D7) love babe, (F) eight days a (C) week.
(F) Eight days a (C) week, (F) eight days a (C) week. (C) (D) (F) (C)
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
EIGHTEEN WHEELS AND A DOZEN ROSES – (Nelson/Nelson) – Kathy Mattea (C1)
TIP: You can play (F#m) as an Easy Chord but it really sounds better if you can use your ring finger or pinky and get the note at 4th fret/4th string (ignore the top two).
TIP: The chorus has a (B) which can be a little difficult to transition to. You may skip the (B) completely if you want and just continue playing the (F#m) until you get to the (E).
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INTRO: (A)(F#m)(A)
(A) Charlie's got a gold watch. (F#m) Don't seem like a whole lot, after (E) thirty years of drivin', (D) up and down the inter (A) state. But Charlie's had a good life, and (F#m) Charlie's got a good wife. And (Bm) after tonight she'll no (D) longer be countin' the (E) days.
Eighteen (D) wheels, and a dozen (A) roses. Ten more (F#m) miles, on his (B) four day (E) run. A few more (D) songs, from the all night (F#m) radio (D). Then he'll (A) spend the rest of his (D) life with the (E) one that he (A) loves.
They'll (A) buy a Winnebago. Set (F#m) out to find America. (E) Do a lot of catchin', (D) up,
a little at a (A) time. With pieces of the old dream, they're (F#m) gonna light the old flame.
(Bm) Doin' what they please leavin' (D) every other reason be (E) hind.
Eighteen (D) wheels, and a dozen (A) roses. Ten more (F#m) miles, on his (B) four day (E) run. A few more (D) songs, from the all night (F#m) radio (D). Then he'll (A) spend the rest of his (D) life with the (E) one that he (A) loves.
(A)(F#m), (E)(D)(A), (A)(F#m), (Bm)(D)(E)
Eighteen (D) wheels, and a dozen (A) roses. Ten more (F#m) miles, on his (B) four day (E) run. A few more (D) songs, from the all night (F#m) radio (D). Then he'll (A) spend the rest of his (D) life with the (E) one that he (A) loves.
(Kathy Mattea) (Artist Index) - (Main Index) - (Song Index) (This Song)
EL CONDOR PASA – (Robles/Simon) - Simon and Garfunkel (C4)
TIP: For the intro, pick the notes and then use the side of your thumb to softly and rapidly (it's actually a mandolin) strum (Am) and (Em) ending with a final strum and a pause.
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INTRO: , ---, , , , soft strum (Am)(Em)
I'd (Em) rather be a sparrow than a (G) snail. Yes I would. If I could. I surely (Em) would. Hmmm. I'd rather be a hammer than a (G) nail. Yes I would. If I only could, I surely (Em) would. Hmmm.
A (C) way, I'd rather sail away. Like a (G) swan, that's here and gone. A (C) man, gets tied up to the ground. He gives the (G) world, its saddest sound. It’s saddest (Em) sound.
I'd rather be a forest than a (G) street. Yes I would. If I could. I surely (Em) would. I'd rather feel the earth beneath my (G) feet. Yes I would. If I only could, I surely (Em) would.
A (C) way, I'd rather sail away. Like a (G) swan, that's here and gone. A (C) man, gets tied up to the ground. He gives the (G) world, its saddest sound. It’s saddest (Em) sound. Oh yeah. (Em)
(Simon and Garfunkel) (Artist Index) - (Main Index) - (Song Index) (This Song)
ELECTROLITE - (Berry, Buck, Mills, Stipe) - R.E.M. (C1)
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INTRO: (Dsus2)
(G) Your eyes are (C) burnin' holes through (G) me. (C) I'm gaso (G) line. (C) I'm burnin'
(G) clean. (C) (G) Twentieth (C) century go to (G) sleep. (C) You're plasti (G) cine. (C) That is ob (G) scene. (C) That is ob (D) scene.
You (Am) are the star to (D) night. You shine e (Am) lectric outta (D) sight. Your light
e (B) clipsed the moon to (Em) night. (G) E (Am) lect (Em) rolite. (G) You're (Am) outta
(Em) sight (G)-(D). (Dsus2)(D)(Dsus2)
(G) If I (C) ever want to (G) fly, (C) Mulholland (G) Drive. (C) I am a (G) live (C). (G) Holly (C) wood is under (G) me. (C) I'm Martin (G) Sheen. (C) I'm Steve Mc (G) Queen. (C) I'm Jimmy (D) Dean.
You (Am) are the star to (D) night. You shine e (Am) lectric outta (D) sight. Your light
e (B) clipsed the moon to (Em) night. (G) E (Am) lect (Em) rolite. (G) You're (Am) outta
(Em) sight (G)-(D).
(CaddD)(D)(Dsus)(D)(Dsus)
(G) If I (C) ever want to (G) fly, (C) Mulholland (G) Drive. (C) Up in the (G) sky (C). (G) Stand on a (C) cliff and look down (G) there. (C) Don't be (G) scared. (C) You are a (C) live.
(C) You are a (D) live.
You (Am) are the star to (D) night. You shine e (Am) lectric outta (D) sight. Your light
e (B) clipsed the moon to (En) night. (G) E (Am) lect (Em) rolite. (G) You're (Am) outta
(Em) sight (G)-(D). (Dsus)(D)(Dsus2)
(G) Twentieth (C) century go to (G) sleep. (C) Really (G) deep. (C) We won't (G) blink (C).
(G) Your eyes are (C) burnin' holes through (G) me. (C) I'm not (G) scared. (C) I'm outta
(G) here. (C) I'm not (G) scared. (C) I'm outta (G) here.
(R.E.M.) (Artist Index) - (Main Index) - (Song Index) (This Song)
EL PASO – Marty Robbins (C0)
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INTRO: (C)(Dm)(G7)(C)
(C) Out in the West Texas (Dm) town of El Paso, (G7) I fell in love with a Mexican (C) girl (F)(C). Night time would find me in (Dm) Rosa's cantina, (G7) music would play and Felina would (C) whirl (F)(C). Blacker than night were the (Dm) eyes of Felina, (G7) wicked and evil while casting a
(C) spell (F)(C). My love was deep for this (Dm) Mexican maiden. (G7) I was in love, but in vain I could (C) tell (F)(C).
(F) One night a wild young cowboy came in, wild as the West Texas (C) win - (C7) -nd. Dashing and daring a drink he was sharing with wicked Felina the girl that I (F) loved. So in (G) an (G7) ger I
(C) Challenged his right for the (Dm) love of this maiden. (G7) Down went his hand for the gun that he (C) wore (F)(C). My challenge was answered in (Dm) less than a heart-beat. The (G7) handsome young stranger lay dead on the (C) floor (F)(C). Just for a moment I (Dm) stood there in silence, (G7) shocked by the foul evil deed I had (C) done (F)(C). Many thoughts raced through my (Dm) mind as I stood there. (G7) I had but one chance and that was to (C) run (F)(C).
(F) Out through the back door of Rosa's I ran. Out where the horses were (C) ti - (C7) ied. I caught a good one it looked like it could run. Up on its back and away I did (F) ride. Just as (G) fast (G7) as I
(C) Could from the West Texas (Dm) town of El Paso. (G7) Out to the bad-lands of New Mexi (C) co (F)(C). Back in El Paso my (Dm) life would be worthless. (G7) Everything's gone in life nothing is (C) left (F)(C). It's been so long since I've (Dm) seen the young maiden. (G7) My love is stronger than my fear of (C) death (F)(C).
(F) I saddled up and away I did go. Riding alone in the (C) dar - (C7) ark. Maybe tomorrow a bullet may find me. Tonight nothing's worse than this pain in my (F) heart. And at (G) last
(G7) here I
(C) Am on the hill over (Dm) looking El Paso. (G7) I can see Rosa's Cantina be (C) low (F)(C). My love is strong and it (Dm) pushes me onward, (G7) down off the hill to Felina I (C) go (F)(C). Off to my right I see (Dm) five mounted cowboys, off to my left ride a dozen or (C) more (F)(C). Shouting and shooting I (Dm) can't let them catch me. (G7) I have to make it to Rosa's back (C) door (F)(C).
(F) Something is dreadfully wrong for I feel, a deep burning pain in my (C) si - (C7) ide. Though I am trying to stay in the saddle, I'm getting weary unable to (F) ride. But my (G) love (G7) for
(C) Felina is strong and I (Dm) rise where I've fallen, (G7) though I am weary I can't stop to (C) rest (F)(C). I see the white puff of (Dm) smoke from the rifle. (G7) I feel the bullet go deep in my (C) chest (F)(C). From out of nowhere (Dm) Felina has found me, (G7) kissing my cheek as she kneels by my (C) side (F)(C). Cradled by two loving (Dm) arms that I'll die for, (G7) one little kiss and Felina, good (C) bye.
(Marty Robbins) (Artist Index) - (Main Index) - (Song Index) (This Song)
EVE OF DESTRUCTION - (Sloan) - Barry McGuire (C2)
TIP: Also commonly performed in (D), (G), (A), (A7) and (Bm). Presented here in (G) to omit the (Bm) in favor of (Em).
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Intro: (G)(G)(G)(C)-(D) x 4
The (G) eastern world, (C) it is ex (D7) plodin'. (G) Violence flarin', (C) bullets (D) loadin'.
You're (G) old enough to kill, but (C) not for (D) votin'. You (G) don't believe in war, but
(C) what's that gun you're (D) totin'? And (G) even the Jordan River has, (C) bodies (D) floatin'.
But you (G) tell me, (C) over and (D) over and (G) over again my (Em) friend. How you (C) don't believe, we're (D) on the eve of de (G) struction. (C) (D)
(G) Don't you understand what I'm, (C) tryin' to say - (D) ay? (G) Can't you feel the fears I'm,
(C) feelin' to (D) day? If the (G) button is pushed, there's no (C) runnin' a (D) way. There'll be (G) no one to save, with the (C) world in a (D) grave. Take a (G) look around you boy, it's
(C) bound to scare you (D) boy.
And you (G) tell me, (C) over and (D) over and (G) over again my (Em) friend. How you (C) don't believe we're (D) on the eve of de (G) struction. (C) (D)
Yeah my (G) blood's so mad, feels (C) like coagu (D7) lating. (G) I'm sitting here, (C) just, contem (D) platin'. I (G) can't twist the truth, it (C) knows no regu (D) lation. (G) Handful of senators don't (C) pass legis (D) lation. (G) And marches alone, can't (C) bring inte (D) gration. When (G) human respect is, (C) disinte (D) gratin'. This (G) whole crazy world, is (C) just too
frus (D) tratin'.
And you (G) tell me, (C) over and (D) over and (G) over again my (Em) friend. How you (C) don't believe we're (D) on the eve of de (G) struction. (C) (D)
(G) Think of all the hate, there (C) is in Red (D7) China. Then (G) take a look around, to
(C) Selma Ala (D) bama. (G) You may leave here, for (C) four days in spa- (D) -ace. But (G) when you return it's the (C) same old (D) place. The (G) pounding of the drums, the (C) pride and
dis (D) grace. You can (G) bury your dead, but (C) don't leave a (D) trace. (G) Hate your next door neighbor, but (C) don't forget to (D) say-grace.
And you (G) tell me, (C) over and (D) over and (G) over again my (Em) friend. You (C) don't believe we're (D) on the eve of de (G) struction? Mmm no no, you (C) don't believe, we're (D) on the eve of de (G) struction. (D)(G)
(Barry McGuire) (Artist Index) - (Main Index) - (Song Index) (This Song)
EVERYDAY – (Hardin/Petty) - Buddy Holly (C0)
TIP: The intro is notes which you'll cover by using a (D) and on the 1st string/5th fret. So form and hold (D). Strum twice and then extend your pinky way over to the 5th fret and tap the bottom string. Do this 4 times, striking just the bottom three strings. At the end of the 4th time, hold the pinky on the bottom string and start the song through "everyday" until you get to the first (G).
TIP: To play the (Emsus4) just lift off the bottom finger (you’ll already be playing (A7).
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INTRO: (D)(D)-; x 4
(D) Everyday, (G) it's a-gettin' (A7) clos (Emsus4) er. (D) Goin' faster (G) than a roller (A7) coaster. (D) Love like yours will, (G) surely (A7) come my (D) way. A (G) hey, a (D) hey hey.
Everyday, (G) it's a-gettin' (A7) fast (Emsus4) er. (D) Everyone said (G) go ahead and (A7) ask her. (D) Love like yours will, (G) surely (A7) come my (D) way. A (G) hey, a (D) hey hey.
(G) Everyday, seems a little longer. (C) Every way, love's a little stronger. (F) Come what may, do you ever long for, (Bb) true love from (A) me (A7)?
(D) Everyday, (G) it's a-gettin' (A7) clos (Emsus4) er. (D) Goin' faster (G) than a roller (A7) coaster. (D) Love like yours will, (G) surely (A7) come my (D) way. A (G) hey, a (D) hey hey.
(D)(G)(A7)(Emsus4)(D)(G)(D)(A7)(D)(G)(A7)(D)(G)(D) (D)(G)(A7)(Emsus4)(D)(G)(D)(A7)(D)(G)(A7)(D)(G)(D)
(G) Everyday, seems a little longer. (C) Every way, love's a little stronger. (F) Come what may, do you ever long for, (Bb) true love from (A) me (A7)?
(D) Everyday, (G) it's a-gettin' (A7) clos (Emsus4) er. (D) Goin' faster (G) than a roller (A7) coaster. (D) Love like yours will, (G) surely (A7) come my (D) way. A (G) hey, a (D) hey hey.
Love like yours will, (G) surely (A7) come my (D) way. (G)(D)
(Buddy Holly) (Artist Index) - (Main Index) - (Song Index) (This Song)
FARE AWAY - (Vanston/McKean/O'Toole) - The New Main Street Singers (C1)
TIP: The intro are the chords from the chorus.
TIP: The bridge is the "penny whistle" part. It's kind of a you know it or you don't kind of proposition. The notes at the end of the bridge are the first 5 notes to the "Old Spice" commercial.
TIP: In the last verse the line that goes: "Come next April I'm sixty-three", this line is sung on the up-inflection from start to finish so start "come" and finish "three" both on "high d".
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INTRO: (G) (C)-(G), (C)(G)(D)(G)
(G) Sun breaks over the (C) sprits'l (G) yard. (C) Jib sheet's (G) hauling to (A) leeward (D) hard. (G) Crosstree's hummin' a (C) morning (G) hymn. (C) I'm the (G) cabin boy (D) call me (G) Jim. (D) His name's (G) Jim.
Fare away fare away under main (C) top (G) sail to the (C) fur-be (G) low of the (D) wily
(C) wha - (G) ale.
Captain's stalking the (C) quarter (G) deck. (C) Tells the (G) tail of his (A) first ship (D) wreck. (G) Castaway with a (C) case of (G) rum. (C) Hoped that (G) rescue would (D) never (G) come. (Never come).
Fare away fare away under main (C) top (G) sail to the (C) fur-be (G) low of the (D) wily
(C) wha - (G) ale. To the (C) fur-be (G) low of the (D) wily, wily . . .
(G)(C)(G); (G)(Em)(D); (G)(C)(G); (C)-(C)-(G) (C)-(C)-(G), (C)(G)(D)(G); (C)(G)(D)(E);
(C)(C)(C)-(D)-(D); (D)-(D). Pick . . .
(G) First mate Peter's a (C) hardened (G) man. (C) Says the (G) captain's a (A) charla (D) tan.
(G) Don't know tackle from (C) futtock (G) plates. He'll (C) sail us (G) into the (D) Pearrrrr - ly (G) Gates.
Fare away fare away under main (C) top (G) sail, to the (C) fur-be (G) low of the (D) wily
(C) wha - (G) ale.
I been sailing these (C) seven (G) seas, since (C) I's nigh (G) high to a (A) mermaid's (D) knees.
(G) Come next April I'm (C) sixty (G-add) three. I (C) can't ad (G) vance, I (C) like short (G) pants,(C) safe in the (G) cabin on the (D) open (G) sea. [(C) Safe in the (G) cabin on the
(D) open (G) sea.]
Fare away fare away under main (C) top (G) sail to the (C) fur be (G) low of the (D) wily (G) whale. To the (C) fur be (G) low of the, (C) fur be (G) low of the, (C) fur be (G) low of the
(D) wily, wily (C) wha - (G) ale.
(The New Main Street Singers) (Artist Index) - (Main Index) - (Song Index) (This Song)
FAT BOTTOMED GIRLS - (May) - Queen (C1)
TIP: You need to get the strum pattern down. It consists of 6 steady downward strums of (D), followed by 3 quicker (D) strums, a quick (G), and another (D). So it's a steady 6-beat, then a quick 1-2-3-4-5, with the (G) coming on the 4th beat. Then the pattern immediately repeats. Listening to the song will help a lot.
TIP: (CaddD) always follows a (C) so just keep the (C) formation and add the pinky to 2nd string/3rd fret.
TIP: The opening verse can be sung acapella (as Queen does) or with the chords as indicated.
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(D) Are . . . you gonna (C) take (CaddD) me home to (Gadd) night? (D) Ah . . . down be (C) side (CaddD) that red fireli- (A) -ight? (D) Are . . . you gonna (G) let it all hang out fat bottomed (D) girls you make the (A) rockin' world go (D) round.
strum (D)...(G)-(D); strum (D)...(G)-(D); strum (D)...(G)-(D); strum (D)...(G)-(D)
Hey. I was just a skinny lad, never knew no good from bad, but I-knew life before I left my
nurser (A) y. Left a (D) lone with big fat Fanny, she was (G) such a naughty nanny. Hey big
(D) woman, you made a (A) bad boy out of (D) me. (D)-(G)-(D)
strum (D)...(G)-(D); Hey hey. strum (D)...(G)-(D); strum (D)...(G)-(D); strum (D)...(G)-(D)
I've been singing with my band, across the water, 'cross the land. I seen ev'ry blue-eyed floozy on the (A) way, hey. But their (D) beauty and their style went kind of (G) smooth after a while. Take me (D) to them lardy (A) ladies every (D) time.
C'mon. (D) Oh . . . won't you (C) take (CaddD) me home to (Gadd) night? (D) Oh . . . down
be (C) side (CaddD) your red fireli- (A) -ight? (D) Oh . . . when you (G) give it all you got fat bottomed (D) girls you make the (A) rockin' world go (D) round. Fat bottomed (D) girls you make the (A) rockin' world go (D) round.
(Gadd)(D)(A)(D); (Gadd)(D)(A)(D) Hey listen here.
Now I got mortgages on homes. I got stiffness in my bones. Ain't no beauty queens in this
locali (A) ty. I tell ya! Oh but (D) I still get my pleasure, still (G) got my greatest treasure. Heap big (D) woman, you done, made-a-(A)-big man of (D) me. Now get this.
Oh, I know, you gonna you (C) take (CaddD) me home to (Gadd) night? Please! (D) Oh . . . down
be (C) side (CaddD) your red fireli- (A) -ight? (D) Oh . . . you (G) give it all you got? Fat bottomed (D) girls you make the (A) rockin' world go (D) round. (A) Fat bottomed (D) girls you make the (A) rockin' world go (D) round.
Get on your bikes and ride!
strum (D)...(G)-(D); strum (D)... (A) Fat bottomed (D) girls.
strum (D)...(G)-(D); strum (D)... (A) Fat bottomed (D) girls.
strum (D)...(G)-(D); strum (D)... (A) Fat bottomed (D) girls.
; ;
(Queen) (Artist Index) - (Main Index) - (Song Index) (This Song)
FATHER & SON – Cat Stevens (C1)
TIP: The intro is three strums of (G) and one strum of (C). Now from the (C) add your pinky to the bottom string (like you're playing a (CaddG). Now pluck the 2nd string, the covered bottom string, the 2nd string again, and lift off all but the pinky and slide the pinky up to the 5th fret and pluck the covered bottom string. Repeat 4 times. Try it, it's really pretty easy.
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(G)(G)(G)(C), x 4
It's not (G) time, to make a (D) change. Just re (C) lax, take it (Am7) easy. You're still (G) young, that's your (Em) fault. There's so (Am) much you have to (D) know. Find a (G) girl, settle (D) down, if you (C) want, you, can (Am7) marry. Look at (G) me, I am (Em) old, but I'm (Am) happy (D).
I was (G) once like you are (D) now, and I (C) know that it's not (Am7) easy. To be (G) calm when you've (Em) found, something going (Am) on (D). But take your (G) time, think a (D) lot, why think of (C) everything you've got (Am7). For you will (G) still be here to (Em) morrow, but your (D) dreams may (G) not. (C) (G) (C)
How can (G) I try, to ex (Bm) plain, when I (C) do, he turns (Am7) away again. It's (G) always been the (Em) same, same old (Am) story (D). From the (G) moment I could (Bm) talk, I was
(C) ordered to (Am7) listen now, there's a (G) way, and I (Em) know, that I (D) have to (G) go away. I (D) know, I (C) have to (G) go. (C) (G) (C)
Intrumental (chords from verse just completed): (G)(Bm)(C)(Am7)(G)(Em)(Am)(D), (G)(Bm)(C)(Am7)(G)(Em)(D)(G), (D)(C)(G), (C)(G)(C)
It's not (G) time, to make a (D) change. Just sit (C) down, take it (Am7) slowly. You're still (G) young, that's your (Em) fault. There's so (Am) much you have to go (D) through. Find a (G) girl, settle (D) down, if you (C) want, you, can (Am7) marry. Look at (G) me, I am (Em) old, but I'm (Am) happy (D).
All the (G) times, that I (Bm) cried, keeping (C) all the things I (Am7) knew inside. It's (G) hard, but it's (Em) harder to (Am) ignore it (D). If they were (G) right, I'd a (Bm) gree, but it's (C) them they know not (Am7) me now there's a (G) way, and I (Em) know, that I (D) have to (G) go away. I (D) know, I (C) have to (G) go.
(Cat Stevens) (Artist Index) - (Main Index) - (Song Index) (This Song)
FEEL LIKE A NUMBER - Bob Seger (C0 or C1)
TIP: The (B) will follow (A) so if you've learned to play (A) with your three middle fingers you'll want to play it here the middle-ring-pinky instead as it makes sliding up the neck to play the (B) so much easier.
TIP: The (E)(A)(B)(E) sequence comes in the intro and is repeated again in the bridge and th outro. While it's not that hard to slide up and grab the (B) from (A), since it's a rapid chord change here's a trick: You can get away with not messing around with that bottom string in the (B) at all if you just don't strike it -- aim for the middle strings. The (B) is struck just once in the sequence so it's easy to get away with. Try it a few times and you'll see what I mean.
TIP: There's one other wrinkle and it involves the only (F#m) which appears in the first chorus. Now you can just play another (B) here, like you will in the second chorus, but it will sound better if you play the (F#m) and then the (B) which follows. Since you will (or should) be playing the preceding (A) with the bottom three fingers, just drop down one string-set to play the (F#m) and keep your fingers in position to over and up to the 4th fret and grab the bottom string with your index finger. Just deal with it.
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INTRO: (E)(A)(B)(E), (E)(B)(A)(E), (E)(B)(A)(E) (E)... x 2 (E)
(E) I take my card and I stand in line, to make a buck I work overtime. (A) 'Dear Sir' letters keep (B) coming in the (E) mail. I work my back till it's racked with pain. The boss can't even recall my name. I (A) show up late and I'm (B) docked it never (E) fails.
I (A) feel like just another, (E) spoke in a great big wheel. Like a (A) tiny blade of (F#m) grass in a great big (B) field.
(E)(A)(B)(E), (E)(B)(A)(E)
To (E) workers I'm just another drone, to Ma Bell I'm just another phone. I'm (A) just another
sta (B) tistic on a (E) sheet. To teachers I'm just another child, to IRS I'm just another file.
I'm (A) just another con (B) sensus on the (E) street.
Gonna (A) cruise out of this city. (E) Head down to the sea. Gonna (A) shout out at the ocean, "Hey it's (B) me!"
And I feel like a num (E) ber. Feel like a number. Feel like a stranger. A (A) stranger in this (B) land. I feel like a num (E) ber. I'm not a number. I'm not a number. (A) Dammit I'm a
(B) man. I said I'm a (E) man.
Gonna (A) cruise out of this city. (E) Head down to the sea. Gonna (A) shout out at the ocean, "Hey it's (B) me!"
Feel like a num (E) ber. Feel like a number. Feel like a stranger. A (A) stranger in this
(B) land. I feel like a num (E) ber. I'm not a number. I'm not a number. (A) Dammit I'm a
(B) man. Feel like a num (E) ber. Feel like a number. Feel like a stranger.
(E)(A)(B)(E), (E)(B)(A)(E), (E)(A)(B)(E), (E)(B)(A)(E)
(Bob Seger) (Artist Index) - (Main Index) - (Song Index) (This Song)
FERRY CROSS THE MERSEY – (Marsden) – Gerry and the Pacemakers (C0)
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INTRO: (D)(Am7)(D), (D)(Am7)(D)
(D) Li- (Am7) -ife, goes on day after (D) day (Am7). (D) Hearts (Am7), torn in every (D) way (Am7).
So (D) ferry, 'cross the (F#m) Mersey, 'cause (G) this land's, the place I (A) love. And here I'll (D) stay (Am7)(D)(Am7).
(D) Peo- (Am7), -ple they rush every (D) where (Am7). (D) Each (Am7), with their own secret
(D) care (Am7).
So (D) ferry, 'cross the (F#m) Mersey, and (G) always take me (A) there. The place I (D) love (Am7) (D).
(G) People a (A) round every (F#m) corner. (G) They seem to (A) smile and (D) say. (Em) “We don't (A) care what your (D) name is (F#m) boy. (E) We'll never turn you a (A) way.”
(D) So (Am7), I'll continue to (D) say (Am7). (D) Here (Am7), I, always will (D) stay (Am7).
So (D) ferry, 'cross the (F#m) Mersey, 'cause (G) this land's, the place I (A) love. And here I'll (D) stay (Am7). And here I'll (D) stay (Am7). Here I'll (D) stay.
(Gerry and the Pacemakers) (Artist Index) - (Main Index) - (Song Index) (This Song)
FIRE ON THE MOUNTAIN - (McCorkle) Marshall Tucker Band (C0)
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INTRO: (Em)-(D)-Em . . . , (Em)-(D)-(Em) . . .
(Em) Took my fam'ly away from my (C) Carolina home. (Em) Had dreams about the West and,
(C) started to roam. (Em) Six long months on a (C) dust covered trail. (Em) They say heaven's at the end but so (C) far it's been hell and there's, (Gadd) fire on the mountain, (D) lightnin' in the air, (Am) gold in them hills and it's (C) waitin' for me (Em) there (G)(Em).
We were diggin' and siftin' (C) from five to five. (Em) Sellin' everything we found, (C) just to stay alive. (Em) Gold flowed free like the (C) whiskey in the bars. (Em) Sinnin' was the big thing lord and, (C) Satan was his star and there's, (Gadd) fire on the mountain, (D) lightnin' in the air, (Am) gold in them hills and it's (C) waitin' for me (Em) there (G)(Em).
Dance hall girls were the, (C) evenin' treat. (Em) Empty cartridges and blood lined the
(C) gutters of the street. (Em) Men were shot down for the (C) sake of fun, (Em) or just to hear the noise of their (C) forty-four guns and there's, (Gadd) fire on the mountain, (D) lightnin' in the air, (Am) gold in them hills and it's (C) waitin' for me (Em) there (G)(Em).
Now my widow she, (C) weeps by my grave. (Em) Tears flow free for her man, (C) she couldn't save.
(Em) Shot down in cold blood by a (C) gun that carried fame. (Em) All for a useless and no good, worthless claim and there's, (Gadd) fire on the mountain, (D) lightnin' in the air,
(Am) gold in them hills and it's (C) waitin' for me (Em) there.
(Gadd) Fire on the mountain, (D) lightnin' in the air, (Am) gold in them hills and it's (C) waitin' for me (Em) there. (Gadd) Waitin' for me (Em) there.
(Marshall Tucker Band) (Artist Index) - (Main Index) - (Song Index) (This Song)
FIVE HUNDRED MILES – (West) – Peter, Paul & Mary (C1)
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INTRO: (C)(Am)(Dm)(G7)
If you (C) miss the train I'm (Am) on, you will (Dm) know that I am gone. You can (G7) hear the whistle blow a hundred (C) miles. A hundred miles, a hundred (Am) miles, a hundred (Dm) miles, a hundred miles. You can (G7) hear the whistle blow a hundred (C) miles.
Lord I'm (C) one, Lord I'm (Am) two, Lord I'm (Dm) three, Lord I'm four. Lord I'm (G7) five hundred miles, from my (C) home. Five hundred (C) miles, five hundred (Am) miles, five hundred
(Dm) miles, five hundred miles. Lord I'm (G7) five hundred miles from my (C) home.
Not a (C) shirt on my (Am) back, not a (Dm) penny to my name. Lord I (G7) can't go back home this (C) a (G7) way. This a (C) way, this a (Am) way, this a (Dm) way, this a way. Lord I (G7) can't go back home this a (C) way.
If you (C) miss the train I'm (Am) on, you will (Dm) know that I am gone. You can (G7) hear the whistle blow a hundred (C) miles (F) (C).
(Peter, Paul & Mary) (Artist Index) - (Main Index) - (Song Index) (This Song)
FOLLOW ME – John Denver (C2)
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It's by (Em) far the hardest (D) thing I've ever (G) done. To be (C) so in (G) love with (Am7) you, and so a (D) lone. (D7)
Follow (G) me where I (Am7) go, what I (G) do and who I (C) know. Make it (G) part of you, to (Am7) be a part of (D) me. (D7) Follow (G) me up and (Am7) down, all the (G) way and all a (C) round. (G) Take my hand and (C) say you'll (D7) follow (G) me.
It's (G) long been on my (D) mind, you know it's, (C) been a long long (G) time. I've (Em) tried to find the (D) way that I can (C) make you, under (D) stand. The (C) way I feel a (G) bout you, and (C) just how much I (G) need you. To be (C) there where (G) I can (Am7) talk to you, when (C) there's no one else a (D) round.
Follow (G) me where I (Am7) go, what I (G) do and who I (C) know. Make it (G) part of you to (Am7) be a part of (D) me. (D7) Follow (G) me up and (Am7) down, all the (G) way and all a (C) round. (G) Take my hand and (C) say you'll (D7) follow (G) me.
You see I'd (G) like to share my (D) life with you, and (C) show you things I've (G) seen. (Em) Places that I'm (D) going to, (C) places where I've (D) been. To (C) have you there beside (G) me, and (C) never be (G) alone. And (C) all the (G) time that (Am7) you're with me, (C) we will be at (D) home.
Follow (G) me where I (Am7) go, what I (G) do and who I (C) know. Make it (G) part of you to (Am7) be a part of (D) me. (D7) Follow (G) me up and (Am7) down, all the (G) way and all a (C) round. (G) Take my hand and (C) say you'll (D7) follow (G) me.
(John Denver) (Artist Index) - (Main Index) - (Song Index) (This Song)
FOLSOM PRISON BLUES - Johnny Cash (C1)
TIP: The intro is a tad tricky. So start by forming an (E) except put your index finger up one string so it's on 4th string/1st fret. Now pick the 5th string/2nd fret twice (that's ), then lift the ring finger and pluck the 4th string twice (that's ). Pluck the 5th string again. Now lift off all fingers and with your middle grab the top string at the 2nd fret (which is ) and pull/bend the string downward and then let it slight back up. Release the top string and pluck it (this is ) along with a strum of (E) and begin song. If the bending of the string is too cumbersome you can pluck top string/4th fret after the and then slide down the string to the second fret to grab the before finishing with (E).
TIP: The bridge is meant to be played as notes on the frets 7-10 but you can play the opening notes on the 2nd fret, and then just play chords, and have a pretty good substitute. You'll end the verse on (E) so just keep the (E) formed throughout (1)-(4) below. Now stay with me:
(1) Pluck the 4th, 3rd, and 2nd, then add pinky to the 2nd string/3rd fret and pluck, remove pinky and pluck, pinky back down and pluck, pinky off and pluck.
(2) Now do the same thing but this time end with the pinky down: Pluck the 4th, 3rd, and 2nd, then add pinky to the 2nd string/3rd fret and pluck, remove pinky and pluck, pinky back down and pluck.
(3) Repeat (1) and (2)
(4) Now we're going to go in the opposite direction: Remove pinky from 2nd string and pluck, pluck 3rd string, pluck 4th string.
(5) Lift all fingers and pluck the 5th string (open) once and immediately form and strum (A). While strumming (A) strike the middle strings with downstrokes followed by alternating up and down strums through the bottom strings.
(6) Move to (B7) with the same strumming pattern. Then to (E) with the same strumming pattern.
TIP: If you don't want to mess around at all with the individual notes in the bridge then just play (E) throughout steps (1)-(4) while adding/removing your pinky to the 2nd string/3rd fret at the appropriate time until it's time to move to the (A) in step (5).
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INTRO: (E)
(E) I hear the train a-comin', it's rollin' 'round the bend, and I ain't seen the sunshine since, (E7) I don't know when. I'm (A7) stuck in Folsom Prison, and time keeps draggin'(E) on. But that (B7) train keeps a-rollin', on down to San An (E) tone.
(E) When I was just a baby, my momma told me "Son, always be a good boy don't (E7) ever play with guns." But I (A7) shot a man in Reno, just to watch him (E) die. When I (B7) hear that whistle blowin', I hang my head and (E) cry.
; ; ; ; (A); (E); (B7); (E)
(E) I bet there's rich folk eatin' in a fancy dining car. They're prob'ly drinkin' coffee, and (E7) smokin' big cigars. Well I (A7) know I had it comin', I know I can't be (E) free. But those (B7) people keep a-movin', and that's what tortures (E) me.
; ; ; ; (A); (E); (B7); (E)
(E) Well if they freed me from this prison if that railroad train was mine, I bet I'd move it all a little (E7) farther down the line. (A7) Far from Folsom Prison, that's where I'd want to (E) stay. And I'd (B7) let that lonesome whistle, blow my blues (E) away.
OUTRO: (E)
(Johnny Cash) (Artist Index) - (Main Index) - (Song Index) (This Song)
FOR BABY – John Denver (C0)
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INTRO: (G)(G)(C)(G)(C)
I’ll (G) walk in the (C) rain by your (G) side. I’ll (C) cling to the (D7) warmth of your (G) hand. I’ll (C) do, any (D7) thing to keep you (G) sat, is (C) fied. I’ll (G) love you more than (D7) anybody (G) can.
And the (C) wind, will (D7) whisper your (G) name to me. (C) Little birds will (D7) sing along in (G) time. (C) Leaves, will bow (D7) down, when (G) you walk (C) by. And (G) morning (D7) bells will (G) chime.
I’ll be-there when (C) you’re, feelin’ (G) down. To (C) kiss away the (D7) tears if you (G) cry. (C) I’ll, share with (D7) you, all the (G) happiness I’ve (C) found. A re (G) flection of the (D7) love in your (G) eyes.
And I’ll (C) sing you the (D7) songs of the (G) rainbow. A (C) whisper of the (D7) joy that is (G) mine. And (C) leaves, will bow (D7) down, when (G) you walk (C) by. And (G) morning
(D7) bells will (G) chime.
I’ll (G) walk in the (C) rain by your (G) side. I’ll (C) cling to the (D7) warmth of your tiny (G) hand. I’ll (C) do any (D7) thing to help you (G) under (C) stand. I’ll (G) love you more than (D7) anybody (G) can.
And the (C) wind, will (D7) whisper your (G) name to me. (C) Little birds will (D7) sing along in (G) time. (C) Leaves, will bow (D7) down, when (G) you walk (C) by. And (G) morning (D7) bells, will (G) chime.
(John Denver) (Artist Index) - (Main Index) - (Song Index) (This Song)
FOR EMILY, WHEREVER I MAY FIND HER - (Simon) - Simon and Garfunkel (C1)
TIP: You can substitute a (D) for the (Asus) but the (Asus) sounds prettier and is easy to play as you just play an (A) and cover the 2nd string/3rd fret string with the pinky.
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INTRO: (G)(G)(G)-(Gadd), (C)(C)(C)-(CaddD), (G)(G)(G)-(Gadd)
(Gadd) What a dream I had. (C) Pressed in organ (Am) dy, (G) clothed in crinoline, of
(Fmaj7) smoky burgundy. (C) Softer than the (Asus) rain (D).
(Gadd) I wandered empty streets down, (C) past the shop dis (Am) plays. (G) I heard cathedral (Cmaj7) bells, (Fmaj7) tripping down the alleyways, (C) as I walked (Asus) on (D).
(Gadd) And when you ran to me your, (C) cheeks flushed with the (Am) night. (G) We walked on frosted (Cmaj7) fields, of (Fmaj7) juniper and lamplight. (C) I held your (Asus) hand (D).
(G)(C)(Am)(G)(Cmaj7)(Fmaj7)(C)(Asus)(D)
(G) And when I a (C) woke, and felt you warm and (Am) near, (G) I kissed your honey (Cmaj7) hair, (Fmaj7) with my grateful tears.
(C) Oh I love (CaddD) you, (Gadd) girl. (F) Ohhhh, (C) I, (CaddD) love, (Gadd) you.
(Simon and Garfunkel) (Artist Index) - (Main Index) - (Song Index) (This Song)
FOR LOVIN’ ME – (Lightfoot) - Peter, Paul, & Mary/Gordon Lightfoot (C1)
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INTRO: (D)(G)
(D) That's what you (D7) get for lovin' (G) me. (D) That's what you (D7) get for lovin' (Em) me (D). (G) Everything you had is (Em) gone, as you can (A) see. (D) That's what you (D7) get for lovin' (G) me.
(D) I ain't the (D7) kind to hang a (G) round. (D) With any (D7) new love that I've (Em) found (D). (G) Movin' is my stock in (Em) trade. I'm movin (A) on. (D) I won't think (D7) of you when I'm (G) gone.
(D) So don't you (D7) shed a tear for (D) me. (D) I ain't the (D7) love you thought I'd (Em) be (D). (G) I've got a hundred more like (Em) you, so don't be (A) blue. (D) I'll have a
(D7) thousand 'fore I'm (G) through.
(D) Now there you (D7) go you're crying a (G) gain. (G) Now there you (D7) go you're crying a (Em) gain (D). (G) But then someday when your poor (Em) heart is on the (A) mend. (D) I just might pass this (D7) way (G) again.
(D) That's what you (D7) get for lovin' (G) me. (D) That's what you (D7) get for lovin' (Em) me (D). (G) Everything you had is (Em) gone, as you can (A) see. (D) That's what you (D7) get for lovin' (G) me. (C) (G)
(Gordon Lightfoot) (Peter, Paul & Mary) (Artist Index) - (Main Index) - (Song Index) (This Song)
FOR MY LADY – (Thomas) – The Moody Blues (C0)
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INTRO: (G)(Dm)(C)(G); (G)(Dm)(C)(G)
My (G) boat, sails stormy (Dm) seas. Battles (C) o, ceans filled with (G) tears. At last, my port's in (Dm) view, now that (C) I've, discovered (G) you.
Oh I'd (C) give, my life, so (Em) lightly, for my (Am) gen, tle (Em) lady. Give it (Dm) freely, and com (G7) pletely, to my (C) lady. (C)
(G)(Dm)(C)(G)
As (G) life, goes drifting (Dm) by, like a (C) breeze, she'll gently (G) sigh. And slowly bow her (Dm) head, then you'll (C) hear, her softly (G) cry.
Oh I'd (C) give, my life, so (Em) lightly, for my (Am) gen, tle (Em) lady. Give it (Dm) freely, and com (G7) pletely, to my (C) lady. (C)
(Fm6) Words that you say, when we're (C) alone. But (Fm6) actions speak lou, der than (C) words. (Fm6) All I can say, is "I (C) love you so." (Dm) Drive away all my (G) hurt.
Oh I'd (C) give, my life, so (Em) lightly, for my (Am) gen, tle (Em) lady. Give it (Dm) freely, and com (G7) pletely, to my (C) lady. (C)
(G)(Dm)(C)(G), (G)(Dm)(C)(G)
Set (G) sail, before, the (Dm) sun. Feel the (C) warmth, that's just be (G) gun. Share-each, and every (Dm) dream, they be (C) long, to every (G) one.
Oh I'd (C) give, my life, so (Em) lightly, for my (Am) gen, tle (Em) lady. Give it (Dm) freely, and com (G7) pletely, to my (C) lady. (C)
(The Moody Blues) (Artist Index) - (Main Index) - (Song Index) (This Song)
FOR NO ONE – (Lennon/McCartney) - The Beatles [C6]
TIP: Prior to the (Fmaj7/A) you’ll be playing (C) so just keep the index finger down and drop the ring and middle fingers down one string.
TIP: Not too fast!
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(C) Your day breaks, (Em) your mind aches, (Am) you find that (C) all her words of (Fmaj7/A) kindness linger (Gsus4) on when she no (C) longer needs you. She wakes up, (Em) she makes up, (Am) she takes her (C) time and doesn't (Fmaj7/A) feel she has to (Gsus4) hurry, she no (C) longer needs you.
And in her (Dm) eyes you see (A7) nothing, (Dm) no sign of love behind (A7) the (Dm) tears, cried for (A7) no one. (Dm) A love that should have last (A7) ed (Dm) years. (G)
(C) You want her, (Em) you need her, (Am) and yet you (C) don't believe her (Fmaj7/A) when she says her (Gsus4) love is dead. You (C) think she needs you.
And in her (Dm) eyes you see (A7) nothing, (Dm) no sign of love behind (A7) the (Dm) tears, cried for (A7) no one. (Dm) A love that should have last (A7) ed (Dm) years. (G)
(C) You stay home, (Em) she goes out, (Am) she says that (C) long ago she (Fmaj7/A) knew someone, but (Gsus4) now he's gone she (C) doesn't need him. Your day breaks, (Em) your mind aches,
(Am) there will be (C) times when all the (Fmaj7/A) things she said will (Gsus4) fill your head. You (C) won't forget her.
And in her (Dm) eyes you see (A7) nothing, (Dm) no sign of love behind (A7) the (Dm) tears, cried for (A7) no one. (Dm) A love that should have last (A7) ed (Dm) years.
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
FOR THE GOOD TIMES (Kristofferson) – Ray Price (C4)
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INTRO: (G)(Am)(C)(G)
(G) Don't look so (D7) sad, I know it's (G) over. But life goes (D7) on, and this old world, will keep on (G) turning. Let's just be (C) glad, we had some (D7) time, to spend to (G) gether. There's no (C) need, to watch the (Am) bridges, that we're burn (D7) ing.
Lay your (G) head, upon my (D7) pillow. Hold your (D) warm and tender body, close to (G) mine. Hear the whisper, of the raindrops, blowing (C) soft, against the win (Am) dow. And (C) make believe you love (D) me, one more (D7) time. For the good (G) times.
I'll get a (D7) long, you'll find a (G) nother. And I'll be (D7) here, if you should find, you ever (G) need me. Don't say a (C) word, about to (D7) morrow, or for (G) ever. There'll be (C) time, enough for (Am) sadness, when you leave (D7) me.
Lay your (G) head, upon my (D7) pillow. Hold your (D) warm and tender body, close to (G) mine. Hear the whisper, of the raindrops, blowing (C) soft, against the win (Am) dow. And (C) make believe you love (D) me, one more (D7) time. For the good (G) times.
(Ray Price) (Artist Index) - (Main Index) - (Song Index) (This Song)
FOR WHAT IT'S WORTH - (Stills) - Buffalo Springfield (C0 or C1)
TIP: The whole song can be played with just three chords, the (E)(A) and (D). In the chorus there's a (C) before "goin'" which can be omitted if you want. Just play the (A) through to the (E). Also the (G) in the verse "What a field day for the heat" can also be omitted. It just gives it a funky base vibe.
TIP: In the intro (really a series of pings), try playing the (A) up the neck at the 5th fret as indicated in the "F5" diagram. Otherwise just play the regular (A).
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INTRO: (E)(A), (E)(A)
There's (E) somethin' happenin' (A) here. What it (E) is, ain't exactly (A) clear. There's a
(E) man with a gun over (A) there. Telling (E) me I got to be (A) ware.
I-think-it's-time-we (E) stop, children (D) what's that sound? (A) Everybody look what's
(C) goin' dow - (E) own? (E)(A)(E)(A)
(E) There's battle lines being (A) drawn. Nobody's (E) right, if everybody's (A) wrong. (E) Young people speakin' their (A) minds. Gettin' (E) so much resistance (A) from behind.
I-think-it's-time-we (E) stop, children (D) what's that sound? (A) Everybody look what's
(C) goin' dow - (E) own? (E)(A)(E)(A)
(E) What a field day for the (A) heat (G). A (E) thousand people in the (A) street (G).
Singin' (E) songs and a carryin' (A) signs (G). Mostly (E) sayin' hooray for our (A) side.
I-think-it's-time-we (E) stop, children (D) what's that sound? (A) Everybody look what's
(C) goin' dow - (E) own? (E)(A)(E)(A)
(E) Paranoia strikes (A) deep. (E) Into your life it will (A) creep. It (E) starts when you're always a (A) fraid. You step out of (E) line, the man come, and (A) take you away.
We better (E) stop, hey, (D) what's that sound? (A) Everybody look what's (C) going down-you-better (E) stop, hey, (D) what's that sound? (A) Everybody look what's (C) going down (E) stop, now, (D) what's that sound (A)? Everybody look what's (C) going down (E) stop, children,
(D) what's that sound (A)? Everybody look what's (C) going dow - (E) own.
(E)(A)(E)(A) repeat and fade.
(Buffalo Springfield) (Artist Index) - (Main Index) - (Song Index) (This Song)
FOREVER YOUNG – (Dylan) - Bob Dylan/Joan Baez (C2)
TIP: Some (like Joan Baez) sing the last word of the first line (e.g. “true”) as a two-syllable word ending in a downward inflection (e.g. “true-ooh”) for which the (Em) is appropriate on the final syllable. Others (like Dylan) sing the word as one syllable without the downward inflection. In this case the (Em) should not be played and the preceding (D) carries.
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INTRO: (G)(C)(Em)(D)(G)
(G) May God (Gadd) bless and keep you al (G) ways, may your (D) wishes all come true (Em). May you (C) always do for others, and let (CaddG) others do for (Gadd) you. (G) May you (Gadd) build a ladder to the stars, and (D) climb on every rung. May you (C) stay- (D) -ay, forever (G) young.
Forever (D) young, forever (C) young. May you (G) stay- (D) -ay, forever (G) young.
May you (Gadd) grow up to be right (G) eous, may you (D) grow up to be true (Em). May you (C) always know the truth, and see the (CaddG) lights surrounding (Gadd) you. (G) May you (Gadd) always be courageous, stand (D) upright and be strong. May you (C) stay- (D) -ay, forever (G) young.
Forever (D) young, forever (C) young. May you (G) stay- (D) -ay, forever (G) young.
May your (Gadd) hands always be (G) busy, may your (D) feet always be swift (Em). May you (C) have a strong foundation, when the (CaddG) winds of changes (Gadd) shift. (G) May your (Gadd) heart always be joyful, and may your (D) song always be sung. May you (C) stay- (D) -ay, forever
(G) young.
Forever (D) young, forever (C) young. May you (G) stay- (D) -ay, forever (G) young.
(Bob Dylan) (Joan Baez) (Artist Index) - (Main Index) - (Song Index) (This Song)
FORTUNATE SON - (Fogerty) - Creedence Clearwater Revival (C1)
TIP: The notation for the intro means this: Form (G), then pluck the 3rd and 6th strings (3/6) together, and then downstroke (G), maybe just the bottom 3 or 4 strings with a flick of the back of your bottom three fingers. Then form (F) and do the same with the 3rd and 4th strings (3/4). Then do the (C) and the (Gadd) in the same way. Finish with plucking either the open 2nd string and then the open 3rd string (2-3) OR the 5th string and 6th string while holding (G) formation. It all sounds complicated but it's really not. Listen to the song and you'll get the gist. An even easier version is (if you notice the all begin with the 3rd string) to form the chord as indicated and then pluck the 3rd string, pause, and then rake the 2nd and 1st string downward each time.
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INTRO: (G - 3/6) (F - 3/4) (C - 3/5) (Gadd - 3/6), (2-3 open or (G) 5-6); repeat
(G) Some folks are born, (F) made to wave the flag. (C) Ooh they're red white and (G) blue. And when the band plays (F) "Hail to the Chief", (C) ooh they point the cannon at (G) you Lord.
It ain't me, (D) it ain't me, (C) I ain't no senator's (G) son son. It ain't me, (D) it ain't me, (C) I ain't no fortunate (G) one no.
(G) Some folks are born, (F) silver spoon in hand. (C) Lord don't they help them (G) selves y'all.
But when the taxman (F) comes to the door, (C) Lord the house looks like a rummage (G) sale yeah.
It ain't me, (D) it ain't me, (C) I ain't no millionaire's (G) son no. It ain't me, (D) it ain't me; (C) I ain't no fortunate (G) one no.
(G7)(C)(F)(Gadd), (G7)(C)(F)(Gadd)
Yeah, (G) some folks inherit (F) star spangled eyes. (C) Ooh they send you down to (G) war Lord.
And when you ask them (F) "How much should we give?" (C) Ooh they only answer (G) more, more, more y'all.
It ain't me, (D) it ain't me, (C) I ain't no military (G) son son.
It ain't me, (D) it ain't me, (C) I ain't no fortunate one one.
It ain't me, (D) it ain't me, (C) I ain't no fortunate (G) one, no no no.
It ain't me, (D) it ain't me, (C) I ain't no fortunate (G) son, no no no.
(CCR) (Artist Index) - (Main Index) - (Song Index) (This Song)
FRIENDS IN LOW PLACES – (Blackwell/Lee) – Garth Brooks (C0)
TIP: For the intro, strum each chord once with a pause in between them.
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INTRO: (A) (A7) (Bm) (E)
(NC) Blame it (A) all on my roots, I (A7) showed up in boots. And (Bm) ruined your black tie affair. The (E) last one to know, the (E7) last one to show I was the (A) last one you thought you'd see there. And I saw the surprise, and the (A7) fear in his eyes, when (Bm) I took his glass of cham (Dm) pagne. And (E) I toasted you said “Honey (E7) we may be through. But (E) you'll never hear me complain.”
'Cause (A) I got friends in low places where the whiskey drowns and the beer chases my (Bm) blues away. And I'll (E) be okay. Now (A) I'm not big on social graces think I'll slip on down to the (A7) oasis. Oh (Bm) I got friends, (E) in low (A) places.
(A)(Bm)(E)(A)
Well I guess I was wrong, I (A7) just don't belong. But (Bm) then, I've been there before. Every (E) thing's all right. I'll (E7) just say goodnight and I'll (A) show myself to the door. Hey I didn't mean, to (A7) cause a big scene. Just (Bm) give me an hour and (Dm) then. Well (E) I'll be as high as that (E7) ivory tower, (E) that you're livin' in.
'Cause (A) I got friends in low places where the whiskey drowns and the beer chases my (Bm) blues away. And I'll (E) be okay. Now (A) I'm not big on social graces think I'll slip on down to the (A7) oasis. Oh (Bm) I got friends, (E) in low (A) places.
(A)(Bm)(E)(A)
I guess I was wrong, I (A7) just don't belong. But (Bm) then, I've been there before. Every (E) thing's all right. I'll (E7) just say goodnight and I'll (A) show myself to the door. I didn't mean, to (A7) cause a big scene. Just (Bm) wait 'til I finish this (Dm) glass. Then (E) sweet little lady I'll head (E7) back to the bar, (E) and you can kiss my ass.
'Cause (A) I got friends in low places where the whiskey drowns and the beer chases my (Bm) blues away. And I'll (E) be okay. (A) I'm not big on social graces think I'll slip on down to the
(A7) oasis. Oh (Bm) I got friends, (E) in low (A) places.
I got friends in low places where the whiskey drowns and the beer chases my (Bm) blues away. And I'll (E) be okay. (A) I'm not big on social graces think I'll slip on down to the (A7) oasis. Oh (Bm) I got friends, (E) in low (A) places.
(Garth Brooks) (Artist Index) - (Main Index) - (Song Index) (This Song)
GET A HAIRCUT - (Avery/Birch) - George Thorogood (C3)
TIP: The intro is no big deal and you can just strum (G) if you want. But to go from (G) to (EmG) and back, leave the fingers playing the bottom and 5th strings planted and move the top finger (top string) down under to the (4th string/2nd fret) and then back to the top, finishing the sequence by stroking the (G) chord with a sharp up-stroke emphasizing the bottom string.
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INTRO: (G)-(EmG)-(G)-(EmG)-G; (G)-(EmG)-(G)-(EmG)-G
(G) I was a rebel from the day I left school. Grew my hair long and broke all the rules.
(C) I'd sit and listen to my records all day, (D) with big ambitions of when I could play.
(G) My parents taught me what life was about. So I grew-up the type they warned me about.
(C) They said my friends were just an unruly mob and I should, (D) get a haircut and get a real jo-(G)-ob.
Get a haircut and get a real job. Clean your act up and don't be a slob. (C) Get it together like your big brother Bob why don't you, (D) get a haircut and get a real (Gadd) job?
I even (G) tried that 9 to 5 scene. I told myself that it was all a bad dream. (C) I found a band and some good songs to play and now I, (D) party all night I sleep all day. (G) I met this chick she was my number one fan. She took me home to meet her mommy and dad. (C) They took one look at me and said "Oh my God. (D) Get a haircut and get a real jo-(G)-ob."
Get a haircut and get a real job. Clean your act up and don't be a slob. (C) Get it together like your big brother Bob why don't you, (D) get a haircut, and get a real (Gadd) job.
Get a real (G) job. Why don't you get a real (C) job? Get a real (D) job. Why don't you get a real (Gadd) job?
(C)(D7)(G)
I hit the big time with my rock 'n' roll band. The future's brighter now than I'd ever planned.
(C) I'm ten times richer than my big brother Bob but he's, (D) he's got a haircut he's got a real job.
(G) Get a haircut and get a real job. Clean your act up and don't be a slob. (C) Get it together like your big brother Bob why don't you, (D) get a haircut, and get a real (Gadd) job?
Get a real (G) job. Why don't you get a real (C) job? Get a real (D) job. Why don't you get a real (Gadd) job?
(C)(D7)(G); (G)(C)(D7)(G)
(George Thorogood) (Artist Index) - (Main Index) - (Song Index) (This Song)
GET TOGETHER - (Powers) - The Youngbloods (C0 or C4)
TIP: The intro is hold (A) and pick the 4th string and then the 3rd string. Alternate this pattern four times. Then hold the (G) and do the same thing. This pattern also comes around again prior to the third verse.
TIP: In the instrumental bridge you might be able to fake it from within the (A) and (G) chords. Otherwise skip the second chorus and procede to the third verse.
TIP: Unless your Mariah Carey or Roy Orbison with a four-octave range, if you sing this song uncapo'd it may help to start singing the verse on note in the middle register (5th string/4th fret) and then shift to note (3rd string/2nd fret) in a higher register for the second line in each verse.
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INTRO: (A) [4-3 x 4] (G) [4-3 x 4]; (A) [4-3 x 4] (G) [4-3 x 4]; (A) [4-3 x 4] (G) [4-3 x 4]
(A) Love is but a song to sing. Fear's the way we (G) die. (A) You can, make the mountains ring, or make the angels (G) cry. (A) Though the bird is on the wing, and you may not know (G) why.
(D) Come on people now, (E) smile on your brother every (A) body get together. Try to (D) love one a (E) nother right (A) now.
(A) Some may come and some may go. We shall surely (G) pass. (A) When the one that left us here,
returns for us at (G) last. (A) We are but a moment's sunlight, fading in the (G) grass.
(D) Come on people now, (E) smile on your brother every (A) body get together. Try to (D) love one a (E) nother right (A) now.
(D) Come on people now, [up inflection] (E) smile on your brother every (A) body get together. Try to (D) love one a (E) nother right (A) now.
[Instrumental bridge (A)(G)(A)]
(D) Come on people now, [up inflection] (E) smile on your brother every (A) body get together. Try to (D) love one a (E) nother right (A) now.
(A) [4/5-3 x 4] (G) [4/6-3 x 4]
(A) If you hear the song I sing, you will under (G) stand. Listen. (A) You hold the key to love and fear, in your trembling (G) hand. (A) Just one key unlocks them both. It's there at your
com (G) mand.
(D) Come on people now, (E) smile on your brother every (A) body get together. Try to (D) love one a (E) nother right (A) now.
(D) Come on people now, [up inflection] (E) smile on your brother every (A) body get together. Try to (D) love one a (E) nother right (A) now.
I said (D) come on people now, [up inflection] (E) smile on your brother every (A) body get together. Try to (D) love one a (E) nother right (A) now. Right now. Right (A4) now.
(The Youngbloods) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE GAMBLER – (Schlitz) - Kenny Rogers (C0)
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INTRO: (D)(A), (D)(A)
On a (D) warm summers evenin’, on a (G) train bound for (D) nowhere. I met up with the gambler, we were both too tired to (A7) sleep. So (D) we took turns a starin’, out the (G) window at the (D) darkness. Til (G) boredom over (D) took us, and (A7) he began to (D) speak.
He said (D) son I've made a life, out of (G) readin' peoples (D) faces. And knowin’ what their cards were, by the way they held their (A7) eyes. So if (D) you don't mind my sayin’, I can (G) see you’re out of (D) aces. For a (G) taste of your (D) whiskey, I'll (A7) give you some (D) advice.
So I (D) handed him my bottle, and he (G) drank down my last (D) swallow. Then he bummed a cigarette, and asked me for a (A7) light. And the (D) night got deathly quiet, and his (G) face lost all ex (D) pression. Said “If you’re (G) gonna play the (D) game boy, ya gotta (A7) learn to play it (D) right.
You got to (D) know when to hold em, (G) know when to (D) fold em, (G) know when to (D) walk away, and know when to (A7) run. You never (D) count your money, when you’re (G) sittin’ at the (D) table. There'll be time (G) enough for (D) countin, (A7) when the dealin’s (D) done.
Now (D) every gambler knows, that the (G) secret to sur (D) vivin’, is knowin’ what to throw away, and knowing what to (A7) keep. Cause (D) every hand’s a winner, and (G) every hands a (D) loser, and the (G) best that you can (D) hope for is to (A7) die in your (D) sleep.”
So when he’d finished speakin’, he (G) turned back towards the (D) window. Crushed out his cigarette, and faded off to (A7)sleep. And (D) somewhere in the darkness, the (G) gambler he broke (D) even. But (G) in his final (D) words I found an (A7) ace that I could (D) keep.
You got to (D) know when to hold em, (G) know when to (D) fold em, (G) know when to (D) walk away, and know when to (A7) run. You never (D) count your money, when you’re (G) sittin’ at the (D) table. There'll be time (G) enough for (D) countin, (A7) when the dealin’s (D) done.
You got to (D) know when to hold em, (G) know when to (D) fold em, (G) know when to (D) walk away, and know when to (A7) run. You never (D) count your money, when you’re (G) sittin’ at the (D) table. There'll be time (G) enough for (D) countin, (A7) when the dealin’s (D) done.
You got to (D) know when to hold em, (G) know when to (D) fold em, (G) know when to (D) walk away, and know when to (A7) run. You never (D) count your money, when you’re (G) sittin’ at the (D) table. There'll be time (G) enough for (D) countin, (A7) when the dealin’s (D) done.
(Kenny Rogers) (Artist Index) - (Main Index) - (Song Index) (This Song)
GENTLE ON MY MIND – (Hartford) - Glen Campbell (C0)
TIP: Don’t be scared off by the unfamiliar chord sequences. It’s really easy to play and sounds great!
First the (D)(F#m)(D6)(F#m) sequence: Play (D), then just slide your ring finger over so all three fingers are in the 2nd fret. That's (F#m). Now lift the ring finger, that's (D6). Put it back down for (F#m) again. Slide it back to the 3rd fret to get to (D) again.
For the (E) sequence: You'll start with (Em), now lift the bottom finger (usually the ring finger) and put your pinky on the 2nd string/3rd fret. That’s (E7-). Now simply move the top finger down one string. That's (A7sus4). Next is (A7) and from (A7sus4) just lift the pinky and place the ring finger on the 2nd string/2nd fret like normal. It’s easy, give it a try!]
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INTRO: (D)(F#m) . . . repeat
It's (D) knowin' that your (F#m) door is always (D6) open and your (F#m) path is free to (Em) walk (E7-)(A7sus4)(A7). That (Em) makes me tend to (E7-) leave my sleepin' (A7sus4) bag rolled up and (A7) stashed behind your (D) couch (F#m) (D6)(F#m). And it's (D) knowin' I'm not (F#m) shackled by for (D6) gotten words and (F#m) bonds and the (D) ink stains that have (F#m) dried upon some (Em) line (E7-)(A7sus4)(A7). That (Em) keeps you in the (E7-) back roads, by the (A7sus4) rivers of my (A7) memory, that (Em) keeps you ever (A7) gentle on my (D) mind (F#m)(D6)(F#m). (D)(F#m)(D6)(F#m)
It's not (D) clingin' to the (F#m) rocks and ivy (D6) planted on their (F#m) columns now that (Em) bind me (E7-)(A7sus4)(A7). Or (Em) something that some (E7-) body said be (A7sus4) cause they thought we (A7) fit together (D) walkin' (F#m)(D6)(F#m). It's just (D) knowing that the (F#m) world will not be (D6) cursing, or for (F#m) giving, when I (D) walk along some
(F#m) railroad track and (Em) find (E7-)(A7sus4)(A7). That you're (Em) movin' on the (E7-) back roads by the (A7sus4) rivers of my (A7) memory, and for (Em) hours you're just (A7) gentle on my (D) mind (F#m)(D6)(F#m). (D)(F#m)(D6)(F#m)
Though the (D) wheat fields and the (F#m) clothes lines and the (D6) junkyards and the (F#m) highways come be (Em) tween us (E7-)(A7sus4)(A7). And some (Em) other woman's (E7-) cryin' to her (A7sus4) mother 'cause she (A7) turned and I was (D) gone (F#m)(D6)(F#m). I (D) still might run in (F#m) silence, tears of (D6) joy might stain my (F#m) face, and the (D) summer sun might (F#m) burn me till I'm (Em) blind (E7-)(A7sus4)(A7). But (Em) not to where I (E7-) cannot see you (A7sus4) walkin' on the (A7) back roads, by the (Em) rivers flowin' (A7) gentle on my (D) mind (F#m)(D6)(F#m). (D)(F#m)(D6)(F#m)
I (D) dip my cup of (F#m) soup back from a (D6) gurglin' cracklin' (D) cauldron in some (Em) train yard (E7-)(A7sus4)(A7). My (Em) beard a rustlin' (E7-) coal pile, and a (A7sus4) dirty hat pulled (A7) low across my (D) face (F#m)(D6)(F#m). Through (D) cupped hands 'round a (F#m) tin can I
pre (D6) tend to hold you (F#m) to my breast and (Em) find (E7-)(A7sus4)(A7). That you're
(Em) waitin' from the (E7-) back roads by the (A7sus4) rivers of my (A7) memory, ever (Em) smilin' ever (A7) gentle on my (D) mind (F#m)(D6)(F#m).
(D)(F#m)(D6)(F#m) [Repeat and fade or end with final D chord]
(Glen Campbell) (Artist Index) - (Main Index) - (Song Index) (This Song)
GEORGY GIRL - (Springfield/Dale) - The Seekers (C0)
TIP: There's one (Fmaj7/A) in the second line and again in the instrumental bridge. Both are brief and easy to play. It follows an (F) so just lift off the bottom string. There's also a (Cmaj7) that will sneak up on you in the "oh what a change there'd be" and it's a quick transition to the next (Am) so you might want to preview it. You'll be playing an (F) so you just hold position and come up one string-set for the (Cmaj7) with the ring and middle fingers only, then jump to the (Am).
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Intro (the whistling bit): (C)(Em)(F)(F)-(G7); (C)(Em)(F)(F)-(G7)
(C) Hey (Em) there, (F) Georgy (G) girl, (C) swingin' down the (Em) street so (Dm) fancy (G) free.
(C) Nobody you (Em) meet could (F) ever see (Fmaj7/A) the loneliness (Dm) there, (G7) inside you.
(C) Hey (Em) there, (F) Georgy (G) girl, (C) why do all the (Em) boys just (Dm) pass you (G) by?
(C) Could it be you (Em) just don't (F) try or is it the (G) clothes you wear?
(Am) You're always (Em) window shopping but (F) never stopping to (C) buy. (E) So shed those (A) dowdy (D7) feathers and (G7) fly, a little bit.
(C) Hey (Em) there, (F) Georgy (G) girl, (C) there's another (Em) Georgy (Dm) deep in (G) side.
(C) Bring out all the (Em) love you (F) hide and oh what a (Cmaj7) change (Am) there'd be. The
world (F) would see, (G) a new Georgy (C) girl.
(C)(Em)(F)(F)-(G7); (C)(Em)(F)(F)-(G7) -- (C)(Em)(F)(G), (C)(Em)(Dm)(G)(C)(Em)(F)(Fmaj7/A)(Dm),(G7)
(C) Hey (Em) there, (F) Georgy (G) girl (C) Dreamin' of the (Em) someone (Dm) you could (G) be.
(C) Life is a re (Em) ali (F) ty, you (Dm) can't always (G7) run away.
(Am) Don't be so (Em) scared of changing and (F) rearranging your (C) self. (E) It's time for (A) jumping (D) down from the (G) shelf, a little bit.
(C) Hey (Em) there, (F) Georgy (G) girl, (C) there's another (Em) Georgy (Dm) deep in (G) side
(C) Bring out all the (Em) love you (F) hide and oh what a (Cmaj7) change (Am) there'd be. The world (F) would see, (G) a new Georgy (C) girl.
(C)(Em)(F)(F)-(G7)
Wake up Georgy (C) girl. (G) Come on Georgy (C) girl. (G7) Wake up Georgy (C) girl.
(The Seekers) (Artist Index) - (Main Index) - (Song Index) (This Song)
GHOST RIDERS IN THE SKY – (Jones) – Frankie Laine/Johnny Cash (C1)
TIP: In the intro get good cadence going by strumming the (Am) and grabbing the open top string. Also include the base notes (pinky above the ring finger) if you can on the (C) and (F) to emphasize the thump. Finally, the middle refrain of “sky” at the end is sung on the up-inflection.
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INTRO: Strum (Am)
An old cowboy went ridin' out one (C) dark and windy day. Up (Am) on a ridge he rested as he (C) went along his (E) way. When (Am) all at once a mighty herd of red-eyed cows he saw, (F) plowin' through the ragged skies, and up a cloudy (Am) draw.
Their brands were still on fire and their (C) hooves were made of steel. Their (Am) horns were black and shiny and their (C) hot breath he could (E) feel. A (Am) bolt of fear went through him as they thundered through the sky, for he (F) saw the riders comin' hard, and he heard their
mournful (Am) cry.
Yipie i (C) oh, yipie i (Am) ay. (F) Ghost riders in the (Am) sky. (Am)(C)(Am)(C)(E)(Am)(F)(Am)
Their faces gaunt their eyes were blurred their (C) shirts all soaked with sweat. He's (Am) ridin' hard to catch that herd but (C) he ain't caught 'em (E) yet'. 'Cause they've (Am) got to ride forever on that range up in the sky, (F) on horses snorting fire, as they ride on hear their
(Am) cry.
As the riders loped on by him he (C) heard one call his name. "If you (Am) want to save your soul from hell a (C) riding on our (E) range. Then (Am) cowboy change your ways today or with us you will ride. (F) Tryin' to catch the devil's herd, across these endless (Am) skies."
Yipie i (C) oh, yipie i (Am) ay. (F) Ghost riders in the (Am) sky.
(F) Ghost riders in the (Am) sky. (F) Ghost riders in the (Am) sky.
(Frankie Laine) (Johnny Cash) (Artist Index) - (Main Index) - (Song Index) (This Song)
GIRL – (Lennon/McCartney) - The Beatles [C3]
TIP: (Dm)s are peppered throughout the song but a single (Dm7) chord comes in the last line of the bridge before the sole (F). You’ll have the tendency to play yet another (Dm) because you’ve been doing it throughout the song, so watch for it.
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Is there (Am) anybody (E7) going to listen (Am) to my story. (Dm) All about the girl who came to (C) stay? (E7) She's the (Am) kind of girl you (E7) want so much it (Am) makes you sorry. (Dm) Still you don't regret a single (Am) day.
Ah (C) gir- (Em) -rl. (Dm)-(G7) (C) Girl. (Em) Girl (Dm)-(G7)
When I (Am) think of all the (E7) times I've tried so (Am) hard to leave her, (Dm) she will turn to me and start to (C) cry. (E7) And she (Am) promises the (E7) earth to me and (Am) I believe her. (Dm) After all this time I don't know (Am) why.
Ah (C) gir- (Em) -rl. (Dm)-(G7) (C) Girl. (Em) Girl (Dm)-(G7)
(Dm) She's the kind of girl who puts you (A) down when friends are there you feel a (Dm) fool.
(A) (Dm) When you say she's looking good, she (A) acts as if it's understood she's (Dm7) cool, ooh, (F) ooh, ooh.
(C) gir- (Em) -rl. (Dm)-(G7) (C) Girl. (Em) Girl (Dm)-(G7)
Was she (Am) told when she was (E7) young that pain would (Am) lead to pleasure? (Dm) Did she understand it when they (C) said. (E7) That a man must break his (E7) back to earn his (Am) day of leisure? (Dm) Will she still believe it when he's (Am) dead?
Ah (C) gir- (Em) -rl. (Dm)-(G7) (C) Girl. (Em) Girl (Dm)-(G7)
(C) gir- (Em) -rl. (Dm)-(G7) (C) Girl. (Em) Girl (Dm)-(G7) (C)
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE GIRL FROM YESTERDAY - (Tempchin/Frey) - The Eagles (C0 or C5)
TIP: Yeah, there are a lot of chords here but they're all easy. There's a single (Bm) in the chorus that's only played once so expect it and it'll be no problem. The (E)-(Esus) in the bridge is simple as you're already playing the (E) so just add your pinky below your ring finger.
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Intro: (C)-(G)-(D) (G) (D7) (G)
(D7) It (Gadd) wasn't really (G7) sad, the way they (C) said good-bye. Or (D) maybe it just hurt so bad, she (G) couldn't cry (D). He (Gadd) packed his things walked (G7) out the door, and
(C) drove away. (Am7) And (G) she became, the (D7) girl from yester (G) day (D7).
He (Gadd) took a plane a (G7) cross the sea, to some (C) foreign land. She (D) stayed at home and tried so hard, to (G) understand (D). How (Gadd) someone who had (G7) been so close, could (C) be so far away. (Am7) And (G) she became, the (D7) girl from yester (G) day.
She (D) doesn't know what's right. She (C) doesn't know what's (G) wrong. She (Bm) only knows the pain that (G) comes from (C) waiting for so (D7) long. And she (C) doesn't count the
(G) teardrops, that she's (C) cried while he's a (Gadd) way. Be (Em) cause she knows deep
(Gadd) in her heart that (Am7) he'll be back some (D7) day.
(G)(G7)(C)(Am7)(G)(D7)(G); (E)-(Esus)
(A) The light's on in the (A7) window, she's (D) waiting by the phone. (E7) Talking to a memory that's (A) never coming (E7) home. She (A) dreams of his re (A7) turning, and the (D) things that he might say, but she'll (A) always be, the (E7) girl from yester (A) day (D).
Yeah she'll (A) always be, the (E7) girl from yester (D) day (A).
(The Eagles) (Artist Index) - (Main Index) - (Song Index) (This Song)
GOD BLESS AMERICA – (Berlin) - Traditional (C0)
TIP: This version adds a reprise like Kate Smith did when she sang it for the Philadelphia Flyers. The first time around the inflection is down on “home” and on the second “home” it’s up. And of course the finale is up. So sing it right.
TIP: For the (D) - (Dsus2) – (D) part in the first line, just lift off your middle finger to hit the (Dsus2).
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(G) God (D) bless (Dsus2) A (D) mer (Dsus2) I (D) ca, (D7) land that I (G) love. Stand be (C) side her, and (G) guide her, thru the night with a (D) light from (G) above.
From the (D) mountains, to the (G) prairies, to the (C) oceans, white with (G-add) foam. (C) God (G) bless (C) A (G) merica, (C) my (G) home, (D) sweet (G) home.
From the (D) mountains, to the (G) prairies, to the (C) oceans, white with (G-add) foam. (C) God (G) bless (C) A (G) merica, (C) My (G) home, (D) sweet (G-add) home.
(C) God (G) bless (C) A (G) merica, (C) my (G) home . . . (D) sweet . . . (G) home!
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
GOD WILL – Lyle Lovett (C1)
TIP: Can also be done in (D)(G)(A) or (G)(C)(D)
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INTRO: (D)(E)(A)(D)(D)(E)(D)(A)
(A) Who keeps on trustin’ you, (D) when you've been (A) cheatin’, and spendin’ your nights on the (E) town? (D) Who keeps on (A) sayin’, (D) that he still (A) wants you, when you're through runnin’ a (E) round? And (D) who keeps on (A) loving you, (D) when you've been (A) lyin’, sayin’ things ain't what they (E) seem?
Well (D) God does, but (E) I don't. (A) God will but (D) I won't. And that's the difference, be (E) tween God and (D) me (A). (D) God does but (A) I don't. (D) God will but (A) I won't and that's the (D) difference, be (E) tween God and (D) me (A).
(D)(E)(A)(D), (D)(E)(D)(A)
(D) So who says he'll for (A) give you, and (D) says that he'll (A) miss you, and dream of your sweet (E) memory?
Well (D) God does, but (E) I don't. (A) God will but (D) I won't. And that's the difference, be (E) tween God and (D) me (A). (D) Well God does but (A) I don't. (D) God will but (A) I won't and that's the (D) difference, be (E) tween God . . . and (D) me (A).
(Lyle Lovett) (Artist Index) - (Main Index) - (Song Index) (This Song)
GOING UP THE COUNTRY - (Thomas/Wilson) - Canned Heat (C8)
TIP: Canned Heat played the song with a capo on the 8th fret and it sounds pretty groovy.
TIP: Major chords can be played instead of the minor chords if you wish.
TIP: Obviously the "whistle" part emulates the flute and if you can extend your pinky over and cover the bottom string of the 5th fret for that first (D) that sounds extra groovy. Far out.
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INTRO: (Whistle) (D)(G)(D)(A7)(D)
I'm goin' up the country baby don't you want to go? I'm goin' (G7) up the country baby don't you want to (D) go? I'm goin' (A7) to someplace where I've never been be- (D) fore.
I'm goin' I'm goin' where the water tastes like wine. I'm (G7) goin', where the, water tastes like (D) wine. You can (A7) jump in the water and stay drunk all the (D) time.
(Whistle) (D)(G)(D)(A7)(D)
(D) I'm gonna leave the city, got to get away. I'm gonna (G7) leave the city, got to get
(D) away. All this (A7) fussin' and fightin' man you know I sure can't (D) stay.
(D) Now baby packin' up the truck you know we've got to leave today. Just exactly where were goin' I cannot say but, (G7) we might even, leave the U.S. (D) A. Well it's a (A7) brand new game that I don't wanna (D) play.
Whistle (D)(G)(D)(A7)(D)
No use of you (G) running, or screaming and (D) cryin'. Cause you've got a, (A) ho-me man, long as I've got (D) mine.
Whistle (D)(G)(D)(A7)(D), (D)(G)(D)(A7)(D)
(Canned Heat) (Artist Index) - (Main Index) - (Song Index) (This Song)
GOING WHERE THE LONELY GO – (Haggard/Holloway) – Merle Haggard (C0)
TIP: Play slowly, with considerable pauses (strums) between sentences, and with a soft rhythm.
INTRO: For the intro, hold (A) and pick the open 5th string and strum. Then pick the open 6th string and strum. Repeat this a few times and then pause.
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INTRO: (A)
Rollin with the (D) flow. Going where the (A) lonely go. Anywhere the (E) lights are low. Going where the (A) lonely go. Making up things to (D) do. Not running in all directions trying to (A) find you. I'm rollin with the (E) flow. Going where the (A) lonely go.
I've got to keep (D) goin’. I can't lay (A) down. Sleep won't hardly (E) come, when there’s loneliness all a (A) round. I've got to keep (D) goin. Travling down this (A) lonesome road. I'm rollin with the (E) flow. Goin’ where the (A) lonely go.
(D) (A) (E) (A)
I've got to keep (D) goin’. I can't lay (A) down. Sleep won't hardly (E) come, when there’s loneliness all a (A) round. I've got to keep (D) goin. Travling down this (A) lonesome road. I'm rollin with the (E) flow. Goin’ where the (A) lonely go.
I'm rollin with the (E) flow. Goin’ where the (D) lonely go (A).
(Merle Haggard) (Artist Index) - (Main Index) - (Song Index) (This Song)
GOLDEN RING – (Braddock) – George Jones and Tammy Wynette (C1)
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INTRO: Strum (D)
In a (D) pawn shop in Chicago, on a sunny summer day, a (A) couple gazes at the wedding (D) rings
there on display. She smiles n' nods her head, as he says "Honey that's for you. It's not much, but it's the (A) best, that I can (D) do."
Golden ring, (golden ring) with one tiny little stone, waiting (A) there, (waiting there) for some (D) one to take you home. By it self, (by itself) it's just a cold metallic thing. Only love can make a (A) golden wedding (D) ring.
In a little wedding chapel, later on that afternoon, an (A) old upright piano plays that (D) old familiar tune. Tears roll down her cheeks, and happy thoughts run through her head, as he whispers low "With (A) this ring, I thee (D) wed."
Golden ring, (golden ring) with one tiny little stone, shining (A) ring, (shining ring) now at
(D) last it's found a home. By it self, (by itself) it's just a cold metallic thing. Only love can make a (A) golden wedding (D) ring.
In a small two room apartment, as they fought their final round, he (A) says "You won't admit it, but I (D) know you're leavin' town." She says "One thing's for certain, I don't love you any more." And throws down the ring as (A) she walks out the (D) door.
Golden ring, (golden ring) with one tiny little stone, cast (A) aside (cast aside) like the
(D) love's that dead and gone. By it self, (by itself) it's just a cold metallic thing. Only love can make a (A) golden wedding (D) ring.
In a (D) pawn shop in Chicago, on a sunny summer day, a (A) couple gazes at the wedding (D) rings
there on display. Golden ring.
(George Jones)(Tammy Wynette) (Artist Index) - (Main Index) - (Song Index) (This Song)
GOOD HEARTED WOMAN - Waylon Jennings/Willie Nelson (C1)
TIP: The intro is a strum of (D) but you want to concentrate on the open 4th string and open 5th string in alternating strums. Thump, thump. Thump, thump.
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INTRO: Strum (D)
A (D) long time forgotten with dreams that just (D7) fell by the (G) way. The (A7) good life he promised, ain't what she's living (D) today. (Willie!) But she never complains, of the bad times or the (D7) bad things he's (G) done Lord. She just (A7) talks about the good times they've had and all the good times to (D) come.
She's a good-hearted woman in love with a (D7) good-timin' (G) man. She (A7) loves him in spite of his ways she don't under (D) stand. Through teardrops and laughter they'll pass through this
(D7) world hand in (G) hand. A (A7) good-hearted woman, loving her good timing (D) man.
He likes the bright lights the night life and (D7), good-timin' (G) friends. When the (A7) party's all over she'll welcome him, back home (D) again. Lord knows she don't understand him but,
(D7) she does the best that she (G) can. This (A7) good-hearted woman, lovin’ her good timin'
(D) man.
She's a good-hearted woman in love with a (D7) good-timin' (G) man. She (A7) loves me in spite of my ways that she don't under (D) stand. Through teardrops and laughter they'll pass through this (D7) world hand in (G) hand. A (A7) good-hearted woman, loving her good timing (D) man.
She's a good-hearted woman in love with a (D7) good-timin' (G) man. She (A7) loves me in spite of my ways that she don't under (D) stand. Through teardrops and laughter they'll pass through this (D7) world hand in (G) hand. A (A7) good-hearted woman, loving her good timing (D) man.
(Waylon Jennings)(Willie Nelson) (Artist Index) - (Main Index) - (Song Index) (This Song)
GOOD LUCK CHARM – (Schroeder/Gold) - Elvis Presley (C1)
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INTRO: Uh-huh-(C)-huh, uh-huh-(D)-huh, uh-huh-(G)-huh, oh yeah.
(G) Don't want a four leaf (C) clover. (G) Don't want an old horse (D) shoe. (G) Want your kiss 'cause I (C) just can't miss with a (D) good luck charm like (G) you.
(NC) Come on and (D7) be my little good luck charm muh-huh (G) huh. You sweet delight. I want a (D7) good luck charm a-hanging on my arm, to (C) have (to have), to (D) hold (to hold)
to (G) night.
Don't want a silver (C) dollar, (G) rabbit's foot on a (D) string. The (G) happiness in your (C) warm caress no (D) rabbit's foot can (G) bring.
(NC) Come on and (D7) be my little good luck charm muh-huh (G) huh. You sweet delight. I want a (D7) good luck charm a-hanging on my arm, to (C) have (to have), to (D) hold (to hold)
to (G) night. Uh-huh-(C)-huh, uh-huh-(D)-huh, uh-huh-(G)-huh, oh yeah. Uh-huh-(C)-huh,
uh-huh-(D)-huh, to (G) night.
If I found a lucky (C) penny, I'd (G) toss it across the (D) bay. Your (G) love is worth all the (C) gold on earth no (D) wonder that I (G) say.
(NC) Come on and (D7) be my little good luck charm muh-huh (G) huh. You sweet delight. I want a
(D7) good luck charm a-hanging on my arm, to (C) have (to have), to (D) hold (to hold)
to (G) night. Uh-huh-(C)-huh, uh-huh-(D)-huh, to (G) night.
(Elvis Presley) (Artist Index) - (Main Index) - (Song Index) (This Song)
GOOD OL’ HOCKEY GAME – Stompin’ Tom Conners (C1)
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INTRO: (C)(C)(F)(F)(C)(C)(F)(F)(G7)(G7)(G7)(G7)(G7)(C)
(C) Hello out there, were on the air. It's hockey night to (G) night. The tension grows, the whistle blows, and the puck goes down the (C) ice. The goalie jumps, and the players bump, and the fans all go in (F) sane. Someone roars, (C) "Bobby Scores!" At the (G) good old hockey (C) game.
(G) Oh, the (C) good old hockey game. It’s the best game you can (G7) name. And the best game you can name, is the good old hockey (C) game.
Second Period. Where players dash, with skates a-flash, the home team trails be (G) hind. But they grab the puck, and go bursting up, and they’re down across the (C) line. They storm the crease, like bumblebees, and they travel like a burning (F) flame. We see them slide, the (C) puck inside, it’s a (G) one-one hockey (C) game!
(G) Oh, the (C) good old hockey game. It’s the best game you can (G7) name. And the best game you can name, is the good old hockey (C) game.
Third Period. Last game in the play-offs too. Oh (C) take me where, the hockey players, face off down the (G) rink. And the Stanley Cup, is all filled up, for the champs who win the (C) drink. Now the final flick, of a hockey stick, and a one gigantic (F) scream: "The puck is in, the (C) home team wins!” the (G7) good old hockey (C) game.
(G) Oh, the (C) good old hockey game. It’s the best game you can (G7) name. And the best game you can name, is the good old hockey (C) game.
(G) Oh, the (C) good old hockey game. It’s the best game you can (G7) name. And the best game you can name, is the good old hockey (C) game.
Oh, the (C) good old hockey game. It’s the best game you can (G7) name. And the best game you can name, is the good, old, (F) hock (G) ey (C) game. (C)(C)(F)(F)(C)(C)(F)(F)(G7)(G7)(G7)(G7)(G7)(C)(C)-(C)
He shoots and scores!
(Stompin' Tom Conners) (Artist Index) - (Main Index) - (Song Index) (This Song)
GOOD OLE BOY LIKE ME - (McDill) - Don Williams (C1)
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INTRO: (G)(G)(G)-(G4)(G); (G)(G)(G)-(G4)(G); (G)(G)(G)-(G4)(G)
(Gadd) When I was a kid Uncle (D) Remus would put me to (C) bed (D). With a (Gadd) picture of Stonewall (D) Jackson above my (C) head (D). Then (Em) Daddy came in to kiss his (D) little man,
with (Em) gin on his breath, and a (D) bible in his hand. He (C) talked about honor and
(D) things I should know. Then he'd (C) stagger a little as he (D) went out the door.
I can (G) still hear the soft southern (Em) winds in the live oak (C) trees (Am)-(D). And those (G) Williams boys they (Em) still mean a lot to (C) me, Hank and (Am) Tennessee. I (C) guess we're all gonna (D) be what we're gonna (Em) be (C). So what do you do with (D) good ol' boys like
(G) me?
(G)(G4); (G)(G4)
(Gadd) Nothing makes a (D) sound in the night like the (C) wind does (D). But (Gadd) you ain't afraid if you're (D) washed in the blood like (C) I was (D). The (Em) smell of cape jasmine through the (D) window screen, John (Em) R. and The Wolfman kept me, (D) company. By the (C) light of the radio (D) by my bed, with (C) Thomas Wolfe whisperin' (D) in my head.
I can (G) still hear the soft southern (Em) winds in the live oak (C) trees (Am)-(D). And those (G) Williams boys they (Em) still mean a lot to (C) me, Hank and (Am) Tennessee. I (C) guess we're all gonna (D) be what we're gonna (Em) be (C). So what do you do with (D) good ol' boys like
(G) me?
(G)(Em)(C)(D)
When (Gadd) I was in school I (D) ran with a kid down the (C) street (D). And I (Gadd) watched him burn himself (D) up on bourbon and (C) speed (D). But I was (Em) smarter than most, and (D) I could choose. Learned to (Em) talk like the man on the (D) six o'clock news. When (C) I was eighteen lord I (D) hit the road, but it (C) really doesn't matter how (D) far I go.
I can (G) still hear the soft southern (Em) winds in the live oak (C) trees (Am)-(D). And those (G) Williams boys they (Em) still mean a lot to (C) me, Hank and (Am) Tennessee. I (C) guess we're all gonna (D) be what we're gonna (Em) be (C). So what do you do with (D) good ol' boys like
(G) me?
Yeah (C) what do you do with (D) good ol' boys like (G) me?
(G)-(G)-(G),(D)(D)-(D); (G)-(G)-(G),(D)(D)-(D); (G)-(G)-(G),(D)(D)-(D); (G)
(Don Williams) (Artist Index) - (Main Index) - (Song Index) (This Song)
GOOD TIME CHARLIE'S GOT THE BLUES - (O'Keefe) - Willie Nelson/Dwight Yokam (C4)
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INTRO: (G)(C)(D)(G)
(G) Everybody's gone away. Said they're moving to L. (Am) A. There's not a soul I know
a (D) round. Everybody's leavin' (G) town. Some caught a freight some caught a plane. Find the sunshine leave the (Am) rain. They said this town'll waste your (D) time. I guess they're right it's wastin' (G) mine.
Some gotta win, some gotta (Am) lose. (D) Good time Charlie's got the (G) blues. (D) Good time Charlie's got the (G) blues.
You know my heart keeps telling me, you're not a kid at thirty (Am) three. You play around you lose your (D) wife. You play too long you lose your (G) life. I got my pills to ease the pain. Can't find a thing to ease the (Am) rain. I'd love to try and settle (D) down, but everybody's leavin' (G) town.
Some gotta win, some gotta (Am) lose. (D) Good time Charlie's got the (G) blues. (D) Good time Charlie's got the (G) blues. (G)(C)(D)(G)
(Willie Nelson) (Dwight Yoakum) (Artist Index) - (Main Index) - (Song Index) (This Song)
GOODNIGHT, SWEETHEART – (Hudson/Carter) – The Spaniels (C0 or C1)
TIP: You can skip this tip and ignore the riff patterns in the song if you're doing a duet or are in a group and have someeone else who can sing the riffs (the “doh, doh, doh, doh, doh”). But if you're playing solo here are the individual notes. What follows will all look messy and complicated but if you just go through it once you’ll see it all falls together easily. It might help if you go You Tube an old version of the Spaniels doing it and you’ll hear the riffs.
1 - The first is the “regular riff” abbreviated . The is:
2 - The second is the “low riff” abbreviated . The is:
3 - The third one, played at the end of the chorus, is the “extra long riff” abbreviated . The is: , , which you can see is just a stutter-step of the (the repeates twice before finishing with a complete sequence).
Now there’s a pattern to where the riffs appear in the song. Besides the intro, the (besides the intro) comes at the end of the first and fourth lines of each verse. The comes at the end of the second line of each verse. (The third line has no riff). The as mentions comes at the end of the chorus.
Because the riffs are in the key of G you can play them in high end (bottom two strings), the middle (3rd, 4th, 5th strings), or the low end (top two strings). The song is set up here (notice the notation in the song) so the will be most comfortably played in the middle, since, after moving quickly from (G) to (C) at the end of the line, all the notes in the will be within the now formed (C) chord. The can be played at the bass end (top two strings) although you’ll be switching chords from (G) to (C) while plucking the notes, the first note in (G), the second two notes while shifting fingers, and the final note in (C). The can be played in the middle like the after forming the (C) chord.
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INTRO: :
(C) Goodnight sweet (Am) heart, wellll it's (Dm) time to (G) go. (C) Goodnight sweet
(Am) heart, wellll it's (Dm) time to (G) go. (C) I hate to (C7) leave you but I (Dm) really must (Fm) say, oh good (C) night sweet (Am) heart, (G7) goodni-(C)-hight.
(C) Goodnight sweet (Am) heart, wellll it's (Dm) time to (G) go. (C) Goodnight sweet
(Am) heart, wellll it's (Dm) time to (G) go. (C) I hate to (C7) leave you, I (Dm) really must (Fm) say, oh good (C) night sweet (Am) heart, (G7) goodni-(C)-hight. (No Riff)
(C7) Wellll (Dm) it's, three o'clock, in the (C) mor (C7) ning. (Dm) Baby, I just can't (G7) get
(C) right (C7). Wellll, I (F) hate to leave you, (Fm) baby, (C) don't mean (A7) maybe,
be (Dm) cause I love (F) you (G) so. (C)
Goodnight sweet (Am) heart, wellll it's (Dm) time to (G) go. (C) Goodnight sweet (Am) heart, wellll it's (Dm) time to (G) go. (C) I hate to (C7) leave you, I (Dm) really must (Fm) say,
oh good (C) night sweet (Am) heart, (G7) goodni-(C)-hight. (No Riff)
(Dm) Mother, oh, and your (C7) father, (Dm) won’t like it if I (G7) stay here too (C) long (C7).
One (F) kiss and we'll (Fm) part, and (C) I'll be (A7) going. You (Dm) know I hate (F) to (G) go. (C)
Goodnight sweet (Am) heart, wellll it's (Dm) time to (G) go. (C) Goodnight sweet (Am) heart, wellll it's (Dm) time to (G) go. (C) I hate to (C7) leave you, I (Dm) really must (Fm) say,
oh good (C) night sweet (Am) heart, (G7) goodni-(C)-hight.
(The Spaniels) (Artist Index) - (Main Index) - (Song Index) (This Song)
GRANDPA – (O'hara) – The Judds (C0)
TIP: You can play the intro/outro as a series of plucked notes and a chord, or using just chords. Both are presented. Here are the note locations:
= bottom string/2nd fret; = bottom string open; = 2nd string/2nd fret
= 2nd string open; = 3rd string/2nd fret;
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Intro:
(Gadd); (D); (A);
(D);
or
(D)(Em)-(Gadd), (Em)(Em)-(D), (D)(A), (A)(D)
(D) Grandpa, tell me about the (G) good ol’ (Gadd) days. Sometimes it (D) feels like, this world’s gone (A) crazy. (D) Grandpa, take me back to (G) yester (Gadd) day. When the line between
(D) right and wrong, (A7) didn't seem so (D) hazy.
Did lovers really (Em) fall in love to (G) stay, and stand beside each (Em) other come what
(D) may? Was a promise really (A7) something people kept, not just something they would (D) say. Did families really (Em) bow their heads to (G) pray? Did daddy's really (Em) never go a (D) way? But whoa whoa (Em) grandpa, (G) tell me bout the good ol (D) days.
(Bridge) (D)(Em)-(Gadd), (Em)(D), (D)(A), (D)
Grandpa, everything is (G) changing (Gadd) fast. We call it (D) progress, but I just don't
(A) know. And (D) Grandpa, let's wander back in (G) to the (Gadd) past, then paint me the
(D) picture, (A7) of long a (D) go.
Did lovers really (Em) fall in love to (G) stay, and stand beside each (Em) other come what
(D) may? Was a promise really (A7) something people kept, not just something they would (D) say. Did families really (Em) bow their heads to (G) pray? Did daddy's really (Em) never go a (D) way? But whoa whoa (Em) grandpa, (G) tell me bout the good ol (D) days.
Whoa whoa (Em) grandpa, (G) tell me bout the good ol (D) days.
Outro:
(Gadd); (D); (A);
(D)
or
(D)(Em)-(Gadd), (Em)(Em)-(D), (D)(A), (A)(D)
(The Judds) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE GRAND TOUR – (Richey/Taylor/Wilson) – George Jones (C3)
TIP: The note to start singing is (3rd string/2nd fret).
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(NC) Step right (C) up, come on in, if you'd like, to take, the grand tour, of a (F) lonely house that once was home sweet (C) home. I have nothing here to sell you, just some things that I will tell you. Some (D7) things I know will chill you, to the (G7) bone.
(NC) Over (C) there, sits the chair, where she'd bring the paper to me, and-sit-down (F) on my knee and whisper, oh I (C) love you. But (G7) now she's gone forever, and (C) this old house will (F) never be the (C) same, without the (G) love, that we once (C) knew. (G)
Straight a (C) head, that's the bed, where we lay and love together. And Lord (F) knows we had a good thing going (C) here. See her picture, on the table? Don't it look like she'd be able, just to (D7) touch me, and say, “Good morning (G7) dear?”
There's her (C) rings, all her things, and her clothes are in the closet, like she (F) left them when she tore my world a (C) part. As you (G7) leave you'll see the nursery. Oh she (C) left me without (F) mercy, taking (C) nothing but, our (G7) baby and my (C) heart. (G)
Step right (C) up, (G7) come on (C) in.
(George Jones) (Artist Index) - (Main Index) - (Song Index) (This Song)
GUITARS, CADILLACS HILLBILLY MUSIC - Dwight Yoakam (C3)
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INTRO: (A)...(E)-(E7)-(A)
(A) Girl-you taught me how to hurt real bad and (E) cry myself to sleep. And showed me how this (E7) town can shatter (A) dreams. Another-lesson 'bout a naive fool who (E) came to Babylon. And found out that the (E7) pie don't taste so (A) sweet.
Now it's, guitars Cadillacs, (E) hillbilly music. Lonely lonely streets that I call (A) home. Yeah my, guitars Cadillacs, (E) hillbilly music. It's the only thing that (E7) keeps me hangin' (A) on.
(A)...(E)...(A)(E)(E7)(A)
Ain't-no glamour in this tinseled land of (E) lost and wasted lives. Painful scars are (E7) all that's left of (A) me. Oh-but thank you girl for teachin' me brand (E) new ways to be cruel.
If-I-can-find-my-mind now I guess I'll just (A) leave.
Now it's, guitars Cadillacs, (E) hillbilly music. Lonely lonely streets that I call (A) home. Yeah my, guitars Cadillacs, (E) hillbilly music. It's the only thing that (E7) keeps me hangin' (A) on.
(A)...(E)...(A)(E)(E7)(A)
Oh it's, guitars Cadillacs, (E) hillbilly music. Lonely lonely streets that I call (A) home. Yeah my, guitars Cadillacs, (E) hillbilly music. It's the only thing that (E7) keeps me hangin' (A) on.
It's the (E) only thing that (E7) keeps me hangin' (A) on. It's the (E) only thing that (E7) keeps me hangin' (A) on. (A)...(E)-(E7)-(A)
(Dwight Yoakum) (Artist Index) - (Main Index) - (Song Index) (This Song)
HALLELUJAH - (Cohen) - Leonard Cohen (and others) (C5)
TIP: Cohen wrote some 80 versions of this beautiful song and over 300 versions have been recorded with various verse combinations, including one adapted for Christmas. Therefore the "favorite" version is a matter of preference, largely focusing on how much you want to attach a biblical meaning. The version presented here slants that way but is merely one of many. At the end of the song are a couple of other popular verses.
TIP: Leonard wrote the song in the key of C which is how it's presented below. However if you don't like playing the (F) you can also play the song in (G), which is also presented immediately afterwards.
[KEY of C]
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Intro: (C)(Am); (C)(Am);
(C) I've heard there was a (Am) secret chord that (C) David played and it (Am) pleased the Lord.
But (F) you don't really care (G) for music (C) do ya (G)?
It (C) goes like this: the (F) fourth, the (G) fifth, the (Am) minor fall and the (F) major
(G) lift. The baffled king com (E7) posing Halle (Am) lujah.
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu (C) jah. (C)(Am)(C)(Am)
Your (C) faith was strong but you (Am) needed proof. You (C) saw her bathing (Am) on the roof.
Her (F) beauty and the moon (G) light over (C) threw you (G).
She (C) tied you to a (F) kitchen (G) chair. She (Am) broke your throne and she (F) cut your
(G) hair. And from your lips she (E7) drew the Halle (Am) lujah.
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu (C) jah. (C)(Am)(C)(Am)
(C) Baby I've been (Am) here before. I (C) know this room and I've (Am) walked this floor.
I (F) used to live a (G) lone before I (C) knew you (G).
I've (C) seen your flag on the (F) marble (G) arch, but (Am) love is not a (F) victory (G) march.
It's a cold and it's a (E7) broken Halle (Am) lujah.
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu (C) jah. (C)(Am)(C)(Am)
There (C) was a time you (Am) let me know, what's (C) really going (Am) on below.
But (F) now you never show (G) it to me (C) do you (G)?
And re (C) member when I (F) moved in (G) you, the (Am) holy dove was (F) moving (G) too.
And every breath we (E7) drew was Halle (Am) lujah.
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu (C) jah.
(C)(Am)(C)(Am), (F)(G)(C)(G), (C)(F)(G)(Am)(F)(G), (G)(E7)(Am)
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu (C) jah. (C)(Am)(C)(Am)
I (C) did my best, it (Am) wasn't much. I (C) couldn't feel so I (Am) tried to touch.
I've (F) told the truth I did- (G) -n't come to (C) fool you (G).
And (C) even though it (F) all went (G) wrong, I'll (Am) stand before the (F) Lord of (G) Song.
With nothing on my (E7) tongue but Halle (Am) lujah.
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu . . .
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu . . .
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu . . .
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu (C) jah. (C)(Am)(C)(Am)(C)
(Leonard Cohen) (Artist Index) - (Main Index) - (Song Index) (This Song)
[Other popular lyrics]:
You say I took the name in vain, I don't even know the name.
But if I did, well really what's it to you?
There's a blaze of light in every word, it doesn't matter which you heard
The holy or the broken Hallelujah
Hallelujah, Hallelujah, Hallelujah, Hallelujah.
Maybe there's a God above, as for me all I've ever seemed to learn from love.
Is how to shoot at someone who outdrew you.
It's not a cry that you hear tonight, it's not somebody who has seen the light.
It's a cold and it's a very lonely Hallelujah.
Hallelujah, Hallelujah, Hallelujah, Hallelujah.
-------------------------------------------------------------------
HALLELUJAH - (Cohen) - Leonard Cohen (and others) (C1 or C2)
TIP: Here's the version, if left uncapo'd, in the key of (G). If you capo at the 4th fret it will be in the key of (C), as originally intended, and also sounds quite pretty.
[Key of (G) (uncapo'd)] [Key of (C) capo 4th fret]
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Intro: (G)(Em); (G)(Em);
(G) I've heard there was a (Em) secret chord that (G) David played and it (Em) pleased the Lord.
But (C) you don't really care (D) for music (G) do ya (D)?
It (G) goes like this: the (C) fourth, the (D) fifth, the (Em) minor fall and the (C) major
(D) lift. The baffled king com (B7) posing Halle (Em) lujah.
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu (G) jah. (G)(Em)(G)(Em)
Your (G) faith was strong but you (Em) needed proof. You (G) saw her bathing (Em) on the roof.
Her (C) beauty and the moon (D) light over (G) threw you (D).
She (G) tied you to a (C) kitchen (D) chair. She (Em) broke your throne and she (C) cut your
(D) hair. And from your lips she (B7) drew the Halle (Em) lujah.
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu (G) jah. (G)(Em)(G)(Em)
(G) Baby I've been (Em) here before. I (G) know this room and I've (Em) walked this floor.
I (C) used to live a (D) lone before I (G) knew you (D).
I've (G) seen your flag on the (C) marble (D) arch, but (Em) love is not a (C) victory (D) march.
It's a cold and it's a (B7) broken Halle (Em) lujah.
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu (G) jah. (G)(Em)(G)(Em)
There (G) was a time you (Em) let me know, what's (G) really going (Em) on below.
But (C) now you never show (D) it to me (G) do you (D)?
And re (G) member when I (C) moved in (D) you, the (Em) holy dove was (C) moving (D) too.
And every breath we (B7) drew was Halle (Em) lujah.
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu (G) jah.
(G)(Em)(G)(Em), (C)(D)(G)(D), (G)(C)(D)(Em)(C)(D), (D)(B7)(Em)
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu (G) jah. (G)(Em)(G)(Em)
I (G) did my best it (Em) wasn't much. I (G) couldn't feel so I (Em) tried to touch.
I've (C) told the truth I did- (D) -n't come to (G) fool you (D).
And (G) even though it (C) all went (D) wrong I'll (Em) stand before the (C) Lord of (D) Song.
With nothing on my (B7) tongue but Halle (Em) lujah.
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu . . .
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu . . .
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu . . .
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu (G) jah. (G)(Em)(G)(Em)(G)
(Leonard Cohen) (Artist Index) - (Main Index) - (Song Index) (This Song)
[Other popular lyrics]:
You say I took the name in vain, I don't even know the name.
But if I did, well really what's it to you?
There's a blaze of light in every word, it doesn't matter which you heard
The holy or the broken Hallelujah
Hallelujah, Hallelujah, Hallelujah, Hallelujah.
Maybe there's a God above, as for me all I've ever seemed to learn from love.
Is how to shoot at someone who outdrew you.
It's not a cry that you hear tonight, it's not somebody who has seen the light.
It's a cold and it's a very lonely Hallelujah.
Hallelujah, Hallelujah, Hallelujah, Hallelujah.
HANDBAGS & GLADRAGS - (D'Abo) - Rod Stewart (C4)
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INTRO: (G)(Em)(CaddG), (C)(G), (C)(G)-(G), (D)(G)
(G) Ever seen a blind man cross the (C) road, trying to make the other (G) side?
Ever seen a young girl growing (C) old, trying to make herself a (G) bride?
(Em) So what becomes of (D) you my love, (G) when they have finally stripped (A7) you of,
the (C) handbags and the gladrags that your (Am) Grandad had to (C) sweat so you could (G) buy?
Once I was a young man (C), and all I thought I had to do was (G) smile. You are still a young girl (C), and you bought everything in (G) style.
(Em) But once you think you're (D) in you're out. (G) 'Cause you don't mean a (A7) single thing without, the (C) handbags and the gladrags that your (Am) Grandad had to (C) sweat so you could (G) buy.
Sing a song of six-pence for your (C) sake, and take a bottle full of (G) rye. Four and twenty blackbirds in a (C) cake, and bake them all in a (G) pie.
(Em) They told me you missed (D) school today. (G) So what I suggest you just (A7) throw them all away. The (C) handbags and the gladrags that your (Am) poor old Granddad (C) had to sweat to (G) buy.
[rapidly] (Em)(D)(Em)(D), (Em)(D)(Em)(D), (Em)(D)(Em(D), (Em) (sustain)
They told me you missed (D) school today. (G) So what I suggest you just, (A7) throw them all away. The (C) handbags and the gladrags that your (Am) poor old Granddad (C) had to sweat to (G) buy. (G)(Em)(CaddG), (C)(G), (C)(G)-(G), (D)(G)
(Rod Stewart) (Artist Index) - (Main Index) - (Song Index) (This Song)
HANDLE WITH CARE - (Harrison/Orbison/Lynne/Petty/Dylan) - Traveling Wilburys (C2)
TIP: For the Roy Orbison ... sorry, Left Wilbury ... part I've tabbed the (B7) but the (G+) or (B) chord can be played as well. I just find the (B7) easier to play.
TIP: It really doesn't matter but George Harrison ... shit, I mean Nelson Wilbury ... sings all the verses, and the words in the first two lines of each verse are all in the same note, , with no down-inflection at the end. For example, in the first verse ... "battered around" and ... "shot down". All the same note. You may want to sing "down" as note and play a (C) chord. But that's not the way it goes, and the (C) starts the next line anyway. In the last verse of the song Nelson does sing it with the note but by then the lead-in is a (D) and the (G) complements the anyway. Like I said, it really doesn't matter. Ignore me; don't know why I mentioned it. I miss Lefty.
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INTRO (D)(C)(G), (D)(C)(G)
(Gadd) Been beat up and (D) battered around. (Gadd) Been sent up and I've (D) been shot down.
(C) You're the best thing that (G) I've ever (Em) found. (C) Handle me (Cmaj7) with (G) care.
(D) Reputations (Gadd) changeable. (D) Situations (Gadd) tolerable. But (C) baby you're
a (G) dora (Em) ble. (C) Handle me (Cmaj7) with (D) care.
(G) I'm so (B7) tired of (C) being (D) lonely. (G) I still (B7) have some (C) love to (D) give.
(G) Won't you (B7) show me (C) that you (D) really (G) care. Every (C) body's, got somebody, to (Gadd) lean on (G). Put your (C) body, next to mine, and (D) dream on (Dsus2).
(Gadd) I've been fobbed off and (D) I've been fooled. (Gadd) I've been robbed and (D) ridiculed.
(C) In day care centers and (G) night (Em) schools. (C) Handle me (Cmaj7) with (G) care.
(Gadd)(C) (D) (Gadd)
(D) Been stuck in airports (Gadd) terrorized. (D) Sent to meetings (Gadd) hypnotized.
(C) Overexposed comm (G) ercial (Em) ized. (C) Handle me (Cmaj7) with (D) care.
(G) I'm so (B7) tired of (C) being (D) lonely. (G) I still (B7) have some (C) love to (D) give.
(G) Won't you (B7) show me (C) that you (D) really (G) care. Every (C) body's, got somebody, to (Gadd) lean on (G). Put your (C) body, next to mine, and (D) dream on (Dsus2).
(Gadd) I've been uptight and (D) made a mess. (Gadd) But-I'll clean it up my (D) self I (G) guess. (C) Oh the sweet, (G) smell of suc (Em) cess. (C) Handle me (Cmaj7) with (G) care.
(D)(C)(G), (D)(C)(G), (D)(C)(G), (D)(C)(G)
(Traveling Wilburys) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE HANGING TREE - (Livingston/David) - Marty Robbins (C0 or C1)
TIP: There's a niftly little three-note descending chord sequence in the third line of each verse. It's really not hard to play but just takes a little concentration. You'll be playing the (Am) so to get to the (A4) just lift off the index finger. Then for the (Emsus4) lift off the ring finger. And finally, reposition and play the (C). If this is too messy, just ignore it all and play the preceding (Am) and then the (C) at the end.
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INTRO: strum (C), then (CaddG)
(C) I came to town, to (Am) search for gold, and I (C) brought with me, a (G7) memory. And I seem to (Am) hear, the (A4) night (Emsus4) wind (C) cry: "Go (Am) hang your dreams on the (C) hangin' tree, your (Am) dreams of love that could (C) never be. Hang your faded (G7) dreams, on the
(C) hangin' tree."
I searched for gold, and I (Am) found my gold. And I (C) found a girl, who (G7) loved just me. And I wished that (Am) I, could (A4) love (Emsus4) her (C) too. But I'd (Am) left my heart on the (C) hangin' tree, I'd (Am) left my heart with a (C) memory. And a faded (G7) dream, on the
(C) hangin' tree.
Now there were men, who (Am) craved my gold, and (C) meant to take, my (G7) gold from me. When a man is (Am) gone, he (A4) needs (Emsus4) no (C) gold. So they (Am) carried me to the (C) hangin' tree, to (Am) join my dreams and a (C) memory. Yes they carried (G7) me, to the (C) hangin' tree.
To really live, you must (Am) almost die, and it (C) happened just, that (G7) way with me. They took the (Am) gold, and (A4) set (Emsus4) me (C) free. And I (Am) walked away from the (C) hangin' tree. I (Am) walked away from the (C) hangin' tree. And my own (G7) true love, she (C) walked with me.
That's (F) when I knew, that the (G7) hangin' tree, was a (F) tree of life, new (C) life for me.
A (F) tree of hope new (C) hope for me, a (F) tree of love new (C) love for me.
The hangin' tree, the (F) hangin' tree, the (C) hangin' tree.
(Marty Robbins) (Artist Index) - (Main Index) - (Song Index) (This Song)
HANKY PANKY - (James) - Tommy James and the Shondells (C0)
[Man, they don't write 'em like this anymore . . . probably a good thing.]
TIP: The intro to each verse is sung acapella with the (A) coming in at the beginning of the 2nd line. Also, while completely optional, try playing the last (A) in the (A)(E)(A) sequence at the end of each verse as an (F) on the 5th fret. That's still (A), just one octave up. Groovy.
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(NC) My baby does the hanky panky. (A) Yeah my baby does the hanky panky. (D) My baby does the hanky panky. (A) My baby does the hanky panky. (E) Hey my baby (D) does the hanky panky (A)(E)(A)
(NC) My baby does the hanky panky. (A) Yeah my baby does the hanky panky. (D) Hey my baby does the hanky panky. (A) My baby does the hanky panky. (E) Hey my baby (D) does the hanky panky (A)(E)(A)
(NC) I saw her walking on down the line yeah. (A) You know I saw her for the very first time.
(D) A pretty little girl standing all alone. (A) Hey baby baby can I take you home?
(E) I never saw her (D) never really saw her. (A)(E)(A)
(NC) My baby does the hanky panky. Yeah my baby does the hanky panky. (D) My baby does the hanky panky. (A) My baby does the hanky panky. (E) My baby (D) does the hanky panky (A)(E)
(A)(D)(A)(E)(D)(A)(E)
(NC) I saw her walking on down the line yeah. (A) You know I saw her for the very first time.
(D) A pretty little girl standing all alone. (A) Hey baby baby can I take you home?
(E) I never saw her (D) never really saw her. (A)(E)(A)
(NC) Hey my baby does the hanky panky. (A) Yeah my baby does the hanky panky. (D) My baby does the hanky panky. (A) My baby does the hanky panky. (E) My baby (D) does the hanky panky (A)(E)(A)
(A) Hey, my baby does the hanky panky. My baby does the hanky panky. (D) Yeah my baby does the hanky panky. (A) My baby does the hanky panky. (E) My baby (D) does the hanky panky (A)(E)(A)
(Tommy James & the Shondells) (Artist Index) - (Main Index) - (Song Index) (This Song)
HAPPY JACK - (Townshend) - The Who (C0)
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INTRO: (D)(A)-(D)
(D) Happy Jack wasn't old but he (A7) was a (D) man. He lived in the sand at the (A7) Isle of
(D) Man. (D)(A)-(D) The kids would all sing he would (A7) take the wrong (D) key. So they rode on his head in their (A7) furry don (D) key.
The (G) kids couldn't hurt Jack, they (A) tried (A4) tried (A) tried. They (G) dropped things on his back, they (A) lied (A4) lied (A) lied (A7) lied (A) lied.
But they (D) couldn't stop Jack or the (A7) waters lap (D) ping. And they couldn't prevent Jack from (A7) being hap (D) py.
(A)(D), (A)(D), (A)(D). . . (A)(D). . .
They (D) couldn't stop Jack or the (A7) waters lap (D) ping. And they couldn't prevent Jack from (A7) being hap (D) py.
(A)(D), (A)(D), (G)(A)(G)(A)(D) . . .
The (G) kids couldn't hurt Jack they (A) tried (A4) tried (A) tried. They (G) dropped things on his back and (A) lied (A4) lied (A) lied (A7) lied (A) lied.
But they (D) couldn't stop Jack or the (A7) waters lap (D) ping. And they couldn't prevent Jack from (A7) being hap (D) py.
(D)(A7)(D) (I saw ya!)
(The Who) (Artist Index) - (Main Index) - (Song Index) (This Song)
HAPPY TOGETHER - (Bonner/Gordon) - The Turtles (C3 or C2)
TIP: The intro cadence is bump bump-bump, bump bump-bump: Strum (Am) once, lift index finger (A4) followed by another quick (Am). Then strum (Am) once, lift all fingers to play (NC) following by (Am). Repeat and then start the song. You Tube the Turtles and you'll see what I mean.
TIP: The chorus looks weird but is easy to play. The (GF#) is just a (G) with the note on the bottom string slid from the 3rd fret to the 2nd. To play the (GF#) from (G), don't move your fingers, just slide them all down one fret and don't hit the top string as your top finger will have ridden into the second fret as well. Play the (A) with the middle three fingers, and the one-note (A6) by adding your pinky on the bottom string. Then to play the (D4-) simply slide the bottom two fingers up to the 3rd fret while removing the top two. Try it a couple of times. Pretty easy.
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INTRO: (Am)(A4)-(Am), (Am)(NC)-(Am); Repeat
Imagine (Am) me and you, I do. I think about you (G) day and night, it's only right. To think about the (F) girl you love, and hold her tight. So happy to (E) gether.
If I should (Am) call you up, invest a dime. And you say you be (G) long to me, and ease my mind.
Imagine how the (F) world could be, so very fine. So happy to (E) gether.
(A) I can't see me (G) loving no (GF#) body but (A) you, for all (A6) my (D4-) life.
(A) When you're with me (G) baby the (GF#) skies will be (A) blue, for all (A6) my (D4-) life.
(Am) Me and you, and you and me. No matter how they (G) tossed the dice, it had to be. The only one for (F) me is you, and you for me. So happy to (E) gether.
(A) I can't see me (G) loving no (GF#) body but (A) you, for all (A6) my (D4-) life.
(A) When you're with me (G) baby the (GF#) skies will be (A) blue, for all (A6) my (D4-) life.
(Am) Me and you, and you and me. No matter how they (G) tossed the dice, it had to be. The only one for (F) me is you, and you for me. So happy to (E) gether.
(A) Ba ba ba ba (G) ba ba ba (GF#) ba ba ba (A) ba, ba ba (A6) ba (D4-) ba.
(A) Ba ba ba ba (G) ba ba ba (GF#) ba ba ba (A) ba, ba ba (A6) ba (D4-) ba.
(Am) Me and you, and you and me. No matter how they (G) tossed the dice, it had to be. The only one for (F) me is you, and you for me. So happy to (E) gether.
(Am) So happy to (E) gether. (Am) How is the (E) weather? (Am) So happy to (E) gether. (Am) We're happy to (E) gether. (Am) So happy to (E) gether. (Am) So happy to (E) gether.
(Am) So happy to (E) gether. (Am) So happy to (E) gether.
(The Turtles) (Artist Index) - (Main Index) - (Song Index) (This Song)
HARPER VALLEY P.T.A. – (Hall) – Jeannie C. Riley (C3)
TIP: Tom T. wrote this song in three ascending keys. The first two (G) and (A) are fairly easy but the final one (B) gives some folks trouble. You may simplify things by skipping this third key change and keeping the last verse (“Well Mr. Harper . . . “) and finishing the song in the key of (A). (Groovy. Sock it to me.)
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INTRO: (G)(C), (G)(C)
I want to (G) tell you all a story 'bout a Harper Valley widowed wife, who had a (C) teenage daughter who attended Harper Valley Junior High. Well her (G) daughter came home one afternoon and didn't even stop to play. And she said (C) "Mom I-got-a-note here from the (D) Harper Valley P. T. (G) A."
The note said "Mrs. Johnson, you're wearing your dresses way too high. It's re (C) ported you've been drinking and a-runnin' 'round with men and going wild. And we (G) don't believe you ought to be bringing up your little girl this way." It was (C) signed by the Secretary (D) Harper Valley P. T. (G) A.
(Key Change) Strum (A)
Well it happened that the P.T.A. was gonna meet that very afternoon, and they were (D) sure surprised when Mrs. Johnson wore her mini-skirt into the room. And as she (A) walked up to the blackboard I can still recall the words she had to say. She said "I'd (D) like to address this meeting (E) of the Harper Valley P. T. (A) A."
Well there's Bobby Taylor sittin' there and seven times he's asked me for a date. And Mrs.
(D) Taylor sure seems to use a lot of ice whenever he's away. And Mr. (A) Baker can you tell us why your secretary had to leave this town? And shouldn't (D) widow Jones be told to keep her (E) window shades all pulled completely (A) down?
(Key Change) Strum (B)
Well Mr. Harper couldn't be here 'cause he stayed too long at Kelly's Bar again. And if you
(E) smell Shirley Thompson's breath you'll find she's had a little, nip of gin. And then you
(B) have the nerve to tell me you think that as a mother I'm not fit. Well this is (E) just a little Peyton Place and (F#) you're all Harper Valley hypo (B) crites.
No I wouldn't put you on because it really did, it happened just this way. The day my (E) Mama socked it to, the (F#) Harper Valley P. T. (B) A. The day my (E) Mama socked it to, the (F#) Harper Valley P. T. (B) A.
(Jeanie C. Riley) (Artist Index) - (Main Index) - (Song Index) (This Song)
HAVE YOU EVER SEEN THE RAIN – (Fogerty) - Creedence Clearwater Revival [C1]
TIP: In the little instrumental riff (Am)-(C)-(Em)-(G)-(C) each chord is struck just once except for either the (Em) or the (G) which is struck twice. Your choice.
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Intro: (Am)(F)(G), (Am)-(C)-(Em)-(G)-(C), (Am)-(C)-(Em)-(G)-(C)
(C) Someone told me long ago, there’s a calm before the storm. I (G) know; it’s been comin (C) for some time. When it’s over so they say, it’ll rain a sunny day. I (G) know; shining down like
(C) water.
(F) I want to (G) know. Have you (C) ever (Em) seen the (Am) rain? (F) I want to (G) know. Have you (C) ever (Em) seen the (Am) rain, (F) comin’ down on a (G) sunny (C) day?
(Am)-(C)-(Em)-(G)-(C)
(C) Yesterday and days before, sun is cold and rain is hard. I (G) know; been that way for (C) all my time. Til forever on it goes. Through the circle fast and slow. I (G) know. It can’t stop I (C) wonder?
(F) I want to (G) know. Have you (C) ever (Em) seen the (Am) rain? (F) I want to (G) know. Have you (C) ever (Em) seen the (Am) rain? (F) Comin' down on a (G) sunny (C) day?
Yeah!
(F) I want to (G) know. Have you (C) ever (Em) seen the (Am) rain? (F) I want to (G) know. Have you (C) ever (Em) seen the (Am) rain, (F) comin’ down on a (G) sunny (C) day?
(Am)-(C)-(Em)-(G)-(C)
(CCR) (Artist Index) - (Main Index) - (Song Index) (This Song)
HE STOPPED LOVING HER TODAY – (Braddock/Putman) – George Jones (C0)
TIP: George's singing style, with his vocal hesitations, is just a little tricky. I added commas where he pauses briefly but if they're distracting just sing the melody in your head and you'll do fine.
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(NC) He said “I'll love you, 'til I (G) die.” She told him “You'll, forget in (C) time.” As the years went, slowly (D) by, she still preyed upon his (G) mind. He kept her picture, on his wall. Went half crazy, now and (C) then. He still loved her, through it (D) all, hoping she'd come back a (G) gain.
Kept some letters, by his bed. Dated Nineteen, Sixty (C) Two. He had underlined in (D) red, every single I love (G) you. I went to see him, just today. Oh but I didn't, see no (C) tears. All dressed up, to go a (D) way. First time I'd seen him smile in (G) years.
He stopped loving her today. They placed a (G7) wreath upon his (C) door. And soon they'll carry, him a (D7) way. He stopped loving her to (G) day (C)(G).
(Spoken) You know, she came to see him one last (G) time. Oh and we all wondered if she
(C) would. And it kept running through my (D) mind: (D7) “This time, he's over her for (G) good.”
He stopped loving her today. They placed a (G7) wreath upon his (C) door. And soon they'll carry, him a (D7) way. He stopped loving, her, to (G) day.
(George Jones) (Artist Index) - (Main Index) - (Song Index) (This Song)
HEART OF GOLD – Neil Young (C1)
TIP: Neal made a couple of different versions. This one is from the album "Harvest".
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Intro: (Em)(D)(Em) – (Em)(D)(Em); (harmonica part): (G)(G)(Gadd)(C)(Cmaj)(G), (Gadd)(C)(G), (G)(D)(C)(G), (Em)(D)(Em)
(Em) I want to (C) live. (D) I want to (G) give. (Em) I’ve been a (C) miner for a (D) heart of (G) gold. (Em) It’s these ex (C) pressions, (D) I never (G) give, (Em) that keep me searching for a (G) heart of gold, (C) and I’m getting (G) old. (C)-(CaddD)-(C)-(G)
(Em) Keeps me searching for a (G) heart of gold, (C) and I’m getting (G) old.
(G)(G)(Gadd)(C)(Cmaj)(G), (Gadd)(C)(G), (G)(D)(C)(G), (Em)(D)(Em)
(Em) I’ve been to (C) Hollywood. (D) I’ve been to (G) Redwood. (Em) I crossed the (C) ocean for a (D) heart of (G) gold. (Em) I’ve been in my (C) mind, (D) it’s such a (G) fine line (Em) that keeps me searching for a (G) heart of gold, (C) and I’m getting (G) old. (C)-(CaddD)-(C)-(G)
(Em) Keeps me searching for a (G) heart of gold, (C) and I’m getting (G) old. (C)-(CaddD)-(C)-(G)
(G)(G)(Gadd)(C)(Cmaj)(G), (Gadd)(C)(G), (G)(D)(C)(G),
(Em) Keep me searching for a (D) heart of (Em) gold. You keep me searching and I'm (D) growin' (Em) old. Keep me searching for a (D) heart of (Em) gold. I've been a miner for a (G) heart of gold. (Em) Ahhh, (D) mmmmm (G) mmm.
(Neil Young) (Artist Index) - (Main Index) - (Song Index) (This Song)
HEARTBREAK HOTEL – (Axton/Durden) – Elvis Presley (C1)
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Well (D) since my baby left me, well I found a new place to dwell. Well it's down at the end of Lonely Street at, (D7) Heartbreak Hotel where I'll be.
(G) I’ll be so lonely baby. I’ll be so lonely. (A) I’ll be so (A7) lonely, I could (D) die.
Al (D) though it's always crowded, you still can find some room. Where broken hearted lovers do (D7) cry there in their gloom they'll be so.
(G) They’ll be so lonely baby. They’re be so lonely. (A) They’ll be so (A7) lonely they could (D) die.
Now the (D) bell hop's tears keep flowin'. And the desk clerk's dressed in black. Well they been so long on lonely street they'll (D7) never they'll neve look back and they'll be so.
(G) They’ll be so lonely baby. Well they're so lonely. (A) They’re be so (A7) lonely they could (D) die.
Well now (D) if your baby leaves you, and you got a tale to tell. Well just take a walk down lonely street to, (D7) Heartbreak Hotel where you will be.
(G) You make him so lonely, baby. Well he will be lonely. (A) He'll be so (A7) lonely you could (D) die.
(D), (D), (D), (D7)...... (G)(A)(A7)(D)
And al (D) though it's always crowded, you still can find some room. For broken hearted lovers, to (D7) cry there in their gloom and they'll be so.
(G) They’ll be so lonely baby. Well they’re so lonely. (A) They’ll be so (A7) lonely they could (D) die. (D)(A)(A7)-(D); (G)-(D)
(Elvis Presley) (Artist Index) - (Main Index) - (Song Index) (This Song)
HE’LL HAVE TO GO – (Allison) - Jim Reeves (C2)
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INTRO: (G)(D7), (G)(D7)
Put your (G) sweet lips, a little (C) closer, to the (G) phone. Let’s pretend, that we're together, all (D7) alone. I'll tell the (G) man, to turn the (G7) juke-box, way down (C) low. And you can (G) tell, you friend there (D7) with you, he’ll have to (G) go. (D7)
Whisper (G) to me, tell me (C) do you, love me (G) true? Or is he, holding you, the way I (D7) do? Though love is (G) blind, make up your (G7) mind, I've got to (C) know. Should I (G) hang up, or will you (D7) tell him, he’ll have to (G) go? (G7)
You can't (C) say the words I want to hear, while you're (G) with, another (G7) man. Do you
(C) want me answer yes or no, darling (G) I, will under (D7) stand.
(G) Put your sweet lips, a little (C) closer, to the (G) phone. Let’s pretend, that we're together, all (D7) alone. I'll tell the (G) man, to turn the (G7) juke-box, way down (C) low. And you can (G) tell, your friend there (D7) with you, he’ll have to (G) go. (C)(Gadd)
(Jim Reeves) (Artist Index) - (Main Index) - (Song Index) (This Song)
HEAVEN’S JUST A SIN AWAY – (Gillespie) – The Kendalls (C0)
TIP: At the end there's a key shift to (E) for the final verse. If you don't like the (B) chords then just repeat the final verse in (D), same as verse one.
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INTRO: (D), (D)(A)(D)
(D) Heaven's just a sin away oh (G) whoa just a sin away. (D) I can't wait another day I (E) think I'm givin' (A) in. (D) How I'd love to hold you tight oh (G) whoa be with you tonight. (D) That still won't make it right 'cause (A7) I belong to (D) him.
Oh (G) way down deep inside, I (D) know that it's all wrong. Your (G) eyes keep tempting me, and I (A7) never was that (A) stron- (D) -ong devil's got me now oh (G) whoa gone and got me now. (D) I can't fight him anyhow I (E) think he's gonna (A) win. (D) Heaven's just a sin away oh (G) whoa just a sin away. (D) Heaven help me when I say, I (A7) think I'm givin' (D) in.
(D), (D)(A)(D)
Oh (G) way down deep inside, I (D) know that it's all wrong. Your (G) eyes keep tempting me, and I (A7) never was that (A) stron- (D) -ong devil's got me now oh (G) whoa gone and got me now. (D) I can't fight him anyhow I (E) think he's gonna (A) win. (D) Heaven's just a sin away oh (G) whoa just a sin away. (D) Heaven help me when I say, I (A7) think I'm givin' (D) in.
[Key Shift]
(E) Heaven's just a sin away oh (A) whoa just a sin away. (E) I can't wait another day I (B) think I'm givin' in. (E) How I'd love to hold you tight oh (A) whoa be with you tonight. (E) That still won't make it right 'cause (B7) I belong to (E) him.
(The Kendalls) (Artist Index) - (Main Index) - (Song Index) (This Song)
HELLO - (Adkins/Kurstin) - Adele (C1)
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Intro: (Em)(G), (D)(C)
(Em) Hello (G), it's (D) me (C). I was (Em) wondering if (G) after all these (D) years you'd like to (C) meet. To go (Em) over (G), every (D) thing (C). They say that (Em) time's supposed to
(G) heal ya, but I ain't (D) done much (C) healing.
(Em) Hello (G), can you (D) hear (C) me? I'm in (Em) California (G) dreaming about (D) who we used to (C) be, when we were (Em) younger, (G) and (D) free (C). I've for (Em) gotten how it (G) felt before the (D) world fell at our (C) feet there's such a (Em) differ (D) ence, be (Bm) tween
(C) us and a (Em) mill, (D) ion, (C) miles.
(Em) Hello from the (C) other (D) si-(C)-ide. I (Em) must've called a (C) thousand
(D) ti-(C)-imes. To tell (Em) you I'm, (C) sorry, for every (G) thing that I've (D) done but when I (Em) call you, (C) never, (G) seem to be (D) home.
(Em) Hello from the (C) out (D) si-(C)-ide. At (Em) least I can (C) say that I've
(D) tri-(C)-ed. To tell (Em) you I'm, (C) sorry, for (G) breaking your (D) heart but it don't
(Em) matter-it, (C) clearly, doesn't (G) tear you a (D) part any (Em) more (G)(D)(C).
(Em) Hello (G), how (D) are (C) you? It's so (Em) typical of (G) me to talk a (D) bout myself I'm (C) sorry. I (Em) hope (G), that you're (D) well (C). Did you (Em) ever make it (G) out of that town where (D) nothing ever (C) happened it's no (Em) se (D) cret, that the (Bm) both of (C) us, are (Em) running (D) out of (C) time.
(Em) So hello from the (C) other (D) si-(C)-ide. I (Em) must've called a (C) thousand
(D) ti-(C)-imes. To tell (Em) you I'm, (C) sorry, for every (G) thing that I've (D) done but when I (Em) call you, (C) never, (G) seem to be (D) home.
(Em) Hello from the (C) out (D) si-(C)-ide. At (Em) least I can (C) say that I've
(D) tri-(C)-ed. To tell (Em) you I'm, (C) sorry, for (G) breaking your (D) heart but it don't
(Em) matter-it, (C) clearly, doesn't (G) tear you a (D) part any (Em) more.
(D) Oooo (G) ohh, any (Em) more (C). (D) Oooo (G) ohh, any (Em) more (C)
(D) Oooo (G) ohh, any (Em) more (C). Any (D) more (G).
(Em) So hello from the (C) other (D) si-(C)-ide. I (Em) must've called a (C) thousand
(D) ti-(C)-imes. To tell (Em) you I'm, (C) sorry, for every (G) thing that I've (D) done but when I (Em) call you, (C) never, (G) seem to be (D) home.
(Em) Hello from the (C) out (D) si-(C)-ide. At (Em) least I can (C) say that I've
(D) tri-(C)-ed. To tell (Em) you I'm, (C) sorry, for (G) breaking your (D) heart but it don't
(Em) matter-it, (C) clearly, doesn't (G) tear you a (D) part any (Em) more.
(Em)(G)(D)(C)(Em)
(Adele) (Artist Index) - (Main Index) - (Song Index) (This Song)
HELLO MARY LOU – (Pitney/Mangiaracina) - Ricky Nelson/Statler Brothers (C3)
TIP: This is the Statler Brothers version. In Rick Nelson's version the first verse and chorus are reversed (he starts the song with "Hello Mary Lou . . . "
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INTRO: (C)(G7)(C), (C)(G7)(C)
Hel (C) lo Mary Lou, (F) goodbye heart. Sweet (C) Mary Lou I'm (D7) so in love with (G7) you. I (C) knew, Mary Lou, (E7) we'd never (Am) part. So hel (C) lo Mary (G7) Lou goodbye (C) heart. (G)
You (C) passed me by one sunny day, (F) flashed those big brown eyes my way. And (C) so I wanted you forever (G7) more. Now (C) I'm not one that gets around. I (F) swear my feet stuck to the ground and (C) though I never (G7) did meet you be (C) fore.
(No chord) I said hel (C) lo Mary Lou, (F) goodbye heart. Sweet (C) Mary Lou I'm (D7) so in love with (G7) you. I (C) knew, Mary Lou, (E7) we'd never (Am) part. So hel (C) lo Mary (G7) Lou goodbye (C) heart. (G)
(C)(F), (C)(D7)(G7), (C)(E7)(Am)(C)(G7)(C)(G)
I (C) saw your lips I heard your voice. Be (F) lieve me I just had no choice. Wild (C) horses couldn't make me stay a (G7) way. I (C) thought about a moonlit night, my (F) arms about you good and tight. That's (C) all I had to (G7) see for me to (C) say.
(No chord) Hey hey hel (C) lo, Mary Lou, (F) goodbye heart. Sweet (C) Mary Lou I'm (D7) so in love with (G7) you. I (C) knew, Mary Lou, (E7) we'd never (Am) part. So hel (C) lo Mary (G7) Lou goodbye (C) heart.
So hello Mary (G7) Lou, goodbye (C) heart. Yes hello Mary (G7) Lou, goodbye (C) heart. (G)(C)
(Rick Nelson)(The Statler Brothers) (Artist Index) - (Main Index) - (Song Index) (This Song)
HELP ME MAKE IT THROUGH THE NIGHT – (Kristofferson) – Kris Kristofferson/Willie Nelson (C2)
TIP: In the first chorus you end on note . And you start the next verse on the same . You end the second chorus on note and step up to begin the next verse with .
TIP: The instrumental bridge repeats the voicing of the first verse but using the chords from the second half-verse (D)(G)(A) instead of (G)(C)(D).
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INTRO: (G)(C)(G)
(NC) Take the ribbon from your (G) hair. Shake it (G7) loose and let it (C) fall. Layin' soft upon my (D) skin (D7). Like the shadows on the (G) wall (C)-(G). (NC) Come and lay down by my
(G) side, til the (G7) early morning (C) light. All I'm takin' is your (D) time (D7). Help me make it through the (G) night. (C)(G)
I don't (C) care what's right or wrong, (CaddG) I won't try to under (Gadd) stand. Let the devil take to (A) morrow (A7). Lord tonight I need a (D) friend.
(NC) Yesterday is dead and (D) gone, and tomorrow's out of (G) sight. And it's sad to be
a (A) lone. (A7) Help me make it through the (D) night.
(D), (D)(G), (G)(A), (A7)(D); (D), (D)(G), (G)(A), (A7)(D), (G)(D)
I don't (Gadd) care what's right or (G) wrong, (Gadd) I won't try to under (D) stand. Let the devil take to (E) morrow. (E7full) Lord tonight I need a (A) friend.
(D) Yesterday is dead and gone, and tomorrow's out of (G) sight. And it's sad to be a (A) lone.
(A7) Help me make it through the (D) night.
I don't wanna be a (A) lone. (A7) Help me make it through the (D) night (G) (D).
(Kris Kristofferson) (Willie Nelson) (Artist Index) - (Main Index) - (Song Index) (This Song)
HERE COMES THE SUN – (Harrison) – The Beatles [CAPO 7!!]
TIP: For the intro, go here. Really, just do it --->
TIP: The (GF#) to (G6) to (GF#) sequence is easy. Don't play it as indicated in the diagram-- play the (GF#) with just your index finger on the bottom string, or slide the bottom finger of the (G) down one fret and lift your top finger off the top string. Then play the (G6) as an open chord, and then back to however you've played the (GF#), and move on to the (E7). Much easier.
TIP: In the little trill that goes (G)(D)(Gadd) all that's needed in the (Gadd) are the bottom two strings. So since a (D) precedes it an easier way to play it is, from the (D), remove your index finger while at the same time hammering your pinky on the bottom string beneath your ring finger.
TIP: For the outro, go here. ------>
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INTRO: (D) (Dsus)-(D) (G)(Gadd)-(G-)-(Gadd)(G) (A7)-(Am7sus4)-(A7)-(A7sus4)-(A7);
(D) (Dsus)-(D) (G-)(GF#)(NC)(Am7sus4)(A7)
(D) Here (Dsus2) comes (D) the sun, (GF#) here (G6) comes (GF#) the (E7) sun and I say, (D) it's (Dsus2) all (D) right. (G)(D)(Gadd), (G)(D)(Gadd), (A7)
(D) Little (Dsus2) dar (D) ling, it's been a (G) long cold lonely (A7) winter (A7sus4)(A7).
(D) Little (Dsus2) dar (D) ling, it feels like (G) years since (G-) it's been (A7) here.
(D) Here (Dsus2) comes (D) the sun, (GF#) here (G6) comes (GF#) the (E7) sun and I say, (D) it's
(Dsus2) all (D) right. (G)(D)(Gadd), (G)(D)(Gadd), (A7)
(D) Little (Dsus2) dar (D) ling, the smiles re (G) turning to the (A7) faces (A7sus4)(A7).
(D) Little (Dsus2) dar (D) ling, it seems like (G) years since (G-) it's been (A7) here.
(D) Here (Dsus2) comes (D) the sun, (GF#) here (G6) comes (GF#) the (E7) sun and I say, (D) it's (Dsus2) all (D) right. (G)(D)(Gadd), (G)(D)(Gadd), (A7) (F)(C)(G)(D)
(F) Sun, (C) sun, (G) sun, here it com (D) es. (F) Sun, (C) sun, (G) sun, here it com (D) es.
(F) Sun, (C) sun, (G) sun, here it com (D) es. (F) Sun, (C) sun, (G) sun, here it com (D) es.
(F) Sun, (C) sun, (G) sun, here it com (D) es. (A7) (A7sus4) (A7) (A7sus4) (A7G)
(D) Little (Dsus2) dar (D) ling, I feel that (G) ice is slowly (A7) melting (A7sus4)(A7).
(D) Little (Dsus2) dar (D) ling, it seems like (G) years since (G-) it's been (A7) clear.
(D) Here (Dsus2) comes (D) the sun, (GF#) here (G6) comes (GF#) the (E7) sun and I say, (D) it's (Dsus2) all (D) right. (G)(D)(Gadd), (G)(D)(Gadd), (A7)
(D) Here (Dsus2) comes (D) the sun, (GF#) here (G6) comes (GF#) the (E7) sun. (D) It's (Dsus2) all (D) right. (G)(D)(Gadd), (G)(D)(Gadd), (A7)
(D) It's (Dsus2) all (D) right. (G)(D)(Gadd), (G)(D)(Gadd) (A7) (D)
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
HE’S GOT THE WHOLE WORLD IN HIS HANDS – Traditional (C1)
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Intro: (G) (D7) (G)
He’s got the (G) whole, world, in His hands. He’s got the (D7) whole, world, in His (D) hands. He’s got the (G) whole, world, in His hands. He’s got the (D) whole world (D7) in His (G) hands.
He’s got the wind and the rain, in His hands. He’s got the (D7) wind and the rain, in His
(D) hands. He’s got the (G) wind and the rain, in His hands. He’s got the (D) whole world (D7) in His (G) hands.
He’s got the little bitty baby, in His hands. He’s got the (D7) little bitty baby, in His
(D) hands. He’s got the (G) little bitty baby, in His hands. He’s got the (D) whole world (D7) in His (G) hands.
He’s got you and me brother, in His hands. He’s got (D7) you and me brother, in His (D) hands. He’s got (G) you and me brother, in his hands. He’s got the (D) whole world (D7) in His (G) hands.
He’s got the whole, world, in His hands. He’s got the (D7) whole, world, in His (D) hands. He’s got the (G) whole, world, in His hands. He’s got the (D) whole world (D7) in His (G) hands.
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
HEY GOOD LOOKIN’ - Hank Williams (C0)
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INTRO: (F)(G)(C)(G7)
(C) Say hey, good lookin’, wha, tcha got cookin? (D7) How’s about cookin’ (G7) somethin’ up with (C) me (G7)? (C) Say hey, sweet baby, don’t you think maybe (D7), we could find us, a (G) brand new reci (C) pe? (C7)
I got a (F) hot-rod Ford and a (C) two dollar bill. And (F) I know a spot right (C) over the hill. (F) There’s soda pop and the dancin’s free so if you (D7) wanna have fun come a (G7) long with me.
(C) Say hey, good lookin’, wha, tcha got cookin’? (D7) How’s about cookin’ (G7) something up with (C) me (G7)? I’m (C) free, I'm ready, so we, can go steady. (D7) How’s about saving (G7) all you time for (C) me (G7)?
(C) No more lookin’, I know I’ve been tooken. (D7) So how’s about keeping (G7) steady
compan (C) y? (C7)
I’m gonna (F) throw my date book (C) over the fence. And (F) find me one for (C) five or ten cents. (F) I’ll keep it til it’s covered with age, cause I’m (D7) writin’ your name down on (G7) every page.
(C) Say hey, good lookin’, wha, tcha got cookin’? (D7) How’s about cookin’ (G7) somethin’ up with (C) me? (D7) (G7) (C)-(G)-(C)
(Hank Williams) (Artist Index) - (Main Index) - (Song Index) (This Song)
HIGH COTTON – (Murrah/Anders) – Alabama (C0)
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INTRO: (C)(F)(C)(G)(C)
(C) We didn't know that times were lean. A (F) round our home the grass was green. It (C) didn't seem like things were all that (G) bad. I (C) bet we walked a thousand miles, (F) choppin' cotton and pushin' plows, and (C) learnin' how to (G) give it all we (C) had.
As life went on and years went by, I (F) saw the light in daddy's eyes, and (C) felt the love in mama's (E) hands. They (C) kept us warm and kept us fed. (F) Taught us how to look ahead.
(C) Now lookin' (G) back I under (C) stand.
We were walkin' in, high cotton. Old times (F) there are not forgotten. Those (C) fertile fields are never far a (G) way. We were walkin' in, (C) high cotton. Old times (F) there are not forgotten. Leavin' (C) home was the hardest (G) thing we ever (C) faced.
(C)(F)(C)(G)(C)
When Sunday mornings rolled around, (F) we dressed up in hand me downs. (C) Just in time to gather with the (G) church. Some (C) times I think how long it's been, (F) and how it impressed me then. It was the (C) only day my (G) daddy, wouldn't (C) work.
We were walkin' in, high cotton. Old times (F) there are not forgotten. Those (C) fertile fields are never far a (G) way. We were walkin' in, (C) high cotton. Old times (F) there are not forgotten. Leavin' (C) home was the hardest (G) thing we ever (C) faced.
[Key Shift]
We were walkin' in, (D) high cotton. Old times (G) there are not forgotten. Those (D) fertile fields are never far a (A) way. We were walkin' in, (D) high cotton. Old times (G) there are not forgotten. Leavin' (D) home was the hardest (A) thing we ever (D) faced.
We were walkin' in, (D) high cotton. Old times (G) there are not forgotten. Those (D) fertile fields are never far a (A) way. We were walkin' in, (D) high cotton. Old times (G) there are not forgotten. Leavin' (D) home was the hardest (A) thing we ever (D) faced.
Walkin' in, high cotton. (A) (D)
(Alabama) (Artist Index) - (Main Index) - (Song Index) (This Song)
HOLD MY HAND – (Bran/Felber/Rucker/Sonefeld) – Hootie and the Blowfish (C1)
TIP: There are only four chords but one of them is the (B) which some find awkward to move consistently to and from. (The other one, (Bsus2), is just like the (B) but with the three fingers moved up one string-set). However, the finger positioning for the (E), (B), and (Bsus2) are very similar and all you’re really doing is holding hand position with your ring and middle fingers and then sliding up and down the frets with some minor adjustments to the index and pinky fingers. Practice the (Bsus2)–(E) and (B)-(E)-(F#) til it feels a little more comfortable to you.
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Intro: (Bsus2) (E); (Bsus2) (E)
With a little (Bsus2) love (E), and some (Bsus2) tenderness (E). We’ll (Bsus2) walk upon the (E) water. We’ll (Bsus2) rise above the (E) mess. With a little (Bsus2) peace (E), and some (Bsus2) harmony (E). We’ll (Bsus2) take the world (E) together. We’ll (Bsus2) take ’em by the (E) hand.
(F#) ’Cause I’ve got a (E) hand for (B) you. (F#) ’Cause I wanna (E) run with (B) you.
Yester (Bsus2) day (E), I saw you standing (Bsus2) there (E). Your (Bsus2) head was (E) down your (Bsus2) eyes were (E) red. No (Bsus2) comb had touched your (E) hair. I said get (Bsus2) up, (E) and let me (Bsus2) see you smile (E). We’ll (Bsus2) take a walk to (E) gether, (Bsus2) walk the road a (E) while, 'cause.
(F#) ’Cause I’ve got a (E) hand for (B) you (I got a hand for you). (F#) ’Cause I wanna (E) run with (B) you (Won’t you let me run with you yeah). (B) Hold, (E) my, (F#) hand (Want you to hold my hand). (B) Hold, (E) my, (F#) hand (I’ll take you to a place where you can be). (B) Hold,
(E) my, (F#) hand (Anything you wanna be because). (E) I wanna love you, the best that, the best that I (B) can. (Bsus2) (E); (Bsus2) (E); (Bsus2) (E); (Bsus2) (E)
See I was (Bsus2) wasted (E), and I was a (Bsus2) wasting time (E). ’Till I (Bsus2) thought about your (E) problems, I (Bsus2) thought about your (E) crimes. Then I stood (Bsus2) up (E), and then I (Bsus2) screamed aloud (E): “I don’t (Bsus2) wanna be part of your (E) problems, don’t (Bsus2) wanna be part of your (E) crowd, no.
(F#) ’Cause I’ve got a (E) hand for (B) you (I’ve got a hand for you). (F#) ’cause (F#) I wanna (E) run with (B) you (Ah, won’t you let me run with you?). (B) Hold, (E) my, (F#) hand (Want you to hold my hand). (B) Hold, (E) my, (F#) hand (I’ll take you to the promised land). (B) Hold,
(E) my, (F#) hand (Maybe we can’t change the world but). (E) I wanna love you the best that, the best that I (B) can. Yeah
(Bsus2) (E); (Bsus2) (E); (Bsus2) (E); (Bsus2) (E); (F#) (E) (B); (F#) (E) (B)
(B) Hold, (E) my, (F#) hand (Want you to hold my hand). (B) Hold, (E) my, (F#) hand (I’ll take you to a place where you can be). (B) Hold, (E) my, (F#) hand (Anything you wanna be because, I...oh no, no, no, no, no)
(B) Hold, (E) my, (F#) hand (I want you to hold my hand). (B) Hold, (E) my, (F#) hand (I’ll take you to the promised land). (B) Hold, (E) my, (F#) hand (Maybe we can’t change the world but).
(E) I wanna love you, the best that, the best that I (B) can (E), oh, the best that I (B) can, (B)(E) (B)(E) yeah (B)(E)(B).
(Hootie and the Blowfish) (Artist Index) - (Main Index) - (Song Index) (This Song)
HOME ON THE RANGE – (Higley/Kelley) - Traditional (C1)
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Oh (G) give me a home, where the (C) buffalo roam, where the (G) deer and the (A7) antelope (D7) play. Where (G) seldom is heard, a dis (C) couraging (Am7) word, and the (G) skies are not (D7) cloudy all (G) day. (D7)
(G) Home, (C) home on the (G) range. Where the (Em) deer and the (A7) antelope (D7) play. Where (G) seldom is heard, a dis (C) couraging (Am7) word, and the (G) skies are not (D7) cloudy all (G) day.
How often at night, when the (C) heavens are bright, with the (G) lights from the (A7) glittering (D7) stars. Have I (G) stood there amazed, and (C) asked as I gazed, if their (G) glory
ex (D7) ceeds that of (G) ours. (D7)
(G) Home, (C) home on the (G) range. Where the (Em) deer and the (A7) antelope (D7) play. Where (G) seldom is heard, a dis (C) couraging (Am7) word, and the (G) skies are not (D7) cloudy all (G) day.
Oh I love those wild flowers, in this (C) dear land of ours. The (G) curlew, I (A7) love to hear (D7) scream. And I (G) love the white rocks, and the (C) antelope flocks, that (G) graze on the (D7) mountain so (G) green. (D7)
(G) Home, (C) home on the (G) range. Where the (Em) deer and the (A7) antelope (D7) play. Where (G) seldom is heard, a dis (C) couraging (Am7) word, and the (G) skies are not (D7) cloudy all (G) day.
Where the air is so pure, and the (C) zephyrs so free. The (G) breezes so (A7) balmy and
(D7) light. That I (G) would not exchange, my (C) home on the range, for (G) all of the (D7) cities so (G) bright. (D7)
(G) Home, (C) home on the (G) range. Where the (Em) deer and the (A7) antelope (D7) play. Where (G) seldom is heard, a dis (C) couraging (Am7) word, and the (G) skies are not (D7) cloudy all (G) day (C)(G).
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
HOMEWARD BOUND - (Simon) - Simon and Garfunkel (C1)
TIP: There's a quick chord change during the chorus from (Dm) to (F) to (C). You can skip the first two (F)s if you want but try and hit the third one before the (G).
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INTRO: (C)-(F)(F)(F)(F)(G)-(F)-(C)
(C) I'm sitting in the railway station got a (Em) ticket to my destination (A). (Asus) Mmm (A7).
(Dm) On a tour of one-night stands my (Bb) suitcase and guitar in hand, and (C) ev'ry stop is neatly planned for a poet and a (G7) one man ban- (C) -nd.
Homeward (F) bound I wish I (C) was. Homeward (F) bound. (C) Home, where my (Dm) thought's
esca (F) ping (C) home, where my (Dm) music's play (F) ing (C) home, where my (Dm) love lies
wait (F) ing (G) silently (C) for me.
Every day is an endless stream of (Em) cigarettes and magazines (A). (Asus) Mmm (A7). And (Dm) each town looks the same to me the (Bb) movies and the factories, and (C) ev'ry stranger's face I see reminds me that I (G7) long to (C) be homeward bound.
(F) Mmmm I wish I (C) was, homeward (F) bound. (C) Home, where my (Dm) thought's esca (F) ping
(C) home, where my (Dm) music's play (F) ing (C) home, where my (Dm) love lies wait (F) ing
(G) silently (C) for me.
Tonight I'll sing my songs again I'll (Em) play the game and pre (A) tend. (Asus) Mmm (A7).
But (Dm) all my words come back to me in (Bb) shades of mediocrity, like (C) emptiness in harmony I need someone to (G7) comfort (C) me.
Homeward (F) bound. I wish I (C) was, homeward (F) bound. (C) Home, where my (Dm) thought's
esca (F) ping (C) home, where my (Dm) music's play (F) ing (C) home, where my (Dm) love lies
wait (F) ing (Gadd) silently (C) for me. (Gadd) Silently for (C) me. (F)(F)(F)(F)(G)-(F)-(C)
(Simon and Garfunkel) (Artist Index) - (Main Index) - (Song Index)(This Song)
HONKY TONKIN' - Hank Williams (C4)
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INTRO: (D7)(G)
When (G) you are sad and lonely and have no place to go, come to see me baby and bring along some dough and we'll go honky tonkin' honky tonkin'. Honky tonkin' honey baby. We'll go honky tonkin' (D7) 'round this (G) town.
When you and your baby have a fallin' out, call me up sweet mama and we'll go steppin' out and we'll go honky tonkin' honky tonkin'. Honky tonkin' honey baby. We'll go honky tonkin'
(D7) 'round this town.
[Repeat chords] (G) . . . (D7)(G)
We're goin' into the city, into the city fair. If you go to the city baby you will find me there and we'll go honky tonkin' honky tonkin'. Honky tonkin' honey baby. We'll go honky tonkin'
(D7) 'round this (G) town.
And we'll go honky tonkin' honky tonkin'. Honky tonkin' honey baby. We'll go honky tonkin'
(D7) 'round this (G) town.
(Hank Williams) (Artist Index) - (Main Index) - (Song Index) (This Song)
HONKY TONK WOMEN – (Richards/Jagger) - The Rolling Stones (C4)
TIP: The intro has a distinct cadence which is repeated throughout the song.
TIP: There are a couple of easy twinkles on the (D) and (E) chords in the first two lines of the verses. The first is (D)(D4)(D) where you simply keep the (D) and pinky on/pinky off bottom string. Same with the (E)(EC#)(E), hold the (E) and add pinky on/pinky off to the 2nd string/2nd fret.
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INTRO: (A), (A), (A)(D)(E)(A), (A)
I met a, gin-soaked barroom queen in (D) Memphis (D4)(D). She (A) tried to take me upstairs for a (E) ride (EC#)(E). She (A) had to heave me right across her (D) shoulder (D4)(D). 'Cause I
(A) just can't seem to (E7) drink you off my (A) mind.
It's the hon (E) ky tonk (A) women. Gimme gimme (E7) gimme the honky tonk (A) blues.
(A) I played a, divorcee in New York (D) City (D4)(D). I (A) had to, put up some kind of a
(E) fight (EC#)(E). The (A) lady then she covered me with (D) roses (D4)(D). She (A) blew my nose and (E7) then she blew my (A) mind.
It's the hon (E) ky tonk (A) women. Gimme gimme (E7) gimme the honky tonk (A) blues.
(A)(D)(D4)(D); (A)(E)(EC#)(E); (A)(D(D4)(D); (A)(E7)(A)
It's the (A) hon (E) ky tonk (A) women. Gimme gimme (E7) gimme the honky tonk (A) blues.
It's the (A) hon (E) ky tonk (A) women. Gimme gimme (E7) gimme the honky tonk (A) blues.
(A)(D)(E7)(A)
(The Rolling Stones) (Artist Index) - (Main Index) - (Song Index) (This Song)
HOTEL CALIFORNIA - (Felder/Frey/Henley) - The Eagles (C2)
TIP: In the first two verses the "lift" means to lift off the bottom string.
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Intro: (Bm) (F#), (A) (E), (G) (D) (Em) (F#) repeat
(Bm) On a dark desert highway, (F#) cool wind [lift] in my hair. (A) Warm smell of colitas,
(E) rising up through the air. (G) Up ahead in the distance, (D) I saw a shimmering light.
(Em) My head grew heavy and my sight grew dim, (F#) I had to stop for the night.
(Bm) There she stood in the doorway. (F#) I heard the mis [lift] sion bell. (A) And I was thinking to myself "This could be (E) heaven or this could be hell." (G) Then she lit up a candle, (D) and she showed me the way. (Em) There were voices down the corridor, (F#) I thought I heard them say:
(G) Welcome to the Hotel Californ (D) ia. Such a (Em) lovely place - such a lovely place -
such a (Bm) lovely face. (G) Plenty of room at the Hotel Californ (D) ia. Any (Em) time of year - any time of year - you can (F#) find it here.
(Bm) Her mind is Tiffany-twisted. (F#) She got the Mercedes Benz. (A) She got a lot of pretty pretty boys, (E) that she calls friends. (G) How they dance in the courtyard, (D) sweet summer sweat. (Em) Some dance to remember, (F#) some dance to forget.
(Bm) So I called up the Captain: (F#) "Please bring me my wine." He said (A) "We haven't had that spirit here since (E) nineteen sixty nine." (G) And still those voices are calling from
(D) far away. (Em) Wake you up in the middle of the night, (F#) just to hear them say:
(G) Welcome to the Hotel Californ (D) ia. Such a (Em) lovely place - such a lovely place -
such a (Bm) lovely face. (G) Livin' it up at the Hotel Californ (D) ia. What a (Em) nice surprise - what a nice surprise- bring your (F#) alibis.
(Bm) Mirrors on the ceiling. (F#) The pink champagne on ice and she said, (A) "We are all just prisoners here, (E) of our own device." (G) And in the master's chambers, (D) they gathered for the feast. (Em) They stab it with their steely knives but they (F#) just can't kill the beast.
(Bm) Last thing I remember, I was, (F#) running for the door. (A) I had to find the passage back
to the (E) place I was before. (G) "Relax" said the night man, "We are, (D) programmed to receive.
(Em) You can check-out any time you like, (F#) but you can never leave."
(Bm) (F#) (A) (E) (G) (D) (Em) (F#) repeat and
end with (Bm)-(Bm)-(Bm)-(Bm)
(The Eagles) (Artist Index) - (Main Index) - (Song Index) (This Song)
HOUSE OF THE RISING SUN – (Traditional - Turner/Martin) - The Animals (C2)
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INTRO: (Em)(G)(A)(C)(Em)(B7)(Em)(B7)
There (Em) is, a (G) house, in (A) New Orleans (C), they (Em) call, the (G) Rising (B7) Sun. And it's (Em) been, the (G) ruin, of (A) many a poor (C) boy, and (Em) God, I (B7) know, I’m
(Em) one. (G)(A)(C)(Em)(B7)(Em)(B7)
My (Em) moth, er (G) was, a (A) tailor (C), (Em) sewed, my (G) new, blue (B7) jeans. My
(Em) fath, er (G) was, a (A) gam, blin' (C) man, (Em) down, in (B7) New, Or (Em) leans. (G)(A)(C)(Em)(B7)(Em)(B7)
Now the (Em) on, ly (G) thing, a (A) gambler, (C) needs, is a (Em) suitcase (G) and, a (B7) trunk. And the (Em) on, ly (G) time, (A) he's, satis (C) fied, is (Em) when, he's (B7) on, a (Em) drunk.
(G)(A)(C)(Em)(B7)(Em)(B7); (Em)(G)(A)(C)(Em)(G)(B7); (Em)(G)(A)(C)(Em)(B7)(Em), (G)(A)(C)(Em)(B7)(Em)(B7)
Oh (Em) mother (G), tell your (A) children (C), not to (Em) do, what (G) I, have (B7) done.
(Em) Spend, your (G) life, in (A) sin, and miser- (C) -y, in the (Em) house, of the (B7) Rising
(Em) Sun. (G)(A)(C)(Em)(B7)(Em)(B7)
Well I’ve got one, foot (G) on the (A) plat (C) form, the (Em) other foot (G) on the (B7) train. I’m (Em) going (G) back to (A) New Or (C) leans, to (Em) wear that (B7) ball and (Em) chain.
(G)(A)(C)(Em)(B7)(Em)(B7)
Well there (Em) is, a (G) house, in (A) New Or (C) leans, they (Em) call, the (G) Rising (B7) Sun. And it's (Em) been, the (G) ruin, of (A) many a poor (C) boy, and (Em) God I (B7) know I’m
(Em) one. (G)(A)(C)(Em)(B7)(Em)(B7)(Em)
(Animals) (Artist Index) - (Main Index) - (Song Index) (This Song)
HOW LONG - (Souther) - The Eagles (C2)
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Intro: (C)(F)(C)(G)
(C) Like a blue bird with his heart removed, (F) lonely as a train. (C) I've run, just as (G) far as I can (C) run. If I never see, the good old days, (F) shinin' in the sun, (C) I'll be doin'
(G) fine and then (C) some.
(Am) How (G) long (F) how (C) long, woman will you (Gadd) weep? (Am) How (G) long (F) how
(C) long? (G) Rock yourself to (C) sleep.
Well I been doin' time in lonesome prison, (F) where the sun don't shine. (C) Just outside the
(F) freedom river (G) runs. (C) Out there in that shiny night, with (F) blood hounds on your mind, (C) don't you know it's the same sad (G) situ (C) ation?
(Am) How (G) long (F) how (C) long, woman will you (Gadd) weep? (Am) How (G) long (F) how
(C) long? (G) Rock yourself to (C) sleep.
(C)(F)(C)(G)
(C) Everybody feels alright you know I (F) heard some poor fool say. (C) Everyone is (F) out there on the (G) loose. Well I wish I lived in the land of fools, (F) no one knew my name. But (C) what you get is (F) not quite (G) what you (C) choose.
Tell me (Am) how (G) long (F) how (C) long, woman will you (Gadd) weep? (Am) How (G) long (F) how (C) long? (G) Rock yourself to (C) sleep.
(Am) How . . . (G) long . . . (F) how . . . (C) long. (Am) Muddy (D) River runs so (G) deep (Gadd). (Am) How . . . (G) long . . . (F) how . . . (C) long. Good night baby (G) rock yourself to . . . (C) Sleep tight baby (G) rock yourself to . . . (C) B-B-Bye bye baby (G) rock yourself to (F) sleeeeeeeeep (C).
(The Eagles) (Artist Index) - (Main Index) - (Song Index) (This Song)
I ALWAYS GET LUCKY WITH YOU - (Powers/Church/Whitson/Haggard) - Merle Haggard/George Jones
TIP: You’ll play the (Ab+) from a preceding (C), so leave the index finger where it is and drop both the ring and middle fingers down one string and slide them down one fret. It’ll helps to look at your fingers while doing so instead of trying to wing it.
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I've had (C) good luck, and (Ab+) bad luck, and (F) no luck, it's (D7) true. But (C) I always get (G) lucky with (C) you (G7).
I've been (C) turned on, and (Ab+) turned down, when the (F) bars close at (D7) two. But I (C) always get (G) lucky with (C) you.
I keep (F) two strikes a (D7) gainst me, most (C) all of the time. When it's (D7) down to just a phone call, I'm (Dm) minus a (G7) dime.
There’s been (C) good days, and (Ab+) bad days, but (F) when the day is (D7) through. I (C) always get (G) lucky with (C) you. (C7)
I keep (F) two strikes a (D7) gainst me, most (C) all of the time. When it's (D7) down to just a phone call, I'm (Dm) minus a (G7) dime.
There’s been (C) good days, and (Ab+) bad days, but (F) when the day is (D7) through. I (C) always get (G) lucky with (C) you.
Oh, I always get (G) lucky with (F) you (C).
(Merle Haggard)(George Jones) (Artist Index) - (Main Index) - (Song Index) (This Song)
I AM A MAN OF CONSTANT SORROW - (Traditional) - Dan Tyminski/The Soggy Bottom Boys
TIP: This song appears twice on the "O Brother" soundtrack. The version performed by the Soggy Bottom Boys omits two of the verses. What appears here is Tyminski's version with all the verses in the order in which it was performed.
TIP: The instrumental part (banjo, fiddle, guitar) in between verses is a combination of the chords in the first line (G) and last line (C)(D)(C)(G) of each verse.
TIP: This is a fun song to sing with a group. One person taking the lead verse (Clooney) and the others (Nelson/Turturro) taking the chorus which is the last line of each verse that appears twice [shown in brackets].
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Intro: (G)(Gadd)(G)(C)(D)(C)(G)
[(G) In constant (D) sorrow- (C) -ow all through his (G) days.]
(Gadd) I, am a (G) man, of constant (C) sorrow. I've seen (D) troub - (C) -ble all my (G) day.
(Gadd) I, bid farewell, to old Ken (C) tucky. The place where (D) I- (C) -I was born and (G) raised. [The (C) place where (D) he- (C) -ee was born and (G) raised.]
(G)(C)(D)(C)(G)
(Gadd) For, six long (G) years, I've been in (C) trouble. No pleasure (D) here- (C) -ere on earth I (G) found. (Gadd) For, in this world, I'm bound to (C) ramble. I have no (D) frien- (C) -ends to help me (G) now. [He (C) has no (D) frien- (C) -ends to help him (G) now.]
(G)(C)(D)(C)(G)
(Gadd) It's, fare thee (G) well, my old true (C) lover. I never ex (D) pec- (C) -ct to see you a (G) gain. (Gadd) For, I'm bound to ride, that northern (C) railroad. Perhaps I'll (D) die- (C) -ie upon this (G) train. [Per (C) haps he'll (D) die- (C) -ie upon this (G) train.]
(G)(C)(D)(C)(G)
(Gadd) You, can bury (G) me, in some deep (C) valley. For many (D) year- (C) -ears where I may (G) lay. (Gadd) Then, you may learn, to love a (C) nother, while I am (D) slee- (C) -eeping in my (G) grave. [While (C) he is (D) slee- (C) -eeping in his (G) grave.]
(G)(C)(D)(C)(G)
(Gadd) May, be your friends (G) think, I'm just a (C) stranger. My face you'll (D) nev- (C) -ver see no (G) more. (Gadd) But, there is one promise that is (C) given. I'll meet you (D) on- (C) -on God's golden (G) shore. [He'll (C) meet you (D) on- (C) -on God's golden (G) shore.] (G)
(Dan Tyminski)(The Soggy Bottom Boys) (Artist Index) - (Main Index) - (Song Index) (This Song)
I AM A ROCK - (Simon) - Simon & Garfunkel
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(G) A winter's day, in a (C) deep and dark De (G) cember. (Am) I (D7) am a (C) lone (G). (Am7) Gazing from my (D) window, (Am7) to the streets be (D) low, on a (Am) freshly fallen (C) silent shroud of (D) snow. (C) I am a (G) rock, (C) I am an (D) is (G) land.
(Em) I've built (G) walls, a (C) fortress deep and (G) mighty. That (Am) none- (D7) -one may (C) pene (G) trate. I (Am7) have no need of (D) friendship, (Am7) friendship causes (D) pain.
It's (Am) laughter and it's (C) loving I dis (D) dain. (C) I am a (G) rock, (C) I am an (D) is (G) land.
(Em) Don't talk of (G) love. But I've (C) heard the words be (G) fore. It's (Am) sleep (D7) ing in my (C) memor (G) y. I (Am7) won't disturb the (D) slumber of (Am7) feelings that have (D) died.
If I (Am) never loved I (C) never would have (D) cried. (C) I am a (G) rock, (C) I am an (D) is (G) land.
I have my (G) books, and my (C) poetry to pro (G) tect me. I am (Am) shield (D7) ed in my (C) arm (G) or. (Am7) Hiding in my (D) room, (Am7) safe within my (D) womb. I (Am) touch no one and (C) no one touches (D) me. (C) I am a (G) rock, (C) I am an (D) is (G) land.
And a (Am7) rock feels no (G) pain. And an (Am7) island (D) never (G) cries.
(Simon and Garfunkel) (Artist Index) - (Main Index) - (Song Index)(This Song)
I DON'T WANNA PLAY HOUSE - (Sherill/Sutton) - Tammy Wynette (C1)
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(G) Today I sat a (D7) lone at the (G) window. And I watched our little girl outside at (D7) play.
With the (C) little boy next door like so (G) many times before, but (A7) something didn't seem quite right to (D7) day.
So I went (G) outside to (D7) see what they were (G) doing. And then the teardrops made my
(B7) eyes grow (Em) dim (G7). 'Cause I (C) heard him name a game and I (G) hung my head in shame
when I heard our little (D7) girl say to (G) him:
(NC) "I don't wanna play (C) house. I know it can't be (G) fun. I've watched (D7) mommy and
(C) daddy, and if (G) that's the (D7) way it's (G7) done, I don't wanna play (C) house. It makes my mommy (G) cry. 'Cause when (D) she played house my (C) daddy (D7) said good (G) bye."
[Key change]: Brief strum of (A)
I don't wanna play (D) house. I know it can't be (A) fun. I've watched (E) mommy and (D) daddy,
and if (A) that's the (E7) way it's (A7) done, I don't wanna play (D) house. It makes my mommy
(A) cry. 'Cause when (E) she played house my (D) daddy (E7) said good (A) bye.
(Tammy Wynette) (Artist Index) - (Main Index) - (Song Index) (This Song)
I FALL TO PIECES – (Howard) – Patsy Cline (C0 or C1)
TIP: The intro is just the chords used in the final verse of the song (“You walk by . . . “)
TIP: For each “I fall to pieces” verse: For “I” – the (C) chord - add your pinky to the top string above the ring finger (the base note F) and emphasize striking the top three strings. For “... fall to” – the (Am) chord – emphasize striking the middle three strings.
TIP: The (Am) to (Am7) is a transition chord. Just lift the ring finger.
TIP: There’s one little tricky bit that’s not reflected in the transcription below but is readily noticable in Patsy’s recording of the song. It’s that three note transition (kind of a “bum-bum-bum”) between “pieces” and “each”. The first “bum” occurs is a (G) and the last is an (F). It’s the middle “bum” that’s a problem. It’s a single note (bottom string/2nd fret) of which no corresponding chord is complimentary. So what you do is you play the (G) for the first “bum”, then depress the bottom string/2nd fret - the note - and strike the bottom two strings ONLY for the second “bum”, and then finish with and (F) for the final “bum”. If this is too complicated just skip it all together and pause for a moment in place of the , playing just the (G) and (F).
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INTRO: (C)-(C) (F) (G) (C)
(C) I (Am) fall (Am7) to (G) pieces, (F) each time I (G) see you a (C) gain. (G) (C) I (Am) fall (Am7) to (G) pieces. (F) How can I (G) be just your (C) friend?
You want me to (C7) act like we (F) never kissed. You want me (G) to forget, (G7) pretend we've (C) never met. And I've (F) tried, and I've (G) tried, but I (C) haven't yet. You walk (F) by and (G) I fall to (C) pieces.
(C) I (Am) fall (Am7) to (G) pieces, (F) each time some (G) one speaks your (C) name. (G) (C) I (Am) fall (Am7) to (G) pieces. (F) Time only (G) adds to the (C) flame.
You tell me to (C7) find someone (F) else to love, someone who'll (G) love me too, (G7) the way you (C) used to do. But each (F) time I go (G) out with (C) someone new, you walk (F) by and (G) I fall to (C) pieces.
You walk (F) by and (G) I fall to (C) pieces.
(Patsy Cline) (Artist Index) - (Main Index) - (Song Index) (This Song)
I FOUGHT THE LAW – (Curtis) - Bobby Fuller
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Intro: (G x 7) (C) (G) (G x 7) (D) (G) (D) (G)
(G) Breakin’ rocks in the (C) hot (G) sun. I fought the law and the (C) law (G) won, I fought the law and the (D) law (G) won. I needed money cause I (C) had (G) none. I fought the law and the (C) law (G) won, I fought the law and the (D) law (G) won.
I (C) left my baby and it feels so bad, I (G) guess my race is run. (C) She’s the best girl that I ever had. (G) I fought the law and the (C) law (G) won, I fought the law and the (D) law (G) won.
(G x 7) (C) (G) (G x 7) (D) (G) (D) (G)
(G) Robbin’ people with a (C) six (G) gun. I fought the law and the (C) law (G) won, I fought the law and the (D) law (G) won. (G) I lost my girl and I (C) lost (G) fun. I fought the law and the (C) law (G) won, I fought the law and the (D) law (G) won.
I (C) left my baby and it feels so bad. I (G) guess my race is run. (C) She’s the best girl that I ever had. (G) I fought the law and the (C) law (G) won, I fought the law and the (D) law (G) won.
(G x 7) (C) (G) (G x 7) (D) (G) (D) (G)
(Bobby Fuller) (Artist Index) - (Main Index) - (Song Index) (This Song)
I HOPE THAT I DON’T FALL IN LOVE WITH YOU (Waits) – Hootie and the Blowfish [in C]
TIP: This is a blend of Tom Waits’ original and Hootie’s cover. It contains the second verse that Hootie usually omits and a few of the words are also from Tom’s originial.
TIP: Also presented afterward in the key of G, mainly for fingerpicking.
TIP: The (Gadd) that precedes the first word in each verse (except first and last) should be played with that first word. In other words, there are only two chord, the (G) and (C), that open each verse with the (Gadd) actually coming on the word. You’ll see what I mean when you play it that way.
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Intro: (C) (F) (G); (C) (F) (G)
Well I (C) hope that I don't (F) fall in love with (Gadd) you. ‘Cause (C) falling in (F) love just makes me (G) blue. Well the (F) music plays, and (C) you display, a (F) part for me to (C) see. I (F) had a beer, and (C) now I hear, you (F) calling out for (Gadd) me. And I (C) hope that I don't (F) fall in (Gadd) love with (C) you.
(G)(C) (Gadd) Well the (C) room is crowded (F) people every (Gadd) where. And I (C) wonder should I (F) offer you a (G) chair? Well if (F) you sit down with (C) this old clown, (F) take that frown and (C) break it. Be (F) fore the evening's (C) gone away, I (F) think that we could (Gadd) make it. And I (C) hope that I don't (F) fall in (Gadd) love with (C) you.
(G)(C) (Gadd) Well the (C) night does funny (F) things inside a (Gadd) man. These old (C) tomcat feelings (F) you don't under (G) stand. Well I (F) turn around to (C) look at you, you (F) light a cigar (C) ette. I (F) wish I had the (C) guts to bum one, (F) but we've never (Gadd) met. And I (C) hope that I don't (F) fall in (Gadd) love with (C) you.
(G)(C) (Gadd) I can (C) see that you are (F) lonesome just like (Gadd) me, and in (C) need of - would you’d (F) like some some compan (G) y? Well I (F) turn around to (C) look at you, (F) you look back at (C) me. The (F) guy you're with, has (C) up and split, the (F) chair next to you’s (Gadd) free. And I (C) hope that you don't (F) fall in (Gadd) love with (C) me.
Now it's (C) closing time, the (F) music's fading (Gadd) out. Last (C) call for drinks, I'll (F) have another (G) stout. Well I (F) turn around to (C) look at you, you're (F) nowhere to be (C) found. I (F) search the place, for (C) your lost (F) face, guess I'll have another (Gadd) round. And I (C) think that I just (F) fell in (Gadd) love with (C) you. (F) (C)
(Hootie and the Blowfish) (Artist Index) - (Main Index) - (Song Index) (This Song)
- - - - - - - - - - - - - - - - - - - - -
I HOPE THAT I DON’T FALL IN LOVE WITH YOU (Waits) – Hootie and the Blowfish [in G]
TIP: This is a lovely song to fingerpick but is easier to do so in the key G rather than the key of C (at least for me it is). You can still chord strum this version if you wish.
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Intro: (G) (C) (D); (G) (C) (D)
Well I (G) hope that (Gadd) I don't (C) fall in love with (D) you. ‘Cause (G) fall (Gadd) ing in (C) love just makes me (D) blue. Well the (C) music (CaddG) plays, and (Gadd) you display, a
(C) part for me to (Gadd) see. I (C) had a (CaddG) beer, and (Gadd) now I hear, you (C) calling out for (D) me. And I (G) hope that (Gadd) I don't (C) fall in (D) love with (G) you.
Well the (G) room is (Gadd) crowded (C) people every (D) where. And I (G) wonder (Gadd) should I (C) offer you a (D) chair? Well if (C) you sit (CaddG) down with (Gadd) this old clown, (C) take that frown and break (Gadd) it. Be (C) fore the (CaddG) evening's (Gadd) gone away, I (C) think that we could (D) make it. And I (G) hope that (Gadd) I don't (C) fall in (D) love with (G) you.
Well the (G) night does (Gadd) funny (C) things inside a (D) man. These old (G) tomcat (Gadd) feelings (C) you don't under (D) stand. Well I (C) turn a (CaddG) round to (Gadd) look at you, you (C) light a cigar (Gadd) ette. I (C) wish I (CaddG) had the (Gadd) guts to bum one, (C) but we've never (D) met. And I (G) hope that (Gadd) I don't (C) fall in (D) love with (G) you.
I can (G) see that (Gadd) you are (C) lonesome just like (D) me, and in (G) need of - (Gadd) would you (C) like some some compan (D) y? Well I (C) turn a (CaddG) round to (Gadd) look at you,
(C) you look back at (Gadd) me. The (C) guy you're (CaddG) with, has (Gadd) up and split, the
(C) chair next to you’s (D) free. And I (G) hope that (Gadd) you don't (C) fall in (D) love with (G) me.
Now it's (G) closing (Gadd) time . . . the (C) music's fading (D) out. Last (G) call for (Gadd) drinks, I'll (C) have another (D) stout. Well I (C) turn a (CaddG) round to (Gadd) look at you, you're (C) nowhere to be (Gadd) found. I (C) search the place, for (Gadd) your lost face . . . guess I'll (CaddG) have another (D) round. And I (G) think that I just (C) fell in (D) love with (G) you. (C) (G)
(Hootie and the Blowfish) (Artist Index) - (Main Index) - (Song Index) (This Song)
I KNOW YOU’RE OUT THERE SOMEWHERE – (Hayward) – Moody Blues
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(Em) I know you're out there (Am) somewhere. (Gadd) Somewhere, (D) somewhere. (Em) I know I'll find you (Am) somehow. And somehow I'll re (C) turn again to (G) you. (G) (C); (Gadd) (C)
The (G) mist is lifting slowly, I can (C) see the way ahead. And I've (G) left behind the empty streets that (C) once inspired my life. And the (Gadd) strength of the emotion, is like (C) thunder in the air, cuz the (Gadd) promise that we made each other (C) haunts me to the end.
(Em) I know you're out there (Am) somewhere. (Gadd) Somewhere, (D) somewhere. I (Em) know you're out there (Am) somewhere. (C) Somewhere you can (D) hear my voice. I (Em) know I'll find you (Am) somehow. (Gadd) Somehow, (D) somehow. I (Em) know I'll find you (C) somehow. And (Am) somehow I'll re (C) turn again to (G) you. (G) (C); (Gadd) (C)
The (G) secret of your beauty, and the (C) mystery of your soul. I've been (G) searching for, in everyone I (C) meet. And the (Gadd) times I've been mistaken, it's im (C) possible to say. And the (Gadd) grass is growing underneath our (C) feet.
(Em) I know you're out there (Am) somewhere. (Gadd) Somewhere, (D) somewhere. I (Em) know you're out there (Am) somewhere. (C) Somewhere you can (D) hear my voice. I (Em) know I'll find you (Am) somehow. (Gadd) Somehow, (D) somehow. I (Em) know I'll find you (C) somehow. And (Am) somehow I'll re (C) turn again to (G) you. (G) (C); (Gadd) (C) (slowly strum C)
You see I know you're out there (D7) somewhere . . . O yes I (C) know you're out there (D7) somewhere . . . You see I (C) know I'll find you (D7) somehow . . . O yes I (C) know I'll find you (D7) somehow . . . (G) (C); (Gadd) (C)
The (G) words that I remember, from my (C) childhood still are true. That there's (G) none so blind as those who will not (C) see. And to (Gadd) those who lack the courage, and say it's (C) dangerous to try. Well they (Gadd) just don't know that love eternal (C) will not be denied.
(Em) I know you're out there (Am) somewhere. (Gadd) Somewhere, (D) somewhere. I (Em) know you're out there (Am) somewhere. (C) Somewhere you can (D) hear my voice. I (Em) know I'll find you (Am) somehow. (Gadd) Somehow, (D) somehow. I (Em) know I'll find you (C) somehow. And (Am) somehow I'll re (C) turn again to (G) you. (G) (C); (Gadd) (C)
Yes I (G) know it's going to happen, I can (C) feel you getting near. And (G) soon we'll be returning to the (C) fountain of our youth. And (Gadd) if you wake up wondering, in the (C) darkness I'll be there. My (Gadd) arms will close around you and (C) protect you with the truth.
(Em) I know you're out there (Am) somewhere. (Gadd) Somewhere, (D) somewhere. I (Em) know you're out there (Am) somewhere. (C) Somewhere you can (D) hear my voice. I (Em) know I'll find you (Am) somehow. (Gadd) Somehow, (D) somehow. I (Em) know I'll find you (C) somehow. And (Am) somehow I'll re (C) turn again to (G) you. (G) (C); (Gadd) (C) (G) (C); (Gadd) (C) . . . (G)
(The Moody Blues) (Artist Index) - (Main Index) - (Song Index) (This Song)
I LIKE BEER - Tom T. Hall
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(G) In some of my songs, I have (C) casually (G) mentioned, the fact that I like to drink (D) beer. (G) This little song, is (C) more to the (G) point, so (Am) roll out the barrel and lend me your (D) ear.
I like (C) beer. It makes me a jolly good (G) fellow. I like (C) beer. It (Am) helps me unwind, and sometimes it makes me feel mell (D) ow. (No Chord) Makes him feel mellow. (G) Whiskey's too rough, cham (C) pagne costs too (G) much, vodka puts my mouth in (C) gear. This little refrain should (G) help me explain, as a (D) matter of fact I like (G) beer. (He likes beer).
(G) My wife often frowns, when we're (C) out on the (G) town, and I'm wearing a suit and a (D) tie. She's (G) sipping vermouth, and she (C) thinks I'm un (G) couth, when I (Am) yell as the waiter goes (D) by.
I like (C) beer. It makes me a jolly good (G) fellow. I like (C) beer. It (Am) helps me unwind, and sometimes it makes me feel mell (D) ow. (No Chord) Makes him feel mellow. (G) Whiskey's too rough, cham (C) pagne costs too (G) much, vodka puts my mouth in (C) gear. This little refrain should (G) help me explain, as a (D) matter of fact I like (G) beer. (He likes beer).
(G) Last night I dreamed, that I (C) passed from the (G) scene, and I went to a place so sub (D) lime. The (G) water was clear, and (C) tasted like (G) beer, then (Am) they turned it all into (D) wine.
I like (C) beer. It makes me a jolly good (G) fellow. I like (C) beer. It (Am) helps me unwind, and sometimes it makes me feel mell (D) ow. (No Chord) Makes him feel mellow. (G) Whiskey's too rough, cham (C) pagne costs too (G) much, vodka puts my mouth in (C) gear. This little refrain should (G) help me explain, as a (D) matter of fact I like (G) beer. (He likes beer).
(Tom T. Hall) (Artist Index) - (Main Index) - (Song Index) (This Song)
I LOVE – Tom T. Hall (C3)
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(C) I love (F) little baby (C) ducks, (F) old pick-up (C) trucks, (G7) slow moving trains, and (C) rain. I love (F) little country (C) streams, (F) sleep without (C) dreams, (G7) Sunday school in May, and (C) hay. (C7) And (F) I (G7) love you (C) too.
I love (F) leaves in the (C) wind, (F) pictures of my (C) friends, (G7) birds in the world, and (C) squirrels. I love (F) coffee in a (C) cup, (F) little fuzzy (C) pups, (G7) bourbon in a glass, and (C) grass. (C7) And (F) I (G) love you (C) too.
I love (F) honest open (C) smiles, (F) kisses from a (C) child, to (G7) matoes on the vine, and (C) onions. I love (F) winners when they (C) cry, (F) losers when they (C) try, (G7) music when it's good, and (C) life. (C7) And (F) I (G7) love you (C) too.
(Tom T. Hall) (Artist Index) - (Main Index) - (Song Index) (This Song)
I RIDE AN OLD PAINT - (Traditional) - Johnny Cash/Woody Guthrie (C0 or C7)
TIP: There are several versions of this classic old western song. Some say the word "hoolihan" or "hooley-ann" refers to a lasso; others say it's a method of of bull riding to break a steer without having to use a lasso. Likewise, "fiery and snuffy" can mean thunder and lightning, the names of two dogies looking to break from the pack, or fire and the branding iron.
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(G) I ride an old paint. I lead an old dan. I'm (D7) goin' to Montan' for to (G) throw the hoolihan. They (D7) feed in the coulee, they (G) water in the draw. Their (D7) tails are all matted, their (C) backs are all (G) raw.
Ride a (D7) round little dogies, ride a (G) round real slow, for the (D7) fiery and snuffy are a (C) rarin' to (G) go.
Now Old Bill Jones, had two daughters and a song. (D7) One went to Denver and the (G) other went wrong. His (D7) wife was killed in a (G) pool room fight. And (D7) now he's left singin' from (C) morning till (G) night.
Ride a (D7) round little dogies, ride a (G) round real slow, for the (D7) fiery and snuffy are a (C) rarin' to (G) go.
Oh when I die, take my saddle from the wall. Put it (D7) on my old pony, lead him (G) out of his stall. Tie my (D7) bones to my saddle and turn our (G) faces to the West. And we'll (D7) ride the lone prairie that (C) we love the (G) best.
Ride a (D7) round little dogies, ride a (G) round real slow, for the (D7) fiery and snuffy are a (C) rarin' to (G) go.
(Traditional)(Johnny Cash)(Woody Guthrie) (Artist Index) - (Main Index) - (Song Index) (This Song)
I SAW HER STANDING THERE – (Lennon/McCartney) – The Beatles [C0]
TIP: In the intro the countdown is spoken and then there’s kind of a “thump-thumpa thump-thump, thumpa thump-thump” sort of strum on the (A) chord and then a pause with the first three words spoken, with the (A) coming in just before the word “just”.
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Intro: One, two, three, four! (A) (Pause)
(No chord) Well, she was (A) just 17, if you (D7) know what I (A) mean, and the way she looked was way beyond com (E7) pare. So (A) how could I (A7) dance with a (D) nother (F) (ooh) when I (A) saw her (E7) standing (A) there.
Well (A) she looked at me, and (D7) I, I could (A) see, that before too long I'd fall in love with (E7) her. (A) She wouldn't (A7) dance with a (D) nother, (F) (whooh) when I (A) saw her (E7) standin' (A) there.
Well, my (D7) heart went "boom," when I crossed that room, and I held her hand in (E) mine (D).
Oh, we (A) danced through the night, and we (D7) held each other (A) tight, and before too long I fell in love with (E7) her. Now (A) I'll never (A7) dance with a (D) nother (F) (ooh) when I
(A) saw her (E7) standing (A) there.
Well, my (D7) heart went "boom," when I crossed that room, and I held her hand in (E) mine (D).
Oh, we (A) danced through the night, and we (D7) held each other (A) tight, and before too long I fell in love with (E7) her. Now (A) I’ll never (A7) dance with a (D) nother (F) (ooh) since I (A) saw her (E7) standing (A) there.
Oh since I (A) saw her (E7) standing (A) there. Well since I saw her (E7) standing (D) there (A).
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
I SAW IT ON TV – John Fogerty
TIP: To play the intro, start by struming (G). Then strum (G-add) twice (down/up), then on the next down stroke lift the bottom two fingers and play an open (no) chord once, then pick the bottom string once on an upstroke, and replace your fingers on the bottom two strings and strum the (G-add). You do this twice.
TIP: This is another Fogerty song with the sing-song use of the alternating (G) and (G-add). In this song I didn’t bracket the words for the (G-add) like I did in other Fogerty tunes (see Centerfield or Déjà vu for example). But you should be able to pick them out. If I had done it, an example in the first line would have been: us to the etc.
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INTRO: (G) . . . (G-add) (NC) (G-Add); (G-add) (NC) (G-Add)
They sent us home, to watch the show, comin’ (C) on the little (G) screen. A man named Ike, was in the White House. (C) Big black limou (G) sine. (Em) There were many shows to (G) follow, from (Em) ’Hooter’ to (G) ’Doodyville’. Though I (C) saw them all, I can’t recall, (D) which cartoon was real.
The (G-add) coon-skin caps, Yankee bats, the (C) "Hound Dog" man’s big (G) start. The A-bomb fears, Annette had ears, I (C) lusted in my (G) heart. (Em) A young man from (G) Boston, set (Em) sail the New Fron (G) tier. And we (C) watched the dream, dead-end in Dallas, they (D) buried innocence that year.
(C) I know it’s (D) true, (D5) oh so (Em) true (Em)-(Em)-(Em)-(Em)-(C), ’cause I (D7) saw it on T. (G) V.
We (G-add) gathered round, to hear the sound, comin’ (C) on the little (G) screen. The grief had passed, the old man laughed, and (C) all the girls (G) screamed. (Em) ’Cause four guys from (G) England, (Em) took us all by the (G) hand. It was (C) time to laugh, time to sing, (D) time to join the band.
But (G-add) all too soon, we hit the moon, and (C) covered up the (G) sky. They built their bombs, and aimed their guns, and (C) still I don’t know (G) why. (Em) The dominoes (G) tumbled, (Em) and big business (G) roared. Every (C) night at six, they showed the pictures, and (D) counted up the score.
(C) I know it’s (D) true, (D5) oh so (Em) true (Em)-(Em)-(Em)-(Em)-(C), ’cause I (D7) saw it on T. (G) V.
The (G-add) old man rocks, among his dreams, a (C) prisoner of the (G) porch. The light, he says, at the end of the tunnel, was (C) nothin’ but a burglar’s (G) torch. (Em) And them that was
(G) caught in the cover, (Em) are all rich and (G) free. But they (C) chained my mind, to an endless tomb, when they (D) took my only son from me.
(C) I know it’s (D) true, (D5) oh so (Em) true (Em)-(Em)-(Em)-(Em)-(C), ’cause I (D7) saw it on T. (G) V.
(C) I know it’s (D) true, (D5) oh so (Em) true (Em)-(Em)-(Em)-(Em)-(C), ’cause I (D7) saw it on T. (G) V.
(John Fogerty) (Artist Index) - (Main Index) - (Song Index) (This Song)
I SAW THE LIGHT - Hank Williams (C1)
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(G) I wandered so aimless, life filled with (G7) sin. (C) I wouldn't let my dear Saviour (G) in.
Then Jesus came like a stranger in the night. (Gadd) Praise the Lord, (G) I saw (D) the (G) light.
I saw the light, I saw the (G7) light. (C) No more darkness, no more (G) night. Now I'm so happy, no sorrow in sight. (Gadd) Praise the Lord, (G) I saw (D) the (G) light.
Just like a blind man, I wandered a (G7) lone. (C) Worries and fears I claimed for my (G) own. Then like the blind man that God gave back his sight. (Gadd) Praise the Lord, (G) I saw (D) the (G) light.
I saw the light, I saw the (G7) light. (C) No more darkness, no more (G) night. Now I'm so happy, no sorrow in sight. (Gadd) Praise the Lord, (G) I saw (D) the (G) light.
I was a fool to, wander and (G7) stray. (C) For straight is the gate and narrow the (G) way. Now I have traded the wrong for the right. (Gadd) Praise the Lord, (G) I saw (D) the (G) light
I saw the light, I saw the (G7) light. (C) No more darkness, no more (G) night. Now I'm so happy, no sorrow in sight. (Gadd) Praise the Lord, (G) I saw (D) the (G) light.
I saw the light, I saw the (G7) light. (C) No more darkness, no more (G) night. Now I'm so happy, no sorrow in sight. (Gadd) Praise the Lord, (G) I saw (D) the (G) light.
(Gadd) Praise the Lord, (G) I saw (D) the (G) Light.
(Hank Williams) (Artist Index) - (Main Index) - (Song Index) (This Song)
I WALK THE LINE - Johnny Cash (C4)
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INTRO: (G) Mmmmmmmmmmm.
(G) I keep a (D) close watch on this heart of (G) mine. I keep my (D) eyes wide open all the (G) time. I keep the (C) ends out for the tie that (G) binds. Because you're (D) mine, I walk the (G) line.
(G) I find it (D) very, very easy to be (G) true. I find my (D) self alone when each day’s (G) through. Yes, I'll ad (C) mit that I'm a fool for (G) you. Because you're (D) mine, I walk the (G) line.
(KEY SHIFT) (A) Mmmmmmmmm.
(A) As sure as (E7) night is dark and day is (A) light. I keep you (E7) on my mind both day and (A) night. And happi (D) ness I've known proves that it's (A) right. Because you're (E) mine, I walk the (A) line.
(A) You've got a (E7) way to keep me on your (A) side. You give me (E7) cause for love that I can't (A) hide. For you I (D) know I'd even try to turn the (A) tide. Because you're (E) mine, I walk the (A) line.
(Johnny Cash) (Artist Index) - (Main Index) - (Song Index) (This Song)
I WANNA HOLD YOUR HAND – (Lennon/McCartney) - The Beatles [C0]
TIP: As for the intro, well, you either know how the cadence goes or you can fake it. If nothing else, strum (G7) before you get to “I’ll.” Also, play (Gm) with the bottom three fingers -- it’ll make the jump to (C7) easier than if you play it as a barre.
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Intro: (C) (G)(G)(G) - (C) (G)(G)(G) – (C)(G)(C)(G)(C)(G)(C)(G) (C)(G7)(G7)(G7)
Oh yeah (C) I´ll, tell you (G7) something. (Am) I think you'll under (Em) stand. When (C) I, say that (G7) something. (Am) I wanna hold your (Em) hand. (F) I wanna (G7) hold your (C) hand (Am), (F) I wanna (G7) hold your (C) hand.
(C) Oh please, say to (G7) me. (Am) You'll let me be your (Em) man. And (C) please, say to (G7) me. (Am) You’ll let me hold your (Em) hand. (F) Now let me (G7) hold your (C) hand (Am). (F) I wanna (G7) hold your (C) hand.
(Gm) And when I (C7) touch you I feel (F) happy, in (Dm) side. (Gm) It's such a (C) feeling that my (F) love, I can't (G7) hide. (F) I can't (G7) hide. (F) I can't (G7) hide.
Yeah (C) you, got that (G7) something. (Am) I think you'll under (Em) stand. When (C) I, say that (G7) something. (Am) I wanna hold your (Em) hand. (F) I wanna (G7) hold your (C) hand (Am), (F) I wanna (G7) hold your (C) hand.
(Gm) And when I (C7) touch you I feel (F) happy, in (Dm) side. (Gm) It's such a (C) feeling that my (F) love, I can't (G7) hide. (F) I can't (G7) hide. (F) I can't (G7) hide.
Yeah (C) you, got that (G7) something. (Am) I think you'll under (Em) stand. When (C) I, feel that (G7) something. (Am) I wanna hold your (Em) hand.
(F) I wanna (G7) hold your (C) hand (Am), (F) I wanna (G7) hold your (C) hand (Am). (F) I wanna (G7) hold your (F) ha-a-a-a-a-a- (C) and.
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
I WILL – (Lennon/McCartney) – The Beatles/Alison Krauss [C1]
TIP: You can substitue a regular (G) or a regular (Em) for the (EmG) if you wish.
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(G) Who (C) knows how (Am) long I've (Dm) loved you? You (C) know I (Am) love you (EmG) still.
Will (C) I (F) wait a (G) lonely (C) lifetime (Am)? If you (F) want me (G) to I (C) will.
(G) For (C) if I (Am) ever (Dm) saw you, I (C) didn't (Am) catch your (EmG) name. But (C) it (F) never (G) really (C) mattered (Am). I will (F) always (G) feel the (C) same.
(F) Love you for (G) ever, (C) and for (Am) ever. (F) Love you (G) with all my (C) heart. (F) Love you when (G) ever, (C) we're to (Am) gether. (D) Love you when we're a (G) part.
(G) And (C) when at (Am) last I (Dm) find you. Your (C) song will (Am) fill the (EmG) air. Sing (C) it (F) loud so (G) I can (C) hear you (Am). (C) Make it (F) easy (G) to be (C) near you (Am).
(C) For the (F) things you (G) do, en (C) dear you (Am) to me. (F) Oh you (G) know I (C) will.
I will.
(The Beatles)(Alison Krauss) (Artist Index) - (Main Index) - (Song Index) (This Song)
I WILL ALWAYS LOVE YOU – (Parton) – Dolly Parton/Whitney Houston (C1)
TIP: Dolly wrote this song as both an homage and farewell to her long-time partner Porter Waggoner. IF you can add a base note to the (F#m), i.e., add your pinky or ring finger to the 4th string/4th fret, which will require a barre on the second fret, the (F#m) will sound a little fuller. If too difficult, just play the bottom three strings as indicated.
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INTRO: (A) (F#m) (D) (E)
If (A) I, (E) should (A) stay, I would (F#m) only be in your (D) way (E). And so I'll (A) go, and (E) yet I (A) know, that I'll think of (F#m) you each step of my (D) way (E).
And (A) I (F#m) will (D) al (E) ways love (A) you, (F#m) I will (D) al (E) ways love (A) you.
(F#m) (D) (E)
Bitter (A) sweet (E) memor (A) ies. That is (F#m) all that I’m taking with (D) me (E). Good (A) bye, (E) please don't (A) cry. We both (F#m) know that I'm not what you (D) need (E).
And (A) I (F#m) will (D) al (E) ways love (A) you, (F#m) I will (D) al (E) ways love (A) you.
(E) I hope (A) life, will (E) treat you (A) kind. And I (F#m) hope you’ll have all you ever (D) dreamed (E) of. And (A) I, (E) wish you (A) joy and happiness. But above (F#m) all of this, I wish you (D) love (E).
And (A) I (F#m) will (D) al (E) ways love (A) you, oh (F#m) I, will (D) al (E) ways love you (A). (F#m) I will (E) always love (D) you (A).
(Dolly Parton)(Whitney Houston) (Artist Index) - (Main Index) - (Song Index) (This Song)
I WILL FOLLOW HIM - (Pourcel/Moriat) - Little Peggy March
[There are two different vesions of this classic, both presented here. The first, made famous by Little Peggy March, has lyrics reflecting the typical teenaged pining. The one that follows was adapted for the movie Sister Act, a rendition that depicts love with God.]
TIP: The (CaddG) can be omitted to simplify things if need be.
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Da (C) doo doo, da doo doo, da doo doo; da doo doo doo da (Am) doo doo, da doo doo, da doo doo.
Da doo doo doo I (C) love him, I love him, I love him, and where he goes I'll (Am) follow, I'll follow, I'll follow.
I will follow (C) him. Follow him wherever (CaddG) he may (G) go. There (Am) isn't an ocean too (Em) deep, a (Am) mountain so high it (G) can keep . . . me a (C) way. (G)
I must follow (C) him. Ever since he touched my (CaddG) hand I (G) knew. That (Am) near him I always must (Em) be, and (Am) nothing can keep him from (G) me. He is my (C) destiny.
I love him, I love him, I love him. And where he goes I'll (Am) follow, I'll follow, I'll follow.
He'll always be my (C) true love, my true love, my true love. From now until for (Am) ever, forever, forever.
I will follow (C) him. Follow him wherever (CaddG) he may (G) go. There (Am) isn't an ocean too (Em) deep, a (F) mountain so high it can keep. (G) Keep me a (C) way (Am). A (G) way from my (C) love.
I love him, I love him, I love him. And where he goes I'll (Am) follow, I'll follow, I'll follow.
He'll always be my (C) true love, my true love, my true love. From now until for (Am) ever, forever, forever.
I will follow (C) him. Follow him wherever (CaddG) He may (G) go. There (Am) isn't an ocean too (Em) deep, a (F) mountain so high it can keep. (G) Keep me a (C) way (Am). A (G) way from my (C) love.
Da (Am) doo doo doo I (C) love him, I love him, I love him, and where he goes I'll (Am) follow, I'll follow, I'll follow. I know I'll alway (C) love him, I love him, I love him. And where he goes I'll (Am) follow, I'll follow, I'll follow.
[slow down] I will follow (Am) him.
(Little Peggy March) (Artist Index) - (Main Index) - (Song Index) (This Song)
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I WILL FOLLOW HIM - (Pourcel/Moriat) - Version from the movie Sister Act
TIP: The (CaddG) can be omitted to simplify things if need be.
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[very slowly]
(NoChord) I will follow (C) Him. Follow Him wherever (CaddG) He may (G) go. And (Am) near Him I always will (Em) be. For (F) nothing can keep me a (G) way. He is my (C) destiny. (G)
(NC) I will follow (C) Him. Ever since He touched my (CaddG) heart I (G) knew. There (Am) isn't an ocean too (Em) deep. A (F) mountain so high it can keep. (G) Keep me a (C) way (Am). A (G) way from His (C) love.
[strum (C) upbeat tempo]
I love Him, I love Him, I love Him. And where He goes I'll (Am) follow, I'll follow, I'll follow.
(NC) I will follow (C) Him. Follow Him wherever (CaddG) He may (G) go. There (Am) isn't an ocean too (Em) deep, a (Am) mountain so high it can (G) keep. Keep me a (C) way.
I must follow Him. Follow Him wherever (CaddG) He may (G) go. There (Am) isn't an ocean too (Em) deep, a (F) mountain so high it can keep. (G) Keep us a (C) way (Am). A (G) way from His (C) love.
(G) I will follow (C) Him. Follow Him wherever (CaddG) He may (G) go. There (Am) isn't an ocean too (Em) deep, a (F) mountain so high it can keep. (G) Keep us a (C) way (Am). A (G) way from His (C) love.
Oh yes I love him, and where He goes I'll (Am) follow. He'll always be my (C) true love. From now until (Am) forever. I (C) love him, and where He goes I'll (Am) follow.
There (Am) isn't an ocean too (Em) deep, a (F) mountain so high it can keep. (G) Keep us a (C) way (Am). A (G) way from His (F) love (C).
(Little Peggy March) (Artist Index) - (Main Index) - (Song Index) (This Song)
I’LL FLY AWAY – (Brumley) – Traditional/Alison Krauss & Gillian Welch
TIP: This old traditional Christian spiritual has many versions. This is the one popularized in the movie “O Brother, Where Art Thou?” Also sounds nice in (G, (C), and (D)
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(D) Some bright morning when this life is over, (G) I'll fly a (D) way. To that home on God's celestial shore, I (A) 'll fly a (D) way. I'll, fly away oh glory, (G) I'll, fly a (D) way (in the morning). When I die, Hallelujah by and by, I (A) ‘ll, fly a (D) way.
When the shadows of this life have gone, (G) I'll fly a (D) way. Like a bird from these prison walls I’ll fly, I (A) 'll fly a (D) way. I'll fly away, fly away oh glory. (G) I'll, fly a (D) way (in the morning). When I die, Hallelujah by and by, I (A) 'll, fly a (D) way.
Oh how glad and happy when we meet, (G) I’ll fly a (D) way. No more cold iron shackles on my feet,
I (A) ’ll fly a (D) way. I'll, fly away oh glory. (G) I'll, fly a (D) way (in the morning). When I die, Hallelujah by and by, I (A) ‘ll, fly a (D) way.
Just a few more weary days and then, (G) I'll fly a (D) way. To a land where joys will never end,
I (A) 'll fly a (D) way. I'll fly away, fly away oh glory. (G) I'll, fly a (D) way (in the morning). When I die, Hallelujah by and by, I (A) 'll, fly a (D) way. I (A) ’ll, fly a (D) way.
(Traditional)(Alison Krauss) (Artist Index) - (Main Index) - (Song Index) (This Song)
I'll Never Find Another You - (Springfield) - The Seekers
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Intro: (C)(F)(G7); (C)(F)(G7)
There's a (C) new world (F) somewhere, they (D7) call The Promised (G7) Land. And I'll (C) be there (Am) some day, if (F) you will hold my (G7) hand. I still (Am) need you there be (F) side me, no (G) matter (F) what I (C) do. For I know I'll never (G7) find another (C) you (F)(G7).
There is (C) always (F) someone, for (D7) each of us they (G7) say. And you'll (C) be my (Am) someone, for (F) ever and a (G7) day. I could (Am) search the whole world (F) over, un (G) til my (F) life is (C) through. But I know I'll never (G7) find another (C) you (F)(C).
It's a (Am) long, long (F) journey, so (C) stay (F) by my (C) side. When I (Am) walk through the (F) storm you'll be my (C) guide, (F) be my (G7) guide.
If they (C) gave me a (F) fortune, my (D7) treasure would be (G7) small. I could (C) lose it all to (Am) morrow, and (F) never mind at (G7) all. But if (Am) I should lose your (F) love dear, I (G) don't know (F) what I'll (C) do. For I know I'll never (G7) find another (C) you (F)(C).
(C) (F) (D7) (G7); (C) (Am) (F) (G7)
But if (Am) I should lose your (F) love dear, I (G) don't know (F) what I'll (C) do. For I know I'll never (G7) find another (C) you (F)(G7).
Another (C) you (F)(G7), another (C) you (F)(C).
(The Seekers) (Artist Index) - (Main Index) - (Song Index) (This Song)
I'M A BELIEVER – (Diamond) - The Monkees
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(G) I thought love was (D) only true in (G) fairy tales. Meant for someone (D) else but not for (G) me. (C) Love was out to (G) get me, (C) that’s the way it (G) seemed. (C) Disappointment (G) haunted all my (D7) dreams.
Then I saw her (G) face. (C) Now I’m a believ (G) er. Not a (add pinky) trace (C) of doubt in my (G) mind. I'm in (add) love. (C) I’m a believ (G) er, I couldn’t (F) leave her if I (Dm7) tried.
(G) I thought love was (D) more or less a (G) given thing. Seems the more I (D) gave, the less I (G) got. (C) What’s the use in (G) tryin? (C) All you get is (G) pain. (C) When I needed (G) sunshine I got (D7) rain.
Then I saw her (G) face. (C) Now I’m a believ (G) er. Not a (add pinky) trace (C) of doubt in my (G) mind. I'm in (add) love. (C) I’m a believ (G) er, I couldn’t (F) leave her if I (Dm7) tried.
(G7) (D7) (G) (G7)
(C) Love was out to (G) get me. (C) That’s the way it (G) seemed. (C) Disappointment (G) haunted all my (D7) dreams.
Then I saw her (G) face. (C) Now I’m a believ (G) er. Not a (add pinky) trace (C) of doubt in my (G) mind. I'm in (add) love. (C) I’m a believ (G) er, I couldn’t (F) leave her if I (Dm7) tried.
Then I saw her (G) face . . . (C) (G)
(The Monkees) (Artist Index) - (Main Index) - (Song Index) (This Song)
I'M GONNA BE (500 MILES) - (Reid/Reid) - The Proclaimers
TIP: Originally done in (E)(A)(B), done here in the easier key of (A). Note the lone (F#m) in the final verse.
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Intro: Strum (A)
(A) When I wake up, well I know I'm gonna be. I'm gonna (D) be the man who (E) wakes up next to (A) you. When I go out, yeah I know I'm gonna be. I'm gonna (D) be the man who (E) goes along with (A) you. If I get drunk, well I know I'm gonna be. I'm gonna (D) be the man who (E) gets drunk next to (A) you. And if I haver, yeah I know I'm gonna be. I'm gonna (D) be the man who's (E) havering to (A) you.
But I would walk five hundred miles, and (D) I would walk five (E) hundred more. Just to (A) be the man who walkes a thousand (D) miles to fall down (E) at your door - (A) -or.
When I'm working, yes I know I'm gonna be. I'm gonna (D) be the man who's (E) working hard for
(A) you. And when the money, comes in for the work I'll do, I'll pass (D) almost every (E) penny on to (A) you. When I come home, oh I know I'm gonna be. I'm gonna (D) be the man who (E) comes back home to (A) you. And if I grow old, well I know I'm gonna be. I'm gonna (D) be the man who's (E) growing old with (A) you.
But I would walk five hundred miles, and (D) I would walk five (E) hundred more. Just to (A) be the man who walks a thousand (D) miles to fall down (E) at your door - (A) -or.
Ta da la la, ta da la la. Ta da (D) lun dunna lun dunna (E) lun dunna lun la (A) la.
Ta da la la, ta da la la. Ta da (D) lun dunna lun dunna (E) lun dunna lun la (A) la.
When I'm lonely, well I know I'm gonna be. I'm gonna (D) be the man whose (E) lonely without
(A) you. And when I'm dreaming, well I know I'm gonna dream. I'm gonna (D) dream about the
(E) time when I'm with (A) you. When I go out, yeah I know I'm gonna be. I'm gonna (D) be the man who (E) goes along with (A) you. And when I come home, yes I know I'm gonna be. I'm gonna (D) be the man who (E) comes back home with (F#m) you. I'm gonna (D) be the man who (E) coming home to (A) you.
But I would walk five hundred miles, and (D) I would walk five (E) hundred more. Just to (A) be the man who walked a thousand (D) miles to fall down (E) at your door - (A) -or.
Ta da la la, ta da la la. Ta da (D) lun dunna lun dunna (E) lun dunna lun la (A) la.
Ta da la la, ta da la la. Ta da (D) lun dunna lun dunna (E) lun dunna lun la (A) la.
Ta da la la, ta da la la. Ta da (D) lun dunna lun dunna (E) lun dunna lun la (A) la.
Ta da la la, ta da la la. Ta da (D) lun dunna lun dunna (E) lun dunna lun la (A) la.
And I would walk five hundred miles, and (D) I would walk five (E) hundred more. Just to (A) be the man who walked a thousand (D) miles to fall down (E) at your door - (A) -or.
(The Proclaimers) (Artist Index) - (Main Index) - (Song Index) (This Song)
I’M HAPPY JUST TO DANCE WITH YOU – (Lennon/McCartney) - The Beatles [C0]
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I don’t (C) want to kiss or (Am) hold your (G7) hand (G). If it's (C) funny try and (Am) under (Dm) stand (G). There is (F) really nothing else I'd rather (C) do (Am). 'Cause I'm (Dm) happy just to (G) dance with (C) you.
I don't (C) need to hug or (Am) hold you hold you (Dm) tight (G). I just (C) wanna dance with (Am) you all (Dm) night (G). In this (F) world there's nothing I would rather (C) do (Am). 'cuz I'm (Dm) happy just to (G) dance with (C) you.
Just to (Am) dance with you. (Dm) oh (E7) oh. Is (Am) everything I (Dm) need (E). Before this (Am) dance is through, I think I'll (Dm) love you (E7) too. I'm so (F) happy when you (G) dance with (C) me.
If some body tries to (Am) take my (Dm) place (G). Let's pre (C) tend we just can't (Am) see his (Dm) face (G). In this (F) world there's nothing I would rather (C) do (Am). Cause I'm (Dm) happy just to (G) dance with (C) you.
Just to (Am) dance with you. (Dm) oh (E7) oh. Is (Am) everything I (Dm) need (E7). Before this (Am) dance is through, I think I'll (Dm) love you (E7) too. I've dis (F) covered I'm in (G) love with (Am) you. (Dm) Oh (E) oh.
Cause I'm (F) happy just to (G) dance with (Am) you.
(F) oh (Em) oh (F) oh (G) oh (C) oh!
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
I'M ON MY WAY - (Reid/Reid) - The Proclaimers
TIP: Capo 1st fret to sing in the same key as the boys did.
TIP: (CaddD) comes between two (C) chords so just keep the (C) formation and add pinky to 2nd string/3rd fret.
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Intro: Strum (G)
(G) I'm on my way, from misery to happiness today. Uh-huh, uh-huh, uh-huh, uh-huh. (C) I'm on my way, from misery to happiness today- (D) -ay. Uh-huh, uh-huh, uh-huh, uh-huh. (G) I'm on my way, to (C) what I want from (CaddD) this (C) world. (G) And years from now, you'll (C) make it to the (CaddD) next (C) world. (G) And everything, that (C) you receive up (CaddD) yon (C) der. (G) Is what you gave, to (C) me the day I (D/A) wan (D) dered.
(G) I took a right, I took a right turning yesterday. Uh-huh, uh-huh, uh-huh, uh-huh. (C) I took a right, I took a right turning yesterday- (D) - ay. Yay, yay, yay. (G) I took the road, that
(C) brought me to your (CaddD) home (C) town. (G) I took the bus, to (C) streets that I could (CaddD) walk (C) down. (G) I walked the streets, to (C) find the one I'd (CaddD) looked (C) for.
(G) I climbed the stair, that (C) led me to your (D/A) front (D) door.
(C) And now, that (D) I don't want, for (G) anything. (C) I'd have Al (D) Jolson sing "I'm
(G) sitting on top of the (D) world."
(G) I'll do my best, I'll do my best to do the best I can. Uh-huh, uh-huh, uh-huh, uh-huh.
(C) I'll do my best, I'll do my best to do the best I can- (D) -an. (G) To keep my feet, from
(C) jumping from the (CaddD) ground (C) dear. (G) To keep my heart, from (C) jumping through my mouth (CaddD) (C) dear. (G) To keep the past, the (C) past and not the (CaddD) pres (C) ent.
(G) To try and learn, when (C) you teach me a (D/A) less (D) son
(C) And now, that (D) I don't want, for (G) anything. (C) I'd have Al (D) Jolson sing "I'm
(G) sitting on top of the (D) world."
(G) I'm on my way, from misery to happiness today. Uh-huh, uh-huh, uh-huh, uh-huh. (C) I'm on my way, from misery to happiness today- (D) -ay. Yay, yay, yay. (G) I'm on my way, to (C) what I want from (CaddD) this (C) world. (G) And years from now, you'll (C) make it to the (CaddD) next
(C) world. (G) And everything, that (C) you receive up (CaddD) yon (C) der. (G) Is what you gave, to (C) me the day I (CaddD) wan (C) dered. (G) I'm on my way, to (C) what I want from (CaddD) this (C) world. (G) And years from now, you'll (C) make it to the (CaddD) next (C) world. (G) And everything, that (C) you receive up (CaddD) yon (C) der. (G) Is what you gave, to (C) me the day I (D/A) wan (D) dered.
I'm on my way. I'm on my way. I'm on my way. I'm on my way.
(The Proclaimers) (Artist Index) - (Main Index) - (Song Index) (This Song)
I’M SO LONESOME I COULD CRY – Hank Williams
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(G) Hear that lonesome whippoorwill. He sounds too blue to fly. The (C) midnight train is (G) whining low. I'm so (Gadd) lone (G) some (D) I could (G) cry.
I've never seen a night so long, when time goes crawling by. The (C) moon just went be (G) hind a cloud, to (Gadd) hide (G) its (D) face and (G) cry.
Did you ever see a robin weep, when leaves began to die? That (C) means he's lost the (G) will to live. I'm so (Gadd) lone (G) some (D) I could (G) cry.
The silence of a falling star, lights up a purple sky. And (C) as I wonder (G) where you are, I'm so (Gadd) lone (G) some (D) I could (G) cry.
I'm so (Gadd) lone (G) some (D) I could (C) cry. (G)
(Hank Williams) (Artist Index) - (Main Index) - (Song Index) (This Song)
I'VE BEEN WORKING ON THE RAILROAD - Traditional
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(G) I've been working on the railroad. (C) All the live-long (G) day. I've been working on the railroad just to (A) pass the time a (D) way. Don't you hear the whistle (G) blowin', C) rise up so early in the (G) morn. (C) Don't you hear the captain (G) shouting, "Dinah, (D) blow your
(G) horn!"
Dinah, won't you blow, (C) Dinah, won't you blow, (D) Dinah, won't you blow your (G) horn? Dinah, won't you blow, (C) Dinah, won't you blow, (D) Dinah, won't you blow your (G) horn?
Someone's in the kitchen with Dinah. Someone's in the kitchen I (D) know. Someone's in the kitchen with (C) Dinah (G) strummin' on the (C) old (D) ban (G) jo.
Singin' fi, fie, fiddly-i-o. Fi, fie, fiddly-i- (D) o-o-o-o. Fi, fie, (C) fiddly-i-o. (G) Strummin' on the (C) old (D) ban (G) jo.
Someone's makin' love to Dinah. Someone's making love I (D) know. Someone's making love to (C) Dinah 'cause I (D) can't hear the (C) old (D) ban (G) jo.
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
I'VE GOT A NAME - Jim Croce
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(C) Like the pine trees (G) lining the winding (Am) road. I've got a (F) name, (G) I've got a (C) name. Like the singing (G) bird and the croaking (Am) toad, I've got a (D7) name. I've got a (G) name. (Em) And I carry it (F) with me like my (C) daddy did (E) but I'm living the (Am) dream that he kept (G) hid.
(Em) Moving me down the high (F) way. (Em) Moving me down the high (A7) way. (F) Moving ahead so (G) life won't pass me (C) by.
(C) Like the north wind (G) whistling down the (Am) sky, I've got a (F) song, (G) I've got a (C) song. Like the whippoor (G) whill and the baby's (Am) cry. I've got a (D7) song, I've got a (G) song. (Em) And I carry it (F) with me and I (C) sing it loud. (E) If it gets me no (Am) where, I'll go there (G) proud.
(Em) Moving me down the high (F) way. (Em) Moving me down the high (A7) way. (F) Moving ahead so (G) life won't pass me (C) by.
(C) And I'm (G) gonna go (Am) there free.
(C) Like the fool I (G) am and I'll always (Am) be, I've got a (F) dream, (G) I've got a (C) dream. They can change their (G) minds but they can't change (Am) me. I've got a (D7) dream, I've got a (G) dream. (Em) I know I could (F) share it if you (C) want me to. (E) If you're going (Am) my way I'll go with (G) you.
(Em) Moving me down the high (F) way. (Em) Moving me down the high (A7) way. (F) Moving ahead so (G) life won't pass me (C) by.
(Jim Croce) (Artist Index) - (Main Index) - (Song Index) (This Song)
I’VE JUST SEEN A FACE – (Lennon/McCartney) – The Beatles [C1]
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Intro: (C) (Em) (D) (G)
(G) I've just seen a face I can't forget the time or place where we just (Em) met. She's just the girl for me and I want all the world to see we've (C) met. Mmm hmm (D) hmm hmm hmm (G) hmm.
(G) Had it been another day I might have looked the other way and (Em) I’d of never been aware but as it is I’ll dream of her to (C) night. La da (D) da la da (G) da.
(D) Falling, yes I am (C) falling, and she keeps (G) calling (C) me back a (G) gain. (D)
(G) I have never known the like of this I've been alone and I have (Em) missed things and kept out of sight but other girls were never quite like (C) this. La da (D) da la da (G) da.
(D) Falling, yes I am (C) falling, and she keeps (G) calling (C) me back a (G) gain. (D)
(Instrumental) (G) (Em) (C) (D) (G)
(D) Falling, yes I am (C) falling, and she keeps (G) calling (C) me back a (G) gain. (D)
(G) I've just seen a face I can't forget the time or place where we just (Em) met. She's just the girl for me and I want all the world to see we've (C) met. Mmm hmm (D) hmm la da (G) da.
(D) Falling, yes I am (C) falling, and she keeps (G) calling (C) me back a (G) gain.
(D) Falling, yes I am (C) falling, and she keeps (G) calling (C) me back a (G) gain.
(D) Falling, yes I am (C) falling, and she keeps (G) calling (C) me back a (G) gain.
(one strum each) (C) (G) (D) (Em)-(D) (G) (pluck bottom string of (G) once to end)
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
IF – (Gates) - Bread
TIP: This song has some uncommon chords. Not hard - just ones you don’t play everyday. Review them ahead of time. The (D6) doesn’t sound right to me but it’s how David Gates wrote it and I can’t find a suitable replacement.
TIP: To play the (F#m) to (F#m+) just add your pinky to the bottom string/4th fret
TIP: The (F#7) is the same finger positioning used (in most cases) to play (Bm), and the next chord in the song is the (Bm), so just hold positioning and drop down one fret.
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If a (A) picture paints a (E) thousand words, then (Em) why can't I paint (D6) you? The (Dm) words will never (A) show, the (Dm6) you I've come to (E) know. If a (A) face could launch a (E) thousand ships, then (Em) where am I to (D6) go? There's (Dm) no one home but (A) you. You're (Dm6) all that's left me (E) too.
And (F#m) when my (F#m+) love for (A) life is running (D6) dry, you (A7) come and (F#7) pour your (Bm) self on (E7) me.
If a (A) man could be two (E) places at one (Em) time, I'd be with (D6) you. To (Dm) morrow and to (A) day, be (Dm6) side you all the (E) way. If the (A) world should stop re (E) volving, spinning (Em) slowly down to (D6) die. I'd (Dm) spend the end with (A) you, and (Dm6) when the world was (E) through.
Then (F#m) one by (F#m+) one, the (A) stars would all go (D6) out. Then (A7) you and (F#7) I would (Bm) simply (E7) fly a (A) way (Bm) (Dm6) (A).
(Bread) (Artist Index) - (Main Index) - (Song Index) (This Song)
IF DRINKING DON’T KILL ME – (Sanders/Beresford) – George Jones
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The (C) bars are all closed, it’s (F) four in the (C) morning. I must have shut’em all down, by the shape that I’m (G7) in. I lay my (C) head on the wheel, and the (F) horn begins (C) honking. The whole neighborhood knows, that I’m (G7) home drunk (C) again.
And if drinking don’t (F) kill (C) me, her memory (G7) will. I can’t hold out much
(F) long (G7) er, the way that I (C) feel. With the blood from my (F) bod (C) y, I could start my own (F) still. And if drinking don’t (C) kill me, her (G7) memory (C) will.
These will old bones they move slow, but so (F) sure of their (C) footsteps. As I trip on the floor and lightly touch (G7) down. Lord it’s (C) been ten bottles since I (F) tried to for (C) get her, but the memory still lingers lying (G7) here on the (C) ground.
And if drinking don’t (F) kill (C) me, her memory (G7) will. I can’t hold out much
(F) long (G7) er, the way that I (C) feel. With the blood from my (F) bod (C) y, I could start my own (F) still. And if drinking don’t (C) kill me, her (G7) memory (C) will.
(George Jones) (Artist Index) - (Main Index) - (Song Index) (This Song)
IF I HAD A BOAT – Lyle Lovett
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(C) And if I had a boat, I'd (F) go out on the (C) ocean. And if I had a pony, I'd ride him on my (Gadd) boat. And (C) we could all together, (F) go out on the (C) ocean. I’d sit me upon my (Gadd) pony on my (C) boat.
And if I were Roy Rogers, I'd (F) sure enough be (C) single. I couldn't bring myself to marryin’ old (Gadd) Dale. It'd (C) just be me and Trigger. We'd go (F) riding through them (C) movies.
And we'd buy a boat and (Gadd) on the sea we'd (C) sail.
And (F) if I (C) had a boat, I'd (F) go out on the (C) ocean. And if I had a pony, I'd ride him on my (Gadd) boat. And (C) we could all together, (F) go out on the (C) ocean. I’d sit me upon my (Gadd) pony on my (C) boat.
Now the mystery masked man was smart, he (F) got himself a (C) Tonto. 'Cause Tonto did the dirty work for (Gadd) free. But (C) Tonto he was smarter, and one (F) day said Kemo (C) Sabe: “Kiss my ass I bought a boat and I'm (Gadd) going out to (C) sea.”
And (F) if I (C) had a boat, I'd (F) go out on the (C) ocean. And if I had a pony, I'd ride him on my (Gadd) boat. And (C) we could all together, (F) go out on the (C) ocean. I’d sit me upon my (Gadd) pony on my (C) boat.
And if I were like lightnin’, I (F) wouldn't need no (C) sneakers. I'd come and go wherever I would (Gadd) please. And I'd (C) scare 'em by the shade tree, and (F) scare 'em by the (C) light pole. But I would not scare my pony on my (Gadd) boat out on the (C) sea.
And (F) if I (C) had a boat, I'd (F) go out on the (C) ocean. And if I had a pony, I'd ride him on my (Gadd) boat. And (C) we could all together, (F) go out on the (C) ocean. I’d sit me upon my (Gadd) pony on my (C) boat. I’d sit me upon my (Gadd) pony on my (C) boat.
(Lyle Lovett) (Artist Index) - (Main Index) - (Song Index) (This Song)
IF I HAD YOU – (McBride/Jackson) – Alan Jackson
TIP: The intro and bridge are easy to play. (Dsus) is (D) with the pinky added to the bottom string and when you lift it, you’re back at (D). For (Dsus2) just lift the middle finger. Assuming you’re playing (A) with the index-middle-ring fingers it’s the same for (A) and (Asus): Play (A) and just add the pinky to 2nd string/3rd fret to play (Asus). Lift the pinky and you’re playing (A) again. Move pinky to bottom string and you’ve got (A6). Easy!
TIP: You can “cheat” with the (Bm) as you’ll already be playing the (D). Add the pinky to complete the chord but strike only the bottom three strings. Also note the “full” (Em7) this time.
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Intro: (Dsus)(D)(Dsus2)(D)(A); (A)(Asus)(A)(A6)(D)
If I could have you, I know what (A) I would do. This time I'd (G) be true. If I had (D) you (A). If you could (D) be mine, I'd walk that (A) straight line. There'd be no (G) bad times (A). If I had (D) you.
I made the (G) worst mistake (A), one fool could (D) ever make. Tell me it's (Bm) not too late (Em7). What can I (A) do? If I could (D) hold you tight, I'd have the (A) world tonight. Everything would (G) be alright (A). If I had (D) you.
Bridge: (D)(Dsus2)(D); (D)(Dsus)(A); (A)(G)(A); (A)(Asus)(A)(A6)(D)
I made the (G) worst mistake (A), one fool could (D) ever make. Tell me it's (Bm) not too late (Em7). What can I (A) do?
If I could (D) hold you tight, I'd have the (A) world tonight. Everything would (G) be alright (A). If I had (D) you. Everything would (G) be alright (A). If I had (D) you.
(Alan Jackson) (Artist Index) - (Main Index) - (Song Index) (This Song)
IF I NEEDED YOU – (Van Zandt) – Lyle Lovett/Emmylou Harris
TIP: The (CaddG) can be ignored if you prefer. It just adds a bright emphasis to the high note.
TIP: If you’re going to fingerpick this song: Roll our index finger down from (C) to hit note on “needed” and “to” in the first sentence, add a (Cadd) to the “come” in the second sentence (and do both at the same places in subsequent verses), and play (Gadd) instead of (G) to pick note .
TIP: Also pretty using the chords (D)(G) and (A), easiest to fingerpick in (G),(C), and (D).
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(C) If I needed you, would you (CaddG) come to (C) me? Would you come to (F) me for to (G) ease my (C) pain? If you needed me, I would (CaddG) come to (C) you. I would swim the (F) seas for to (G) ease your (C) pain.
Well the night's forlorn, and the (CaddG) morning's (C) born. And the morning (F) shines with the (G) lights of (C) love. And you'll miss sunrise, if you (CaddG) close your (C) eyes. And that would (F) break my (G) heart in (C) two.
(C) If I needed you, would you (CaddG) come to (C) me? Would you come to (F) me for to (G) ease my (C) pain? If you needed me, I would (CaddG) come to (C) you. I would swim the (F) seas for to (G) ease your (C) pain.
Baby's with me now, since I (CaddG) showed her (C) how, to lay, her (F) lilly (G) hand in (C) mine.
Who would ill agree, she's a (CaddG) sight to (C) see? A treasure (F) for the (G) poor to
(C) find.
(C) If I needed you, would you (CaddG) come to (C) me? Would you come to (F) me for to (G) ease my (C) pain? If you needed me, I would (CaddG) come to (C) you. I would swim the (F) seas for to (G) ease your (C) pain.
(Lyle Lovett) (Emmylou Harris) (Artist Index) - (Main Index) - (Song Index) (This Song)
IF I ONLY HAD A BRAIN – (Harburg/Arlen) – Ray Bolger
TIP: The (trill) is the little 7 note whistle between verses. It comes after a (Gadd) and before the next (G) so keep the (G) configuration as you’re playing the trill. Okay so here’s how you play it: (1) Lift off the (Gadd) with your bottom two fingers and play with the high (open bottom string). (2) Replace the fingers and play (2nd string/3rd fret). (3) Lift again and play (open 2nd string). (4) Play (3rd string/2nd fret) by laying down with the top third of your index finger. (5) Play middle (open third string) by lift up with the top of the index finger used to play the in preceding step 4. (6) Play middle (4th string/2nd fret) by once again laying down the index finger, and finally (7) Play (open 4th string) by returning to regular (G) configuration. You’ll then be positioned to continue with the next verse already in (G).
TIP: The lone (E7) is a one-note-wonder struck quickly enroute to the (Am7) in the bridge. It can be ignored if needed without consequence.
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(D7) I could (G) wile away the hours, con (Cmaj7) ferrin' with the (C) flowers, con (G) sultin' (Gadd) with the rain (trill). (G) And my (C) head I'd be scratchin', while my (D7) thoughts were busy hatchin', if I (G) only (C) had a (G) brain.
(D7) I'd un (G) ravel any riddle, for (Cmaj7) any indi (C) vid'le, in (G) trouble (Gadd) or in pain (trill). (G) With the (C) thoughts you'd be thinkin', you could (D7) be another Lincoln, if you (G) only (C) had a (G) brain.
Oh (C) I, would tell you (Bm) why, (E7) the (Am7) ocean's near the (G) shore. I could (D) think of things I (D7) never thunk be (Em) fore. And then I'd (A7) sit and think some (D) more (D7).
I would (G) not be just a nuffin', my (Cmaj7) head all full of (C) stuffin', my (G) heart (Gadd) all full of pain (trill). (G) I would (C) dance and be merry. Life would (D7) be a ding-a-derry, if I (G) only (C) had a (G) brain.
(Ray Bolger) (Artist Index) - (Main Index) - (Song Index) (This Song)
IF I ONLY HAD A HEART – (Harburg/Arlen) – Jack Haley
TIP: See “If I Only Had a Brain”
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(D7) When a (G) man's an empty kettle, he (Cmaj7) should be on his (C) mettle, and (G) yet I'm (Gadd) torn apart (trill). (G) Just be (C) cause I'm presumin', that I could (D7) be kind of human, if I (G) only (C) had (G) heart.
(D7) I'd be (G) tender, I'd be gentle, and (Cmaj7) awful sentim (C) ental, re (G) garding (Gadd) love and art (trill). (G) I'd be (C) friends with the sparrows, and the (D7) boys who shoots the arrows, if I (G) only (C) had a (G) heart.
Picture (C) me, a balcon (Bm) y, (E7) a (Am7) bove a voice sings (G) low. Wherefore (D) art thou, Rome (Em) o? I hear a (A7) beat, (D) how sweet. (D7)
Just to (G) register emotion: (Cmaj7) jealousy, de (C) votion, and (G) really (Gadd) feel the part (trill). (G) I could (C) stay young and chipper, and I'd (D7) lock it with a zipper, if I (G) only (C) had a (G) heart.
(Jack Haley) (Artist Index) - (Main Index) - (Song Index)(This Song)
IF I ONLY HAD THE NERVE/WE’RE OFF TO SEE THE WIZARD – (Harburg/Arlen) – Bert Lahr (with Ray Bolger, Jack Haley, and Judy Garland)
TIP: See “If I Only Had a Brain”
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(D7) Yeah it's (G) sad believe me Missy, when you're (Cmaj7) born to be a (C) sissy, with (G) out the (Gadd) vim and verve (trill). (G) But (C) I could show my prowess, be a (D7) lion not a mou-ess, if I (G) only (C) had the (G) nerve. (D7)
I'm a (G) fraid there's no denyin', I'm (Cmaj7) just a dande (C) lion, a (G) fate I (Gadd) don't deserve (trill). (G) I'd be (C) brave as a blizzard, I'd be (D7) gentle as a lizard, I'd be (C) clever as a (D7) gizzard, if the (C) Wizard is a Wizard who will serve (G).
Then I'm (Cmaj7) sure to get a (G) brain, (Cmaj7) a (G) heart, (Cmaj7) a (G) home, (Cmaj7) the (G) nerve.
(D7) We're . . . (G) off to see the wizard, The (Em) Wonderful (D7) Wizard of (G) Oz. We (Em) hear he is a (D) whiz of a (A7) wiz, if (D7) ever a wiz there (D) was. If (C) ever, oh ever a (G) wiz there was, The (C) Wizard of Oz is (Em) one be (G) cause. Because, because, be (D) cause, be (C) cause, be (D7) cause. Be (A7) cause of the wonderful things he (D7) does. We're (G) off to see the wizard, The (Em) Wonderful (D7) Wizard of (G) Oz.
(Bert Lahr)(Judy Garland) (Artist Index) - (Main Index) - (Song Index) (This Song)
IF YOU COULD READ MY MIND – Gordon Lightfoot
TIP: The secret to the (Bm7) is just to play (D) and then get your pinky to the at 4th fret/4th string (ignore the top note on the first fret). After a few times it’s almost a natural extension. Roll your wrist toward you a bit to help.
TIP: At the last line of each stanza there’s a transition from (D) to (F#m) to (Bm7). These are both minor variations of (D). The (D) will come first, then, if you’re playing the (F#m) as an EasyChord you just play a mini-barre for the (F#m) and then resume the formation of a (D) chord but extend your pinky to complete the (Bm7) as in the tip above. Try it a few times; it’s pretty easy.
TIP: In the bridge that begins “I’d walk away . . .” there’s a series of E chords variations that’s easy to play. The key is to hold the (E) from the beginning. From the preceding (D) you play an (E) – the one you now want to hold - but as you play this first (E) you also include your pinky on the 2nd fret/2nd string. That’s (EC#). Then you lift the pinky and you’re back at (E) and then place the pinky up one string for the (Esus), lift the pinky again for the final (E) before moving to the (F#m). Piece of cake.
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Intro: (A) (E), (A) (E)
(A) If you could read my mind love, (G) what a tale (Bm7) my thoughts (A) could tell. Just like an old time movie, (G) 'bout a ghost (Bm7) from a wish (A) hing well. In a castle (Em) dark or a (D) fortress strong, with (E) chains upon my (F#m) feet. You (D) know that ghost is (A) me. And (D) I will never (F#m) be set free, as (Bm7) long as I'm a (E) ghost that you can't (A) see.
If I could read your mind love, (G) what a tale (Bm7) your thoughts (A) could tell. Just like a paperback novel, (G) the kind the (Bm7) drug (A) stores sell. When you reached the (Em) part, where the (D) heartaches come, the (E) hero would be (F#m) me. The (D) heroes often (A) fail. (D) You won't read, that (F#m) book again, be (Bm7) cause the ending's (E) just too hard to (A) take.
(E), (A) (G) (D) (E) (G)-(A), (E)-(A), (A) (G) (D) (E) (G)-(A)
I'd walk (A7) away, like a (D) movie star, who gets (EC#) burned (E) in a (Esus) three (E) way (F#m) script. (D) Enter, number (A) two. A (D) movie queen, to (F#m) play the scene, of (Bm7) bringing all the (E) good things out in (F#m) me. But for (D) now love, let's be (A) real. I (D) never thought I could (F#m) act this way, and I've (Bm7) got to say, that I (E) just don't get it. (D) I don't know where (F#m) we went wrong, but the (Bm7) feeling's gone, and I (E) just can't get it (A) back.
(A) (E), (A) (E)
(A) If you could read my mind love, (G) what a tale (Bm7) my thoughts (A) could tell. Just like an old time movie, (G) 'bout a ghost (Bm7) from a wish (A) hing well. In a castle (Em) dark, or a (D) fortress strong, with (E) chains upon my (F#m) feet. The (D) story always (A) end. (D) If you read, be (F#m) tween the lines, you'd (Bm7) know that I'm just (E) tryin' to under (F#m) stand, the (D) feeling that you (A) lack. I (D) never thought I could (F#m) feel this way, and I've (Bm7) got to say, that I (E) just don't get it. (D) I don't know where (F#m) we went wrong, but the (Bm7) feelin's gone, and I (E) just can't get it (A) back.
(A) (E) (A), (slower) (A) (G) (Bm7) (A) (G) (G)-(A) (E)-(A)
(Gordon Lightfoot) (Artist Index) - (Main Index) - (Song Index) (This Song)
IF YOU WANT TO SING OUT - Cat Stevens (C1)
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TIP: Just before the bridge there's a little riff that consists of 5 single note plucks, finished by a (C) as indicated by: (C). This can be completely omitted if you prefer.
Intro: (C) (Cmaj) (Am); (C) (Cmaj) (Am), (G)
Well, if you (C) want to sing (G) out sing (F) out. And if you (C) want to be (G) free be (Am) free. 'Cause there's a (Dm) million (Am) things to (G) be. You (C) know that there (G) are (C)(G).
And if you (C) want to live (G) high live (F) high. And if you (C) want to live (G) low live (Am) low. 'Cause there's a (Dm) million (Am) ways to (G) go. You (C) know that there (G) are (C)(G)(C)(G). (C)
(C) You can do what you (F) want. (G) The opportunity's (C) on. And if you can find a new (F) way, (G) you can do it (C) today. You can make it all (Am) true. (G) And you can make it un (C) do, (Am) you (Em) see? A hah (Am) hah. It's ea (Em) sy. A hah (Am) hah. You on (Em) ly, need to (G) know (C)(G)(C)(G).
Well if you (C) want to say (G) yes say (F) yes. And if you (C) want to say (G) no, say (Am) no.
'Cause there's a (Dm) million (Am) ways to (G) go. You (C) know that there (G) are (C)(G)(C)(G).
And if you (C) want to be (G) me be (F) me. And if you (C) want to be (G) you be (Am) you. 'Cause there's a (Dm) million (Am) things to (G) do. You (C) know that there (G) are (C)(G)(C)(G). (C)
(C) You can do what you (F) want. (G) The opportunity's (C) on. And if you can find a new (F) way, (G) you can do it (C) today. You can make it all (Am) true. (G) And you can make it un (C) do, (Am) you (Em) see? A hah (Am) hah. It's ea (Em) sy. A hah (Am) hah. You on (Em) ly, need to (G) know (C)(G)(C)(G).
Well, if you (C) want to sing (G) out sing (F) out. And if you (C) want to be (G) free be (Am) free. 'Cause there's a (Dm) million (Am) things to (G) be.
You (C) know that there (G) are, you (C) know that there (G) are, you (C) know that there (G) are,
you know that there (C) are (G)(F). You know that there (C) are (G)(F); (C)(G)(F); (C)
(Cat Stevens) (Artist Index) - (Main Index) - (Song Index) (This Song)
IF YOU WERE TO WAKE UP – Lyle Lovett
TIP: Presented here in the key of D, Lyle plays the song using (F)(Bb) and (C).
TIP: This is a slow song; play it as such. Also a pretty good song to finger pick.
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(D) If you were to wake up, (Gadd) and I were be (D) side you. Would you gently smile dear, and whisper my (A) name? And would you re (D) member, (Gadd) the way that I (D) held you? And would you want me, (A) to hold you a (D) gain? (Gadd) (D)
Time reaches to you, (Gadd) just like a (D) willow, that bends to the water, and clings to the (A) shore. And there was a (D) time dear, (Gadd) that once you did (D) love me. And there was a time, (A) you loved me no (D) more. (Gadd) (D)
Rain on your window, (Gadd) light on your (D) pillow. The way you lie sleeping, is it like be (A) fore? For there was a (D) time dear, (Gadd) that once you did (D) love me. And there was a time, (A) you loved me no (D) more. (Gadd) (D)
(The violin part) (D) (Gadd) (D) (A); (D) (Gadd) (D) (A) (D) (Gadd) (D)
Rain on your window, (Gadd) light on your (D) pillow. The way you lie sleeping, is it like be (A) fore? For there was a (D) time dear, (Gadd) that once you did (D) love me. And there was a time, (A) you loved me no (D) more. (Gadd) (D)
(Lyle Lovett) (Artist Index) - (Main Index) - (Song Index) (This Song)
IF YOU’RE GONNA PLAY IN TEXAS – (Mitchell/Kellum) – Alabama
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(A) If you're gonna play in (E) Texas, you (D) gotta have a fiddle in the (A) band. That lead guitar is (E) hot but not for (D) "Lousiana (E) Man." So (F#m) rosin up that (E) bow for "Faded (D) Love" and let's all (A) dance. If you're gonna play in (E) Texas, you (D) gotta have a fiddle in the (F#m) band (E) (D) (A)
I remember down in (E) Houston we were (D) puttin' on a (A) show. When a cowboy in the (E) back stood up and (D) yelled, "Cotton-Eyed (E) Joe"! He said, "We (F#m) love what you're (E) doin', (D) boys don't get us (A) wrong. There's just somethin' (E) missin' in your (A) song."
(A) If you're gonna play in (E) Texas, you (D) gotta have a fiddle in the (A) band. That lead guitar is hot (E) but not for (D) "Lousiana (E) Man." So (F#m) rosin up that (E) bow for "Faded (D) Love" and let's all (A) dance. If you're gonna play in (E) Texas, you (D) gotta have a fiddle in the (F#m) band (E) (D) (A)
So we dusted off our (E) boots and put our (D) cowboy hats on (A) straight. Them Texans raised the (E) roof when Jeff (D) opened up his (E) case. You say (F#m) y'all all wanna (E) two-step. You (D) say ya wanna doe-si (A) doe. Well, here's your fiddlin' (E) song before we (D) go (A).
(A) If you're gonna play in (E) Texas, you (D) gotta have a fiddle in the (A) band. That lead guitar is hot (E) but not for (D) "Lousiana (E) Man." So (F#m) rosin up that (E) bow for "Faded (D) Love" and let's all (A) dance. If you're gonna play in (E) Texas, you (D) gotta have a fiddle in the (F#m) band (E) (D) (A)
(A) If you're gonna play in (E) Texas, you (D) gotta have a fiddle in the (A) band. That lead guitar is hot (E) but not for (D) "Lousiana (E) Man." So (F#m) rosin up that (E) bow for "Faded (D) Love" and let's all (A) dance. If you're gonna play in (E) Texas, you (D) gotta have a fiddle in the (A) band (D) (A).
(Alabama) (Artist Index) - (Main Index) - (Song Index) (This Song)
IMAGINE – John Lennon
TIP: The (Cmaj7), while correct, can be ignored if you wish.
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(C) Imagine there's (Cmaj7) no (F) Heaven. (C) It's easy if (Cmaj7) you (F) try. (C) No hell (Cmaj7) be (F) low us. (C) Above us, (Cmaj7) only (F) sky. (Am) Imagine all the (Dm) people. (G) Living for (C) to (G7) day. A-ha.
(C) Imagine there's (Cmaj7) no (F) countries. (C) It isn't hard (Cmaj7) to (F) do. (C) Nothing to kill (Cmaj7) or (F) die for. (C) And no relig (Cmaj7) ion (F) too. (Am) Imagine all the (Dm) people. (G) Living life (C) in (G7) peace.
(F) You may (G) say that I'm a (C) dreamer (E), (F) but I'm (G) not the only (C) one. (E) (F) I hope some (G) day you'll (C) join us (E). (F) And the (G) world will (C) be as one.
(C) Imagine no (Cmaj7) pos (F) sessions. (C) I wonder if (Cmaj7) you (F) can. (C) No need for greed (Cmaj7) or (F) hunger. (C) A brotherhood (Cmaj7) of (F) man. (Am) Imagine all the (Dm) people. (G) Sharing all (C) the (G7) world. A-ha.
(F) You may (G) say that I'm a (C) dreamer (E), (F) but I'm (G) not the only (C) one. (E) (F) I hope some (G) day you'll (C) join us (E). (F) And the (G) world will (C) live as one.
(John Lennon) (Artist Index) - (Main Index) - (Song Index) (This Song)
IMITATION OF LIFE - (Buck/Mills/Stipe) - R.E.M.
TIP: Play (D4) as a (D) formation with the pinky added to the bottom string. Then just lift to return to (D).
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INTRO: (G)(Em)(Am)(C)(D); (G)(Em)(Am)(C)(D)(D4)(D)
(Em) Charades, pop (Am) skill, water (G) hyacinth, (D) named by a (Em) poet, imita (Am) tion of
(G) life (D)(C). (Em) Like a (Am) koi in a (G) frozen pond. (D) Like a goldfish (Em) in a bowl.
(Am) I don't want to (G) hear you cry (D).
That's (G) sugarcane, that (Em) tasted good. That's (C) cinna (Am) mon, that's (C) Holly (D) wood.
C' (G) mon, c' (Em) mon no (C) one can see you (Am) cry (C)(D)(D4)(D).
(Em) You want the (Am) greatest thing, the (G) greatest thing since (D) bread came sliced.
(Em) You've got it (Am) all, you've got it (G) sussed (D)(C). (Em) Like a (Am) Friday fashion
(G) show teenager, (D) freezing in the (Em) corner, (Am) trying to look like (G) you don't try (D)(D4)(D).
That's (G) sugarcane, that (Em) tasted good. That's (C) cinna (Am) mon, that's (C) Holly (D) wood.
C' (G) mon, c' (Em) mon no (C) one can see you (Am) cry (C)(D)(D4)(D).
(D)(C)(D); (D)(C)(D)
That (G) sugarcane that (Em) tasted good. That's (C) freezing (Am) rain, that's (C) what you
(D) could. C' (G) mon, c' (Em) mon no (C) one can see you (Am) try (C)(D)(D4)(D).
This (G) sugarcane, this (Em) lemonade, this (C) hurri (Am) cane, I'm not a (D) fraid.
C' (G) mon, c' (Em) mon no (Cadd) one can see me (Am) cry (C)(D).
This (G) lightning storm, this (Em) tidal wave, this (C) aval (Am) anche, I'm (C) not a (D) fraid.
C' (G) mon, c' (Em) mon no (C) one can see me (Am) cry (C)(D).
That (G) sugar cane that (Em) tasted good. That's (C) who you (Am) are, that's (C) what you
(D) could. C' (G) mon, c' (Em) mon no (C) one can see you (Am) cry (C)(D).
That (G) sugar cane that (Em) tasted good. That's (C) who you (Am) are, that's (C) what you
(D) could. C' (G) mon, c' (Em) mon no (C) one can see you (Am) cry (C)(D)(D4)(D). (Em)
(R.E.M.) (Artist Index) - (Main Index) - (Song Index) (This Song)
IN DREAMS - Roy Orbison
TIP: The lone (Emsus4) comes after a (Dm) so just move your middle finger up one string while lifting the other two.
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(C) A candy-colored clown they call the (Am) Sandman, (Dm) tiptoes to my room every (G7) night.
(C) Just to sprinkle stardust and to (Am) whisper, "Go to (F) sleep, every (G7) thing is all (C) right."
(NC) I close my (C) eyes, then I drift a (Dm) way, into the (G7) magic night, I softly (C) say,
a silent prayer, like dreamers (Dm) do. Then I fall a (G7) sleep to dream, my dreams of (C) you.
In dreams, I walk, with (G7) you. In (F) dreams, I (G7) talk, to (C) you. In dreams you're mine, (D7) all of the time. We're to (C) geth (Dm) er, (G) in (C) dreams, (Dm) in (Emsus4) dreams.
But (C) just, be (Fm) fore, the (C) dawn. I awake, and (Fm) find, you (C) gone. I can't help it, I can't help it, if I (Dm) cry. (NC) I re (G7) member, that you said, good (C) bye.
It's too bad, that (F) all, these (G7) things. Can only (C) happ, en (F) in, my (G7) dreams. (C) Only in (D7) dreams. In (Dm7) beauti (G7) ful (C) dreams.
(Roy Orbison) (Artist Index) - (Main Index) - (Song Index) (This Song)
IN LONESOME DOVE – (Limbaugh/Brooks) – Garth Brooks
TIP: If you don’t like that one (Bm) in the chorus you can play a (D) instead.
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She (G) was a girl on a wagon train. (C) Headed (G) west (D) across the (G) plains. The (Em) train got lost in a (C) summer (D) storm. They (Em) couldn't move west and they (C) couldn't go (D) home. Then she (G) saw him ridin' through the rain. He took (C) charge of the (G) wagons and he (D) saved the (G) train. And (Em) she looked down and her (C) heart was (D) gone. The (Em) train went west but (C) she stayed (D) on, in Lonesome (G) Dove.
A farmer's daughter with a gentle hand. A (C) blooming (G) rose in a (D) bed of (G) sand. She (Em) loved the man who (C) wore a (D) star. A (Em) Texas Ranger known (C) near and (D) far. So (G) they got married and they had a child. But (C) times were (G) tough and the (D) West was (G) wild. So it was (Em) no surprise the (C) day she (D) learned, that her (Em) Texas man would (C) not re (D) turn, to Lonesome (G) Dove.
(Em) Back to back with the (G) Rio Grande, a (C) Christian woman in the (G) devil's land. She (Em) learned the language and she (Bm) learned to fight. But she (C) never learned how to beat the (Am) lonely nights (D), in Lonesome (G) Dove. (D) Lonesome (G) Dove.
She watched her boy grow into a man. He had an (C) angel's (G) heart and the (D) devil's (G) hand. He (Em) wore his star for (C) all to (D) see. He was a (Em) Texas lawman (C) lega (D) cy. (G) Then one day word blew into town. It seemed the (C) men that (G) shot his (D) father (G) down, had (Em) robbed a bank in (C) Cheri (D) co. The only (Em) thing 'tween them and (C) Mexi (D) co, was Lonesome (G) Dove.
The (G) shadows stretched across the land, as the (C) shots rang (G) out down the (D) Rio (G) Grande. And (Em) when the smoke had finally (C) cleared the (D) street, the (Em) men lay at the (C) Ranger's (D) feet. But (G) legend tells to this very day, that (C) shots were (G) comin' from an (D) alley (G) way. Though (Em) no one knows who (C) held the (D) gun, there (Em) ain't no doubt if you (C) ask some (D) one, in Lonesome (G) Dove.
(Em) Back to back with the (G) Rio Grande, a (C) Christian woman in the (G) devil's land. She (Em) learned the language and she (Bm) learned to fight. But she (C) never learned how to beat the (Am) lonely nights (D), in Lonesome (G) Dove. (D) Lonesome (G) Dove.
(Garth Brooks) (Artist Index) - (Main Index) - (Song Index) (This Song)
IN THE GHETTO – (Davis) – Elvis Presley
TIP: The (Amaj7) is one you don’t play often. Hitting the index finger on the 1st fret/3rd string is the key. The middle and ring fingers will then come naturally.
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As the snow (A) flies (D)(A). On a (Amaj7) cold and gray Chicago mornin' a (Bm) poor little baby (E) child is born in the ghet (A) to (D)(A). And his mama cries (D)(A). 'Cause if (Amaj7) there's one thing that she don't need it's a (Bm) nother hungry (E) mouth to feed in the ghet (A) to (D)(A).
People, don't you (E) understand? The child needs a (D) helping (A) hand, or (D) he'll grow to be an (E) angry young man some (A) day. Take a look at (E) you and me, are we too (Bm) blind to (A) see? (D) Do we simply (Amaj7) turn our heads and (Bm) look the other (E) way?
Well the (A) world turns (D)(A). And a (Amaj7) hungry little boy with a runny nose (Bm) plays in the street as the (E) cold wind blows in the ghet (A) to (D)(A). And his hunger burns (D)(A). So he (Amaj7) starts to roam the streets at night, and he (Bm) learns how to steal and he (E) learns how to fight in the ghet (A) to (D)(A).
(E) Then one night in desperation a (Bm) young man breaks a (A) way. He (D) buys a gun, (Amaj7) steals a car, (Bm) tries to run, but he (E) don't get far . . . and his (A) mama cries (D)(A).
As a (Amaj7) crowd gathers 'round an angry young man face (Bm) down on the street with a (E) gun in his hand in the ghet (A) to (D)(A). And as her young man dies (D)(A). On a (Amaj7) cold and gray Chicago mornin' a (Bm) nother little baby (E) child is born in the ghet (A) to (D)(A). And his mama cries (D)(A).
(Elvis Presley) (Artist Index) - (Main Index) - (Song Index) (This Song)
IN THE JAILHOUSE NOW – (Traditional) – Jimmie Rodgers/Soggy Bottom Boys
TIP: There are several versions of this venerable old blues classic. This is the one that appeared in the film “O Brother Where Art Thou?”
TIP: The intro is just the chords used in the chorus.
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Intro: (G) (C), (C7) (F), (G) (G), (G) (G), (G7) (C)
(C) I had a friend named Ramblin' Bob. He used to steal gamble and rob. He thought he was, the (C7) smartest guy a (F) round. But I found out last Monday, that Bob got locked up Sunday. They've (D) got him in the (D7) jailhouse way down (G) town.
He's in the jailhouse (C) now. He's in the (C7) jailhouse (F) now. Well I (G) told him once or twice, to stop playin' cards and a (G7) shootin' dice. He's in the jailhouse (C) now.
I dee oh-dee- (F) lay-he-hee, de-oh-teeee . . . Lah dee oh-dee-lay-ee-(C) ohh, dee-loh-tee.
Dee-oh-dee- (G) lay-he-hee, dee-oh-dee-lay-he-tee, dee-oh-dee- (C) lay-heee. l
Bob liked to play his poker, pinoccle wist and euochre. But shooting dice, (C7) was his favorite (F) game. Well he got throwed in jail, with nobody to go his bail. The (D) judge done said that (D7) he refused a (G) fine.
He's in the jailhouse (C) now. He's in the (C7) jailhouse (F) now. Well I (G) told him once or twice, to stop playin' cards and a (G7) shootin' dice. He's in the jailhouse (C) now.
I dee oh-dee- (F) lay-he-hee, heeee . . . I dee oh-dee-lay-he- (C) hee, heeee.
Dee-oh-dee- (G) lay-he-hee, dee-oh-dee-lay-he-hee, dee-oh-dee- (C) lay-heee. l
Well I went out last Tuesday. I met a girl named Susie. I said I was, the (C7) swellest guy a (F) round. Well we started to spendin’ my money, and she started to callin’ me honey. We (D) took in every (D7) cabaret in (G) town.
We’re in the jailhouse (C) now. We’re in the (C7) jailhouse (F) now. Well I (G) told that judge right to his face, I don’t like to (G7) see this place. We’re in the jailhouse (C) now.
I dee oh-dee- (F) lay-he-hee, oh-eeee . . . I dee oh-dee-lay-he- (C) hee, heeee.
Dee-oh-dee- (G) lay-he-hee, dee-oh-dee-lay-he-hee, dee-oh-dee- (C) lay-heee.
(Jimmie Rodgers) (Artist Index) - (Main Index) - (Song Index) (This Song)
IN THE MOOD – (Razaf/Garland) – Glenn Miller
TIP: It nearly impossible to (properly) translate horns into guitar but this is the best I could do.
TIP: An intro can be played (faked) entirely in the key of G, holding the (G) chord and picking the notes beginning with (open 4th string), then (roll index finger down on top of the 4th sring), (open 3rd string) and so on. Either you know the opening or you don’t.
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INTRO: , , x 7 etc . . .
(G) Who's the livin' daddy with the beautiful eyes. (G!) What a pair o' lips, I'd like to try 'em for size. (C) I'll just tell him, "Baby, won't you swing it with me." (CaddG!) (G) Hope he tells me maybe, what a wing it will be. (G!) (D7) So, I said politely "Darlin' may I intrude?" He (Am7) said (C) "Don't (Am7) keep me (C) waitin' when I'm (Am7) in the (G) mood."
First I held him lightly and we started to dance. (G!) Then I held him tightly what a dreamy romance. (C) And I said "Hey, baby, it's a quarter to three. (CaddG!) (G) There's a mess of moonlight, won't-cha share it with me?" (G!) (D7) "Well" he answered "Baby don't-cha know that it's rude, to (Am7) keep my (C) two lips (Am7) waitin' (C) when they're (Am7) in the (G) mood?"
In the mood, (Am7) that's what he (D) told me. (G) In the mood, (Am7) and when he (D7) told me.
(G) In the mood, (Am7) my heart was (D7) skippin'. It (D) didn't take me (Gadd) long to say "I'm (D) in the mood (G) now."
In the mood, (Am7) for all his (D) kissin'. (G) In the mood, (Am7) his crazy (D7) lovin'. (G) In the mood, (Am7) what I was (D7) missin'. It (Gadd) didn't take me long to say "I'm (D) in the mood (G) now."
(Softly)
(G) Who's the lovin' daddy with the beautiful eyes. (G!) What a pair o' lips, I'd like to try 'em for size. (C) I'll just tell him, "Baby, won't you swing it with me." (CaddG!) (G) Hope he tells me maybe, what a wing it will be. (G!) (D7) So, I said politely "Darlin' may I intrude?" He (Am7) said (C) "Don't (Am7) keep me (C) waitin' when I'm (Am7) in the (G) mood."
(With Gusto)
First I held him lightly and we started to dance. (G!) Then I held him tightly what a dreamy romance. (C) And I said "Hey, baby, it's a quarter to three. (CaddG!) (G) There's a mess of moonlight, won't-cha share it with me?" (G!) (D7) "Well" he answered "Baby don't-cha know that it's rude, to (Am7) keep my (C) two lips (Am7) waitin' (C) when they're (Am7) in the (G) mood?"
(Glenn Miller) (Artist Index) - (Main Index) - (Song Index) (This Song)
IT DOESN’T MATTER ANYMORE – (Anka) – Buddy Holly/Linda Ronstadt
TIP: To play the (D6) you’ll already be playing a (D7) so just lift the middle finger.
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(G) There you go and baby here am I. Well you (D7) left me here so I could sit and cry. (G) Golly gee what have you done to me? Well I (D7) guess it doesn't matter any (G) more.
Do you remember baby last September, how you (D7) held me tight each and every night? Well (G) oopsy-daisy, how you drove me crazy. But I (D7) guess it doesn't matter any (G) more.
(Em) There's no use in me a-crying. I've (G) done everything now I'm (G-add) sick of (G) trying. I've (A) thrown away my nights, wasted all my (A7) days over (D) you (D7) (D6) (D).
(G) Now you go your way baby, and I'll go mine. (D7) Now and forever till the end of time. And I'll find (G) somebody new and baby, we'll say we're through. And (D7) you won't matter any (G) more.
(Em) There's no use in me a-crying. I've (G) done everything now I'm sick of trying. I've (A) thrown away my nights, wasted all my (A7) days over (D) you (D7) (D6) (D).
(G) Now you go your way baby, and I'll go mine. (D7) Now and forever till the end of time. And I'll find (G) somebody new and baby, we'll say we're through. And (D7) you won't matter any (G) more.
No (D7) you won't matter any (G) more. (D7) You won't matter any (G) more. (G) (C)(C)-(G)
(Buddy Holly)(Linda Ronstadt) (Artist Index) - (Main Index) - (Song Index) (This Song)
IT DON'T COME EASY - Ringo Starr
TIP: Interesting side bit. Although Ringo is given full writing credit he admits he had a lot of help from George Harrison who had much of the song complete when he gave it to Ringo, including a "guiding vocal" of Harrison singing. George also plays guitar on the song along with Stephen Stills on piano and other members of the group Badfinger.
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(D) It don't come (Am) easy. You (C) know it don't come (D) easy. It don't come (Am) easy. You (C) know it don't come (D) easy.
Got to pay your dues if you (Am) wanna sing the blues, and you (C) know it don't come (D) easy. You don't have to shout (Am) or leap about. You can (C) even play them (D) easy.
For (F) get about the past, and all your (G) sorrows. The (F) future won't last, it will (A) soon be your tomor (A7) row.
I (D) don't ask for much, I (Am) only want your trust, and you (C) know it don't come (D) easy.
And this love of mine keeps (Am) growing all the time, and you (C) know it just ain't (D) easy.
(F) Open up your heart, let's come to (G) gether. (F) Use a little love and we will (A) make it work out bet (A7) ter.
(D) Ah . . . (Am) . . . (C) . . . (D). Ooooh . . . (Am) . . . (C) . . . (C)
Got to pay your dues if you (Am) wanna sing the blues, and you (C) know it don't come (D) easy. You don't have to shout (Am) or leap about. You can (C) even play them (D) easy.
(F) Please remember peace is how we (G) make it. (F) Here within your reach, if you're (A) big enough to (A7) take it.
I (D) don't ask for much, I (Am) only want your trust, and you (C) know it don't come (D) easy.
And this love of mine keeps (Am) growing all the time, and you (C) know it don't come (D) easy.
(D) (Am) (C) (D)
(Ringo Starr) (Artist Index) - (Main Index) - (Song Index) (This Song)
IT MUST BE LOVE - (McDill) - Don Williams/Alan Jackson (C2)
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(G) First I get cold and hot, (C) think I'm on fire but I'm not. (G) Oh what a pain I've got.
(D7) It must be (G) love. There's nothing I can do. (C) All that I want is you. (G) Look what I'm going through. (D7) It must be (G) love.
It must be love, (C) it must be love. I fall like a (G) sparrow, (D) fly like a (G) dove.
You must be the dream I've (C) been dreaming (G) of. (C) Oh what a (G) feeling, (D7) it must be (G) love.
(G) Something is wrong alright, (C) I think of you all night. (G) Can't sleep 'til morning light,
(D7) It must be (G) love. Seeing you in my dreams, (C) holding you close to me. (G) Oh what else can it be? (D7) It must be (G) love.
It must be love, (C) it must be love. I fall like a (G) sparrow, (D) fly like a (G) dove.
You must be the dream I've (C) been dreaming (G) of. (C) Oh what a (G) feeling, (D7) it must be (G) love.
(Don Williams)(Alan Jackson) (Artist Index) - (Main Index) - (Song Index) (This Song)
IT ONLY HURTS WHEN I CRY - (Yoakam/Miller) - Dwight Yoakam (C4)
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INTRO: (D)(E)(A)
The only time I feel the (D) pain, is in the (E) sunshine or the (A) rain. And I don't feel no hurt at (D) all, unless you (E) count when teardrops (A) fall. I tell the truth 'cept when I
(D) lie. (E) It only hurts me when I (A) cry.
You couldn't tell it by the (E) smile, that my recovery took a (A) while. I worked for days and nights on (E) end. Just to walk and talk a (A) gain. You can't believe the time it (D) takes,
to heal a heart once it (E) breaks.
The only time I feel the (D) pain, is in the (E) sunshine or the (A) rain. And I don't feel no hurt at (D) all, unless you (E) count when teardrops (A) fall. I tell the truth 'cept when I
(D) lie. (E) It only hurts me when I (A) cry.
(A)(D)(E)(A)
Oh maybe every now and (E) then, I have a small heartache a (A) gain. You wouldn't know when you look at (E) me, there's tiny scars that you can't (A) see. It was a struggle to sur (D) vive. I'm probably lucky I'm a (E) live.
The only time I feel the (D) pain, is in the (E) sunshine or the (A) rain. And I don't feel no hurt at (D) all, unless you (E) count when teardrops (A) fall. I tell the truth 'cept when I
(D) lie. (E) It only hurts me when I (A) cry.
I tell the truth 'cept when I (D) lie. (E) It only hurts me when I (A) cry.
(Dwight Yoakum) (Artist Index) - (Main Index) - (Song Index) (This Song)
IT WAS A VERY GOOD YEAR – (Drake) – Frank Sinatra
TIP: Because of it’s slow tempo, this is more of a picking song than one for strumming. If you’re going to play just chords, play the song slowly and strum each chord once and let it linger. You’ll see what I mean when you play it.
TIP: The intro is a single (B7) strummed slowly top to bottom. And it must be played with four fingers as indicated in the chord diagram, middle three fingers on top and pinky on the bottom string. It’s the first chord and the only time it’s played so just position your fingers at the start.
TIP: The first three verses begin with the words “When I was . . .” These words correspond with three notes that must be picked individually before strumming the (Em) which follows. The notes are: (5th string/2nd fret); (5th string/4th fret); and (4th string/1st fret). Same thing for the first three words of the final verse. Whether playing the opening (B7) or the (E) that ends each verse and precedes the notes of the next verse, your middle finger will already be on the proper string/fret for the so I find it helpful to play the then lift off and use your pinky for the and then the index finger for the and then proceed to the (Em).
TIP: As for the single (D-A) that appears in the end of each verse, it will be preceded by a (D) so keep the (D) form and then just extend and reach with your pinky to cover the 4th string/4th fret need to complete the chord.
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INTRO: (B7)
When I was (Em) seventeen, it was a (F) very good year. It was a (Em) very good year for (Gadd) small (G) town girls, (Gadd) and (F) soft summer nights. We'd (E) hide from the lights, on the (D) vill (D-A) age green. When I was (E) seventeen.
When I was (Em) twenty-one, it was a (F) very good year. It was a (Em) very good year for (Gadd) ci (G) ty girls (Gadd) who (F) lived up the stair, with all that (E) perfumed hair. And it (D) came (D-A) undone, when I was (E) twenty-one.
When I was (Em) thirty-five, it was a (F) very good year. It was a (Em) very good year for (Gadd) blue (G) blooded girls, (Gadd) of (F) independent means. We'd (E) ride in limousines; their (D) chauffeurs (D-A) would drive. When I was (E) thirty-five.
But now the (Em) days grow short. I'm in the (F) autumn of the year. And now I (Em) think of my life, as (Gadd) vin (G) tage wine, (Gadd) from (F) fine old kegs. From the (E) brim to the dregs, and it (D) poured (D-A) sweet and clear. It was a (E) very good year.
(Frank Sinatra) (Artist Index) - (Main Index) - (Song Index) (This Song)
IT’S A HEARTACHE – (Scott/Wolfe) – Bonnie Tyler
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It's a (C) heartache, nothin' but a (Em) heartache. Hits you when it's (F) too late. Hits you when you're (C) down (G). It's a (C) fool's game, nothin' but a (Em) fool's game. Standing in the (F) cold rain. Feeling like a (C) clown (G).
It's a (C) heartache, nothin' but a (Em) heartache. Love him till your (F) arms break, then he lets you (C) down (G).
It ain't (F) right with love to (G) share, when you (Em) find he doesn't (Am) care for (G) you. It ain't (F) wise to need some (G) one, as much as (Em) I depended (Am) on (G) you.
It's a (C) heartache, nothin' but a (Em) heartache. Hits you when it's (F) too late. Hits you when you're (C) down (G).
It ain't (F) right with love to (G) share, when you (Em) find he doesn't (Am) care for (G) you. It ain't (F) wise to need some (G) one, as much as (Em) I depended (Am) on (G) you.
It's a (C) heartache, nothin' but a (Em) heartache. Love him till your (F) arms break, then he lets you (C) down (G). It's a (C) fool's game, nothin' but a (Em) fool's game. Standing in the (F) cold rain. Feeling like a (C) clown (G).
It's a (C) heartache, nothin' but a (Em) heartache. Love him till your (F) arms break, then he lets you (C) down (G).
Oh, yeah, (C) down. (C)
(Bonnie Tyler) (Artist Index) - (Main Index) - (Song Index) (This Song)
IT’S SO EASY – (Holly/Petty) – Buddy Holly/Linda Ronstadt
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(A) It's so (E) easy to (D) fall in (E) love. (A) It's so (D) easy to (E) fall in (A) love.
(A) People (E) tell me (D) love's for (E) fools, so (A) here I (D) go breaking (E) all of the (A) rules. It seems so (D) easy (seems so easy, seems so easy). Ohhh, so doggone (A) easy (doggone easy, doggone easy). Mmmmhmm, it seems so (D) easy (seems so easy, seems so easy, seems so easy). Where (B7) you're concerned my (E7) heart has learned. (A) It's so (E) easy to (D) fall in (E) love. (A) It's so (D) easy to (E) fall in (A) love.
(A) Look in (E) to your (D) heart and (E) see, (A) what your (D) lovebook has (E) set apart for (A) me. It seems so (D) easy (seems so easy, seems so easy). Ohhh, so doggone (A) easy (doggone easy, doggone easy). Mmmmhmm, it seems so (D) easy (seems so easy, seems so easy, seems so easy). Where (B7) you're concerned my (E7) heart has learned. (A) It's so (E) easy to (D) fall in (E) love. (A) It's so (D) easy to (E) fall in (A) love.
It seems so (D) easy (seems so easy, seems so easy). Ohhh, so doggone (A) easy (doggone easy, doggone easy). Mmmmhmm, it seems so (D) easy (seems so easy, seems so easy, seems so easy). Where (B7) you're concerned my (E7) heart has learned. (A) It's so (E) easy to (D) fall in (E) love. (A) It's so (D) easy to (E) fall in (A) love.
(Buddy Holly)(Linda Ronstadt) (Artist Index) - (Main Index) - (Song Index) (This Song)
IT WAS ALMOST LIKE A SONG – (Jordan/David) – Ronnie Milsap
TIP: At the end of certain sections there’s a (Dm7)-(G7) series. The (Dm7) is a transition chord - strike once and move on to the (G7).
TIP: As for the (Fmaj7/A) chord, it will be preceded by a (C) so just keep your index finger where it is and drop your middle and ring fingers down one string-set.
TIP: In this song, a chord often appears after the last word in the sentence (before the period). In these cases it’s indicating that the chord is still strum a few times before moving on and beginning the next line.
TIP: The first refrain of “Now my broken heart . . . “ is sung like the first two verses but the last refrain is sung on the up-note inflection on “broken” and “you each,” and of course the final “write” in the CODA is a high-C.
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(C) Once in every (F) life (Fm). Someone comes a (C) long (Am). And you came to (Dm) me (Dm7)-(G7). It was almost like a (C) song. You were in my (F) arms (Fm), right where you be (C) long (Am). We were so in (Dm) love (Dm7)-(G7). It was almost like a (C) song.
(Fmaj7/A) January through De (Em) cember (Dm7), we had such a per (G7) fect (C) year (Am). Then the flame became a (Em) dying ember. (Dm7) All at once you weren't (G7) there. (C)
Now my broken (F) heart (Fm), cries for you each (C) night (Am). It's almost like a (Dm) song (Dm7)-(G7), but it’s much too sad to (C) write.
(C) Now my broken (F) heart (Fm), cries for you each (C) night (Am). And it's almost like a (Dm) song (Dm7)-(G7), but it’s much too sad to (Am) write (D7).
(Dm7) It's too sad to (C) write. (F) (C)
(Ronnie Milsap) (Artist Index) - (Main Index) - (Song Index) (This Song)
IT'S JUST A MATTER OF TIME - (Otis/Benton) - Randy Travis (C1)
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INTRO: (D),(G),(D),(D)-(A)-(A7)(G7)-(A)
Some (D) day, some (G) way, you'll (D) realize that you've, been (D7) blind. Yes (G) darling, you're going to (G7) need me again. (E7) It's just a matter of (A) time.
Go (D) on, go (G) on, til (D) you, reach the end, of the (D7) line. Cause (G) I - I - I know, you'll (G7) pass my way again. (E7) It's just a ma (A7) tter of (D) time.
After I (G) gave you, every (Em) thing I had, you (D) laughed, and you called me a clown.
Re (G) member, in your search, for (Em) fortune and fame, what (E7) goes up must come (A) down.
I (D) know, I (G) know, that (D) one day you'll wake up and (D7) find, that (G) my love, is a
(G7) true love. (E7) It's just a ma (A) tter of (D) time.
[Spoken with chords played:] (D) Someday, (G) and someway, (D) girl, you'll realize that you've been (D7) blind. (G) Yes darling, I know, you're going to need me again. (E7) It's just a
(A) matter of (D) time.
After I (G) gave you, every (Em) thing I had, you (D) laughed, and you called me a clown.
Re (G) member, in your search, for (Em) fortune and fame, what (E7) goes up must come (A) down.
I (D) know, I (G) know, that (D) one day you'll wake up and (D7) find, that (G) my love, was a
(G7) true love. (E7) It's just a ma (A) tter . . . uh- (A7) -of ti- (D) -ime. (G)(D)
(Randy Travis) (Artist Index) - (Main Index) - (Song Index) (This Song)
JACKSON - (Wheeler/Rodgers) - Johnny Cash and June Carter Cash (C0)
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(C) We got married in a fever, hotter than a pepper sprout. We've been talkin' 'bout Jackson, (C7) ever since the fire went out. (C) I'm goin' to (F) Jackson. I'm gonna mess a (C) round. Yeah, I'm goin' to (F) Jackson. (G7) Look out Jackson (C) town.
(C) Well, go on down to Jackson. Go ahead and wreck your health. Go play your hand, you big-talkin' man, make a (C7) big fool of yourself. (C) You're goin' to (F) Jackson? Go comb your (C) hair! Honey, I'm gonna (F) snowball Jackson. (G7) Just see if I (C) care.
(C) When I breeze into that city, people gonna stoop and bow. All them women gonna make me, (C7) teach 'em what they don't know how. (C) I'm goin' to (F) Jackson. You turn a loose of my (C) coat. 'Cos I'm goin' to (F) Jackson. (G7) "Goodbye," that's all she (C) wrote.
(C) But they'll laugh at you in Jackson. And I'll be dancin' on a pony keg. They'll lead you 'round town, like a scalded hound, with your (C7) tail tucked between your legs. (C) You're goin' to (F) Jackson. You big-talkin' (C) man. And I'll be waitin' in (F) Jackson, (G7) behind my Japan (C) Fan.
(C) We got married in a fever, hotter than a pepper sprout. We've been talkin' 'bout Jackson, (C7) ever since the fire went out. (C) I'm goin' to (F) Jackson. And that's a (C) fact. Yeah, we're goin' to (F) Jackson. Ain't never (G7) comin' (C) back.
(Johnny Cash) (Artist Index) - (Main Index) - (Song Index) (This Song)
JAMBAYALA – Hank Williams
TIP: Hank wrote it with the (G7) but plain ol’ (G) sounds fine as well. Try playing this song capo’d way up at the 5th fret. It’ll give it a different sound.
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Goodbye (C) Joe, me gotta go, me oh (G7) my oh. Me gotta go pole the pirogue down the (C) bayou. My Yvonne, the sweetest one, me oh (G7) my oh. Son of a gun, we'll have good fun on the (C) bayou.
Jambalaya, and a crawfish pie and a filet (G7) gumbo. 'Cause tonight I'm gonna see my ma cher a (C) mio. Pick guitar, fill fruit jar and be (G7) gay-oh. Son of a gun, we'll have big fun on the (C) bayou.
Thibo (C) deaux, Fontainbleau, the place is (G7) buzzin'. Kinfolk come to see Yvonne by the (C) dozen. Dress in style, go hog wild, me oh (G7) my oh. Son of a gun, we'll have big fun on the (C) bayou.
Jambalaya, and a crawfish pie and a filet (G7) gumbo. 'Cause tonight I'm gonna see my ma cher a (C) mio. Pick guitar, fill fruit jar and be (G7) gay-oh. Son of a gun, we'll have big fun on the (C) bayou.
Settle (C) down, far from town, get me a pir (G7) ogue. And I’ll catch, all the fish, in the (C) bayou. Swap my mon to buy Yvonee what we (G7) need oh. Son of a gun, gonna have big fun on the (C) bayou.
Jambalaya, and a crawfish pie and a filet (G7) gumbo. 'Cause tonight I'm gonna see my ma cher a (C) mio. Pick guitar, fill fruit jar and be (G7) gay-oh. Son of a gun, we'll have big fun on the (C) bayou.
(G7) Son of a gun, we'll have big fun on the (C) bayou. (G7) Son of a gun, we'll have big fun on the (C) bayou.
(Hank Williams) (Artist Index) - (Main Index) - (Song Index) (This Song)
JESUS LOVES ME (Warner/Bradbury) - Traditional
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(C) Jesus loves me, this I know. (F) For the bible tells (C) me so. Little ones to Him belong. (F) They are (C) weak but (G7) He is (C) strong.
Yes, Jesus (F) loves me. (C) Yes, Jesus (G7) loves me. (C) Yes, Jesus (F) loves me. The (C) bible (G7) tells me (C) so.
Jesus loves me still today, (F) walking with me on my (C) way. Wanting as a friend to give, (F) light and (C) love to (G7) all who (C) live.
Yes, Jesus (F) loves me. (C) Yes, Jesus (G7) loves me. (C) Yes, Jesus (F) loves me. The (C) bible (G7) tells me (C) so.
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
JOHNNY B. GOODE – Chuck Berry (C2)
TIP: The intro is a poor imitation of the actual legendary Chuck Berry guitar riff but it gives a (slight) flavor of the original. What we'll be calling (F5) is actually an (A) played up the neck but since it looks like an (F) played on the 5th fret that's what we'll call it (your index finger plays the mini-bar on the 5th fret and ring finger on the 7th). Then, add your pinky to the 7th fret/2nd string for one note just before moving to the next regular (A). From there you fake the rest by strumming the chords listed until opening the first verse on (A).
TIP: The bridge: Begin by strumming (F5) five times. “Add pinky and run” means playing three descending notes while still in the (F5), each note within the 7th fret: First note: add pinky to the 2nd string and pick once. Second note: 3rd string as is (without the pinky) and again picked just once. Third note: 4th string as is (without pinky) and also picked just once. Next you strum (F5) and end with three (F5) in quick sequence emphasizing the bottom treble strings. The next series are alternating lilts, each played by adding and removing the pinky to the bottom string while playing the major chord, beginning with (D)-(D4), then (A)-A6), to (E)-(Eb), and back to (A)-(A6). Note that each series ends on the major chord (D), (A), (E), (A). I know it all sounds complicated but it’s really not that difficult.
TIP: In the OUTRO, play the (F5) and pinky run just like you did in the bridge but just once and then finish with four strums of the (F5) this time emphasizing the top three base strings.
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INTRO: (F5)(add pinky) (A) (D) (A) (E) (A)
(A) Deep down Louisiana close to New Orleans, way back up in the woods among the evergreens,
there (D) stood a log cabin made of earth and wood, where (A) lived a country boy named Johnny B. Goode. Who (E) never ever learned to read or write so well, but he could (A) play the guitar just like a ringing a bell.
Go go, go Johnny go-go-go. Go, Johnny go-go (D) go. Go, Johnny go-go (A) go. Go, go (E) go, Johnny B. (A) Goode.
He used to carry his guitar in a gunny sack, go sit beneath the tree by the railroad track. Oh, the (D) engineers would see him sitting in the shade, (A) strumming with the rhythm that the drivers made. (E) People passing by they would stop and say, “Oh (A) my that little country boy could play.
Go go, go Johnny go-go-go. Go, Johnny go-go (D) go. Go, Johnny go-go (A) go. Go, go (E) go, Johnny B. (A) Goode.
(F5) x 5 (add pinky and run); (F5) x 5 (add pinky and run); (F5) (F5)-(F5)-(F5);
(D)-(D4), (D)-(D4), (D)-(D4)-(D); (A)-(A6), (A)-(A6), (A)-(A6)-(A);
(E)-(Eb), (E)-(Eb), (E)-(Eb)-(E), (A)-(A6), (A)-(A6), (A)-(A6)-(A)
(A) His mother told him "Someday you will be a man, and you will be the leader of a big old band.
(D) Many people coming from miles around, to (A) hear you play your music when the sun go down.
(E) Maybe someday your name will be in lights, saying (A) “Johnny B. Goode tonight."
Go go, go Johnny go-go-go. Go, Johnny go-go (D) go. Go, Johnny go-go (A) go. Go, go (E) go, Johnny B. (A) Goode.
OUTRO: (F5) x 5 (add pinky and run) strum low (F5) x 4
(Chuck Berry) (Artist Index) - (Main Index) - (Song Index) (This Song)
JOIN TOGETHER - (Townshend) - The Who (C0)
TIP: For the intro, strum (G) but emphasize the top two bass strings. Then it's two quick (G) followed by the (G4) in which you grab the 2nd string/1st fret and go right back to the (G). It's not important to play the top bass line when doing this latter part.
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INTRO: (G)-(G)-(G)..... (G)(G)-(G4)-(G), (G)(G)-(G4)-(G)
When you (G) hear this sound a-comin', hear the drummers drumming, I want you to (F) join
to (C) gether with the (G) band. We don't move in any 'ticular directions and we don't make no collections. I want you to (F) join to (C) gether with the (G) band.
(G)(G)-(G4)-(G), (G)(G)-(G4)-(G), (G)(G)-(G4)-(G), (G)(G)-(G4)-(G),
Do you (Gadd) really think I care what you read or what you wear? I want you to (F) join
to (C) gether with the (G) band. There's a million ways to laugh and every one's a path.
Come on and (F) join to (C) gether with the (G) band.
Everybody join together. I want you to join together. Come on and (F) join to (C) gether with the (G) band. We need you to join together. Come on and join together. Come on and (F) join
to (C) gether with the (G) band
[Thrum bass note} (G) . . .
(Gadd) You don't have to (G) play. You can (Gadd) follow or lead the (G) way. I want you to
(F) join to (C) gether with the (G) band. We don't know where we're goin', but the season's right for knowin'. I want you to (F) join to (C) gether with the (G) band.
(G)(G)-(G4)-(G), (G)(G)-(G4)-(G), (G)(G)-(G4)-(G), (G)(G)-(G4)-(G),
It's the singer not the song that makes the music move along. I want you to (F) join to (C) gether with the (G) band. This is the biggest band you'll find. It's as deep as it is wide. Come on and (F) join to (C) gether with the (G) band.
Hey, hey, hey, hey, join together. Oh ev'rybody come on come on join together. Come on and
(F) join to (C) gether with the (G) band. We need you to join together. Everybody come on join together. Hey, hey, hey (F) join to (C) gether with the (G) band.
(The Who) (Artist Index) - (Main Index) - (Song Index) (This Song)
JOLENE – Dolly Parton
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(Am) Jolene, Jo (C) lene, Jo (G) lene, Jo (Am) lene. I'm (G) begging of you please don't take my (Am) man. Jolene, Jo (C) lene, Jo (G) lene, Jo (Am) lene. (G) Please don't take him just because you (Am) can.
Your beauty is be (C) yond compare, with (G) flaming locks of (Am) auburn hair. With (G) ivory skin and (Em) eyes of emerald (Am) green. Your smile is like a (C) breath of spring, your (G) voice is soft like (Am) summer rain, and (G) I cannot com (Em) pete with you, Jo (Am) lene.
He talks about you (C) in his sleep, there's (G) nothing I can (Am) do to keep, from (G) crying when he (Em) calls your name, Jo (Am) lene. And I can easily (C) understand, how (G) you could easily (Am) take my man, but you (G) don't know what he (Em) means to me, Jo (Am) lene.
Jolene, Jo (C) lene, Jo (G) lene, Jo (Am) lene. I'm (G) begging of you please don't take my
(Am) man. Jolene, Jo (C) lene, Jo (G) lene, Jo (Am) lene. (G) Please don't take him just because you (Am) can.
You could have your (C) choice of men, but (G) I could never (Am) love again. (G) He's the only one (Em) for me, Jo (Am) lene. I had to have this (C) talk with you. My (G) happiness de (Am) pends on you, and (G) whatever you de (Em) cide to do, Jo (Am) lene.
Jolene, Jo (C) lene, Jo (G) lene, Jo (Am) lene. I'm (G) begging of you please don't take my
(Am) man. Jolene, Jo (C) lene, Jo (G) lene, Jo (Am) lene. (G) Please don't take him even though you (Am) can.
Jolene, Jo (G) le (Am) ne
(Dolly Parton) (Artist Index) - (Main Index) - (Song Index) (This Song)
JUNIOR'S FARM - (P. McCartney/L. McCartney) - Paul McCartney and Wings (C4 or C3)
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(Gadd) You should have seen me with the (C) poker (G) man. (Gadd) I had a honey and I (C) bet a (G) grand. (F) Just in the nick of time I (Em) looked at his hand. (Gadd) I was talking to
an (C) Eski (G) mo. (Gadd) Said he was hoping for a (C) fall of (G) snow, when (F) up popped a sea lion (Em) ready to go.
Let's (Gadd) go, let's go, let's go, let's go. (F) Down to junior's farm where I (G) want to lay low. (Gadd) Low life, high life, oh let's go. (F) Take me down to junior's (G) farm.
(Gadd) At the Houses of (C) Parlia (G) ment, (Gadd) ev'rybody's talking 'bout the
(C) Presi (G) dent. We (F) all chip in for a (Em) bag of cement. (Gadd) Ollie Hardy should have (C) had more (G) sense. (Gadd) He bought a gee-gee and he (C) jumped the (G) fence, (F) all for the sake of a (Em) couple of pence.
Let's (Gadd) go, let's go, let's go, let's go. (F) Down to junior's farm where I (G) want to lay low. (Gadd) Low life, high life, oh let's go. (F) Take me down to junior's (G) farm.
(F) Everybody tag a (G) long.
(Gadd) I took my bag into a (C) grocer's (G) store. (Gadd) The price is higher than the (C) time be (G) fore. (F) Old man asked me (Em) "why is it more?" I said (Gadd) you should have seen me with the (C) poker (G) man. (Gadd) I had a honey and I (C) bet a (G) grand. (F) Just in the nick of time I (Em) looked at his hand.
Let's (Gadd) go, let's go, let's go, let's go. (F) Down to junior's farm where I (G) want to lay low. (Gadd) Low life, high life, oh let's go. (F) Take me down to junior's (G) farm. Let's go, let's go, (F) down to junior's farm where I (G) want to lay low. (Gadd) Low life, high life, oh let's go. (F) Take me down to junior's (G) farm. (F) Everybody tag a (G) long. (F) Take me down to junior's (G) farm.
(Paul McCartney) (Artist Index) - (Main Index) - (Song Index) (This Song)
JOY TO THE WORLD - (Axton) - Three Dog Night
TIP: The whole (Bm)(D)(D/A)(Bm) bit can be skipped in lieu of just plain ol' (D) but it's actually pretty easy to play. It's all adding the pinky while holding the basic (D) chord formation. Start by forming the (D) chord and add your pinky to the 3rd string/4th fret. That's (Bm). Now just lift the pinky for (D), and reapply the pinky but this time one string higher than with the (Bm). That's (D/A). It's a bit of a stretch if you're not used to it. Just sort of tap it. From the (D/A) you'll either lift the pinky completely to go to a (D), or move down one string lower to get back to the (Bm) and then release to get to (D). You'll see what I mean.
TIP: Toward the end there's a brief switch to the key to (E). It sounds a bit strange that's how Hoyt wrote it. You'll have a tendency to want to sing it like the other chorus but the melody simply repeats itself. The next stanza drops down/returns to the key of (D) for the chorus repeat and fade.
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(Bm) Jere (D) miah was a bull (D/A) frog. (Bm) Was a (D) good friend of (D/A) mine. I (D) never under (D7) stood a single (G) word he said, but I (D) helped him ta (A) drink his (D) wine. And he always had some (A) mighty fine (D) wine.
Singin' joy to the world. (A) All the boys and (D) girls now. Joy to the (D7) fishes in the
(G) deep blue sea. (D) Joy to (A7) you and (D) me.
(Bm) If (D) I were the king of the (D/A) world, (Bm) tell (D) you what I'd (D/A) do. I'd (D) throw away the (D7) cars and the (G) bars and the wars, and (D) make sweet (A) love to (D) you.
Sing now joy to the world. (A) All the boys and (D) girls now. Joy to the (D7) fishes in the
(G) deep blue sea. (D) Joy to (A7) you and (D) me.
You (Bm) know (D) I love the la (D/A) dies. (Bm) Love (D) to have my (D/A) fun. I'm a (D) high night (D7) flier and a (G) rainbow rider, a (D) straight-shootin' (A7) son of a (D) gun. I said a straight-shootin' (A7) son of a (D) gun.
Joy to the world. (A) All the boys and (D) girls. Joy to the (D7) fishes in the (G) deep blue sea. (D) Joy to (A7) you and (D) me.
Joy to the world. (A) All the boys and (D) girls now. Joy to the (D7) fishes in the (G) deep blue sea. (D) Joy to (A7) you and (D) me.
(E) Joy to the world. All the boys and girls. Joy to the world. Joy to you and me.
(D) Joy to the world. (A) All the boys and (D) girls now. Joy to the (D7) fishes in the
(G) deep blue sea. (D) Joy to (A7) you and (D) me.
(D) Joy to the world. (A) All the boys and (D) girls now. Joy to the (D7) fishes in the
(G) deep blue sea. (D) Joy to (A7) you and (D) me.
(D) Joy to the world. (A) All the boys and (D) girls now. Joy to the (D7) fishes in the
(G) deep blue sea. (D) Joy to (A7) you and (D) me.
(Three Dog Night) (Artist Index) - (Main Index) - (Song Index) (This Song)
JUST MY IMAGINATION - (Whifield/Strong) - The Temptations
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INTRO: (C)(F), (C)(F)
(C) Oooh, (F) ooooh, (C) ooooh, (F)
Each (C) day through my window I (F) watch her as she passes (C) by (F). I (C) say to myself: "You're (F) such a lucky (C) guy (F)." (C) To have a girl like (F) her is (C) truly a dream come
(F) true. Out of (CaddG) all of the fellas in the (F) world, she belongs to (C) you (F).
But it was (C) just my imagination (F), (C) running away with me (F). It was (CaddG) just my
imagina (F) tion, running a (C) way with me (F).
(CaddG) Soon we'll be (F) married and raise a fami (C) ly, oh (F) yeah. A (C) cozy little home out in the country with (F) two children maybe (C) three (F). I tell you (C) I . . .
(F) I . . . can visual (C) ize it (F) all. This (C) couldn't, be a dream, for too (F) real it all (C) seems (F).
But it was (C) just my imagination, (F) once again, (C) running away with me (F). Telling me it was (C) just my imagina (F) tion, running a (C) way with me (F).
(C) Every night on my knees I pray: "Dear Lord, (F) hear my plea. (C) Don't ever let another
(F) take her love from me or I will (Dm) surely die (G). Oh her love is (C) heavenly. When her arms enfold me. I hear a tender rhapsody. But in re (F) ality, she doesn't even (C) know me.
Just my imagination, (F) once again, (C) running away with me (F). Oh ... tell you it was (C) just my imagina (F) tion, running a (C) way with me (F).
It was (C) Just my imagination, (F) yeah, yeah, yeah, (C) running away with me (F). Oooh (C) just my imagina (F) tion ... (C)
(The Temptations) (Artist Index) - (Main Index) - (Song Index) (This Song)
KEEP ON THE SUNNY SIDE OF LIFE – (Blenkhorn) – Traditional/The Carter Family
TIP: Presented here first in the key of D. Also presented in key of G below.
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There's a (D) dark and a (G) troubled side of (D) life. But there's a bright and sunny side (A) too. Though we meet with the darkness and (D) strife. The (A) sunny side we also may (D) view.
Keep on the sunny side, (G) always on the (D) sunny side. Keep on the sunny side of (A) life. It will (D) help us ev'ry day. It will (G) brighten all the (D) way, if we'll keep (G) on the (D) sunny (A) side of (D) life.
The storm and its (G) fury raged to (D) day, crushing hopes that we cherish so (A) dear. Clouds and storms will time pass a (D) way. The (A) sun again will shine bright and (D) clear.
Keep on the sunny side, (G) always on the (D) sunny side. Keep on the sunny side of (A) life. It will (D) help us ev'ry day. It will (G) brighten all the (D) way, if we'll keep (G) on the (D) sunny (A) side of (D) life.
Let us greet with a (G) song of hope each (D) day. Though the moment be cloudy or (A) fair. Let us trust in our Saviour al (D) ways. He’ll (A) keep us every one in His (D) care.
Keep on the sunny side, (G) always on the (D) sunny side. Keep on the sunny side of (A) life. It will (D) help us ev'ry day. It will (G) brighten all the (D) way, if we'll keep (G) on the (D) sunny (A) side of (D) life.
If we'll keep (G) on the (D) sunny (A) side of (D) life. (G) (D)
(Traditional) (Carter Family) (Artist Index) - (Main Index) - (Song Index) (This Song)
KEEP ON THE SUNNY SIDE OF LIFE – (Blenkhorn) – Traditional/The Carter Family (Key of G)
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There's a (G) dark and a (C) troubled side of (G) life. But there's a bright and sunny side (D) too. Though we (D7) meet with the (D) darkness and (G) strife. The (D) sunny side we also may (G) view.
(Gadd) Keep on the sunny side, (C) always on the sunny (G) side. Keep on the sunny side of (D) life. It will (G) help us ev'ry day. It will (C) brighten all the (G) way, if we'll keep (C) on the (G) sunny (D) side of (G) life. (C) (G)
The storm and its (C) fury raged to (G) day, crushing hopes that we cherish so (D) dear. Clouds and (D7) storms will with (D) time pass a (G) way. The (D) sun again will shine bright and (G) clear.
(Gadd) Keep on the sunny side, (C) always on the sunny (G) side. Keep on the sunny side of (D) life. It will (G) help us ev'ry day. It will (C) brighten all the (G) way, if we'll keep (C) on the (G) sunny (D) side of (G) life. (C) (G)
Let us greet with a (C) song of hope each (G) day. Though the moment be cloudy or (D) fair. Let us (D7) trust in our (D) Saviour al (G) ways. He’ll (D) keep us every one in His (G) care.
(Gadd) Keep on the sunny side, (C) always on the sunny (G) side. Keep on the sunny side of (D) life. It will (G) help us ev'ry day. It will (C) brighten all the (G) way, if we'll keep (C) on the (G) sunny (D) side of (G) life. (C) (G)
If we'll keep (C) on the (G) sunny (D) side of (G) life (C) (G).
(Traditional) (Carter Family) (Artist Index) - (Main Index) - (Song Index) (This Song)
KIDS OF THE BABY BOOM – (Bellamy) - The Bellamy Brothers
TIP: (Dsus2) comes between two (D) and is played by simply lifting and then reapplying the middle finger. You also may want to try, for this song, playing (F#m) like you would an (A) since it precedes the (A) and all you have to do is shift your fingers up one string-set.
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Intro: (D)
(D) Our daddies won the war and came home (Dsus2) to our (D) moms. They gave them so much love that all us (Dsus2) kids were (D) born. We (G) all grew up on Mickey Mouse and hula-hoops. Then we (D) all bought BMW's and brand new (Dsus2) pickup (D) trucks. And we (F#m) watched John Kennedy die one after (A) noon. Kids of the ba (D) by boom.
(D) It was a time of new prosperity in the (Dsus2) U.S. (D) A. All the fortunate offsprings never (Dsus2) had to (D) pay. We had (G) sympathy for the devil and the Rolling Stones. Then we (D) got a little older, we found (Dsus2) Haggard and (D) Jones. A (F#m) generation screaming for more
(A) room. Kids of the ba (D) by boom.
Kids of the (G) baby boom, we had freedom, we had money. (D) Baby boom, here in the land of milk and honey. (F#m) Counting our chickens way too (A) soon. Kids of the ba (D) by boom.
(D) Now we all can run computers and we (Dsus2) all can (D) dance. We all have Calvin Klein written on our (Dsus2) under (D) pants. And at (G) six-o'clock, like robots, we turn on the news.
(D) Watch those third world countries deal out (Dsus2) more a (D) buse. Re (F#m) member the first man on the (A) moon? Kids of the ba (D) by boom.
Kids of the (G) baby boom, we had freedom, we had money. (D) Baby boom, here in the land of milk and honey. (F#m) Counting our chickens way too (A) soon. Kids of the ba (D) by boom.
(D) As our lives become a capsule they send (Dsus2) to the (D) stars. And our children look at us like we (Dsus2) came from (D) Mars. As the (G) farms disappear and the sky turns black. We're a (D) nation full of takers, never (Dsus2) giving (D) back. We (F#m) never stop to think what we con (A) sume. Kids of the ba (D) by boom.
Kids of the (G) baby boom, we had freedom, we had money. (D) Baby boom, here in the land of milk and honey. (F#m) Counting our chickens way too (A) soon. Kids of the ba (D) by boom.
Our (F#m) optimism mingles with the (A) doom. Kids of the ba (D) by boom.
(The Bellamy Brothers) (Artist Index) - (Main Index) - (Song Index) (This Song)
KILLING ME SOFTLY – (Lieberman/Fox & Gimbel) – Roberta Flack
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(Em) Strumming my pain with his fing (Am) ers. (D7) Singing my life with his (G) words.
(Em) Killing me softly with his (A) song. Killing me soft (D) ly, with his (C) song. Telling my whole (G) life, with his (C) words. Killing me soft (Esus) ly with his (E) song.
(Am7) I heard he sang a good (D) song, (G) I heard he had a (C) style. (Am7) And so I (D) came to see him and (Em) listen for a while. (Am7) And there he (D7) was this young boy, (G) a stranger (B7) to my eyes.
(Em) Strumming my pain with his fing (Am) ers. (D7) Singing my life with his (G) words.
(Em) Killing me softly with his (A) song. Killing me soft (D) ly, with his (C) song. Telling my whole (G) life, with his (C) words. Killing me soft (Esus) ly with his (E) song.
(Am7) I felt all flushed with fe (D) ver. (G) Embarrassed by the (C) crowd. (Am7) I felt he
(D) found my letters and (Em) read each one out loud. (Am7) I prayed that (D7) he would finish, (G) but he just (B7) kept right on.
(Em) Strumming my pain with his fing (Am) ers. (D7) Singing my life with his (G) words.
(Em) Killing me softly with his (A) song. Killing me soft (D) ly, with his (C) song. Telling my whole (G) life, with his (C) words. Killing me soft (Esus) ly with his (E) song.
(Am7) He sang as if he knew (D) me, (G) in all my dark de (C) spair. (Am7) And then he (D) looked right through me as (Em) if I was not there. (Am7) And he just (D7) kept on singing, (G) singing (B7) clear and strong.
(Em) Strumming my pain with his fing (Am) ers. (D7) Singing my life with his (G) words.
(Em) Killing me softly with his (A) song. Killing me soft (D) ly, with his (C) song. Telling my whole (G) life, with his (C) words. Killing me soft (Esus) ly with his (E) song.
(No chord) He was (Em) strumming my pain. Yeah he was (D) singing my (G) life. (Em) Killing me softly with his (A) song. Killing me soft (D) ly, with his (C) song. Telling my whole (G) life, with his (C) words. Killing me soft (Esus) ly with his (E) song.
(Roberta Flack) (Artist Index) - (Main Index) - (Song Index) (This Song)
KING OF THE ROAD – Roger Miller
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(G) Trailer for (Am) sale or (C) rent. (D) Rooms to let, (G) fifty cents. No phone, no (Am) pool, no (C) pets. (D) I ain't got no (D7) cigarettes. Ah but, (G) two hours of (Am) pushin' (C) broom, (D) buys an eight by twelve, (G) four-bit room. I'm a, man of (C) means by no means (D). King of the (G) road.
Third boxcar, (Am) midnight (C) train. (D) Destination: (G) Bangor, Maine. Old worn out (Am) suits and (C) shoes. (D) I don't pay no (D7) union dues. I smoke, (G) old stogies (Am) I have (C) found. (D) Short, but not too (G) big around. I'm a, man of (C) means by no means (D). King of the (G) road.
I know every engineer on (C) every train. (D) All of their children, and (G) all of their names. And every handout in (C) every town, and (D) every lock, that (D7) ain't locked, when (D) no one's a (D7)round. I sing,
(G) Trailer for (Am) sale or (C) rent. (D) Rooms to let, (G) fifty cents. No phone, no (Am) pool, no (C) pets. (D) I ain't got no (D7) cigarettes. Ah but, (G) two hours of (Am) pushin' (C) broom, (D) buys an eight by twelve, (G) four-bit room. I'm a, man of (C) means by no means (D). King of the (G) road.
(D) King of the (G) road. (D) King of the (G) road (D)(G).
(Roger Miller) (Artist Index) - (Main Index) - (Song Index) (This Song)
KISS AN ANGEL GOOD MORNING - (Peters) - Charlie Pride
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(G) Whenever I chance to meet, some (C) old friends on the street. They (D) wonder how does a man, get to be this (G) way (D). I've (G) always got a smiling face, (C) any time and any place, and
(D) everytime they ask me why, I just smile and (G) say.
You've got to, kiss an angel good (D) morning, and (C) let you know you think about her when you're (G) gone. Kiss an angel good (D) morning, and (C) love her like the devil when you get back
(G) home.
Well people may try to guess, the (C) secret of a happiness, but (D) some of them never learn, it's a simple (G) thing (D). The (G) secret I'm speaking of, is a (C) woman and a man in love, and the (D) answer is in this song, that I always (G) sing.
You've got to, kiss an angel good (D) morning, and (C) let you know you think about her when you're (G) gone. Kiss an angel good (D) morning, and (C) love her like the devil when you get back
(G) home.
Kiss an angel good (D) morning, and (C) let you know you think about her when you're (G) gone. Kiss an angel good (D) morning, and (C) love her like the devil when you get back (G) home.
(Charlie Pride) (Artist Index) - (Main Index) - (Song Index) (This Song)
KISSES SWEETER THAN WINE - (Ledbetter/Hayes/Seeger) - Peter, Paul & Mary/Peter Seeger - The Weavers
(C0)
TIP: The (D/A) can be skipped in favor of plain ol' (D). The full (B7) chord, with the top string, will be easier to play as it transitions from the (Em), just shift fingers and add the pinky to bottom string.
TIP: Don't sweat the (Bm). It follows the (C) and your fingers will be in perfect position just to drop down to the bottom string.
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When (Em) I was a (D) young man and (C) never been (Bm) kissed, I (Am) got to thinking (D) over (Em) what I had missed. I got me a (D) girl, I (C) kissed her and (Bm) then, (Am) oh (D/A) Lord, I (Em) kissed her again. (G) Oh (D), (Em) kisses (B7) sweeter than (Em) wine.
(G) Oh (D), (Em) kisses (B7) sweeter than (Em) wine.
I asked her to (D) marry and (C) be my sweet (Bm) wife, and (Am) we would be so (D) happy the
(Em) rest of our lives. I begged and I (D) pleaded like a (C) natural (Bm) man and (Am) then, oh (D/A) Lord, she (Em) gave me her hand. (G) Oh (D), (Em) kisses (B7) sweeter than (Em) wine.
(G) Oh (D), (Em) kisses (B7) sweeter than (Em) wine.
I worked mighty (D) hard and (C) so did my (Bm) wife. (Am) Workin' hand in (D) hand to (Em) make a good life. With corn in the (D) field and (C) wheat in the (Bm) bins I (Am) was, oh (D/A) Lord, the (Em) father of twins. (G) Oh (D), (Em) kisses (B7) sweeter than (Em) wine.
(G) Oh (D), (Em) kisses (B7) sweeter than (Em) wine. (Em)(D)(C)(Bm)(Am)(D)(Em), (G)(D)(Em)(B7)(Em)
Our children they (D) numbered (C) just about (Bm) four. They (Am) all had (D) sweethearts
(Em) knockin' at the door. They all got (D) married and they (C) didn't hesi (Bm) tate I (Am) was, oh (D/A) Lord, the grand (Em) mother of eight. (G) Oh (D), (Em) kisses (B7) sweeter than
(Em) wine. (G) Oh (D), (Em) kisses (B7) sweeter than (Em) wine.
Now that we're (D) old and (C) ready to (Bm) go, we get to (Am) thinkin' what (D) happened a
(Em) long time ago. We had a lot of (D) kids, (C) trouble and (Bm) pain but (Am) then, oh
(D/A) Lord, we'd (Em) do it again. (G) Oh (D), (Em) kisses (B7) sweeter than (Em) wine.
(G) Oh (D), (Em) kisses (B7) sweeter than (Em) wine. (G) Oh (D), (Em) kisses (B7) sweeter than (Em) wine.
(Pete Seeger)(Peter, Paul and Mary)(The Weavers)
(Artist Index) - (Main Index) - (Song Index) (This Song)
KNOCKIN’ ON HEAVEN’S DOOR – Bob Dylan
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(G) Ooo (D) ooo (Dm7) ooh. (G) Ooo (D) ooo (C) ooh.
(G) Mama, take (D) this badge off of (Dm7) me. (G) I can’t (D) use it any (C) more. (G) It’s getting (D) dark, too dark to (Dm7) see. (G) I feel like I’m (D) knockin’ on heaven’s (C) door.
(G) Knock, knock, (D) knockin’ on heaven’s (Dm7) door. (G) Knock, knock, (D) knockin’ on heaven’s (C) door. (G) Knock, knock, (D) knockin’ on heaven’s (Dm7) door. (G) Knock, knock, (D) knockin’ on heaven’s (C) door.
(G) Mama, put (D) my guns in the (Dm7) ground. (G) I can’t (D) shoot them any (C) more. (G) That long black (D) cloud is comin’ (Dm7) down. (G) I feel like I’m (D) knockin’ on heaven’s (C) door.
(G) Knock, knock, (D) knockin’ on heaven’s (Dm7) door. (G) Knock, knock, (D) knockin’ on heaven’s (C) door. (G) Knock, knock, (D) knockin’ on heaven’s (Dm7) door. (G) Knock, knock, (D) knockin’ on heaven’s (C) door. (G)
(Bob Dylan) (Artist Index) - (Main Index) - (Song Index) (This Song)
KODACHROME - Paul Simon
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When I think (G) back on all the (G7) crap I learned in (C) high school, (Am) it's a wonder (D) I can think at (G) all (Am)(D). And though my (G) lack of edu (G7) cation hasn't (C) hurt me none, (Am) I can read the (D) writing on the (G) wall.
Koda (C) chro- (Em)- oh - (Am) -ome. You give us those (Dm) nice bright (G) colors, give us the (C) greens of (F) summers, makes you think (D) all the (G) world's a sunny (C) day, (Em) oh (Am) yeah. I got a (Dm) Nikon (G) camera, I love to take a (C) photo (F) graphs, so Mama don't (Dm) take my (G) Kodachrome a (C) way. (Em)(Am)(D)
If you took (G) all the girls I (G7) knew when I was (C) single, (Am) and brought them all to (D) gether for one (G) night (Am)(D). I know they'd (G) never match my (G7) sweet imagin (C) ation, (Am) and everything looks (D) worse in black and (G) white.
Koda (C) chro- (Em)- oh - (Am) -ome. You give us those (Dm) nice bright (G) colors, they give us the (C) greens of (F) summers, makes you think (D) all the (G) world's a sunny (C) day, (Em) oh (Am) yeah. I got a (Dm) Nikon (G) camera, I love to take the (C) photo (F) graphs, so mama don't (Dm) take my (G) Kodachrome a (C) way. (Em)(Am)
Mama don't (C) take my (Em) Kodachrome a (Am) way. Mama don't (C) take my (Em) Kodachrome a (Am) way. Mama don't (C) take my (Em) Kodachrome a (Am) way.
(C) Mama don't take my Kodachrome, (Em) mama don't take my Kodachrome, (Am) mama don't take my Kodachrome away.
(C) Mama don't take my Kodachrome, (Em) leave your boy so far from home. (Am) Mama don't take my Kodachrome away.
(C) Mama don't take my Kodachrome. (Em) Ohhh, wooo. (Am) Mama don't take my Kodachrome away.
(C) (Em) (Am); (C) (Em) (Am); (C) (Em) (Am); (C)
(Paul Simon) (Artist Index) - (Main Index) - (Song Index) (This Song)
KUMBAYA – Traditional - Campfires all over the world
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Kumba (A) ya, my Lord, (D) kumba (A) ya. Kumbaya my Lord, (D) kumba (E) ya. Kumba (A) ya, my Lord, (D) kumba (A) ya. (D) Oh (A) Lord, (E) kumba (A) ya.
Someone's (A) crying, Lord, (D) kumba (A) ya. Someone's crying, Lord, (D) kumba (E) ya. Someone's (A) crying, Lord, (D) kumba (A) ya. (D) Oh (A) Lord, (E) kumba (A) ya.
Someone's (A) praying, Lord, (D) kumba (A) ya. Someone's praying, Lord, (D) kumba (E) ya. Someone's (A) praying, Lord, (D) kumba ya. (D) Oh (A) Lord, (E) kumba (A) ya.
Someone's (A) singing Lord, (D) kumba (A) ya. Someone's singing Lord, (D) kumba (E) ya. Someone's (A) singing Lord, (D) kumba ya. (D) Oh (A) Lord, (E) kumba (A) ya.
Someone's (A) sleeping, Lord, (D) kumba (A) ya. Someone's sleeping, Lord, (D) kumba (E) ya. Someone's (A) sleeping, Lord, (D) kumba ya. (D) Oh (A) Lord, (E) kumba (A) ya.
(D) Oh (A) Lord, (E) kumba (A) ya.
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
L.A. COUNTY - Lyle Lovett
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(A) She left Dallas for Cali (D) fornia, with an (A) old friend by her (D) side. Well he did not (A) say much, but one year (D) later, he'd ask (A) her to be his (D) wife.
And the (A) lights of L.A. (D) County, look like (A) diamonds in the (D) sky. When you're (A) driving through the (D) hours, with an (A) old friend at your (D) side.
One year (A) later I left (D) Houston, with an (A) old friend by my (D) side. Well it did not (A) say much, but it was a (D) beauty, of a (A) coal black forty -(D) five.
And the (A) lights of L.A. (D) County, look like (A) diamonds in the (D) sky. When you're (A) driving through the (D) hours, with an (A) old friend at your (D) side.
So I (A) drove on all the (D) day long, and I (A) drove on through the (D) night. And I (A) thought of her a (D) waiting, for to (A) be his blushing (D) bride.
And the (A) lights of L.A. (D) County, look like (A) diamonds in the (D) sky. When you're (A) driving through the (D) hours, with an (A) old friend at your (D) side.
And as she (A) stood there at the (D) altar, all (A) dressed in her gown of (D) white. Her face was (A) bright as stars a (D) shining, like I'd (A) dreamed of all my (D) life.
And they kissed each (A) other, and they turned a (D) round, and they saw me (A) standing in the (D) aisle. Well I did not (A) say much, I just stood there (D) watching, as that forty - (E) five told them good (A) bye.
And the (D) lights of L.A. (A) County, look like (E) diamonds in the (A) sky. When you're (D) kneeling at the (A) altar, with an (E) old friend at your (A) side.
And the (D) lights of L.A. (A) County, are a (E) mighty pretty (A) sight. When you're (D) kneeling at the (A) altar, with an (E) old friend at your (A) side.
(Lyle Lovett) (Artist Index) - (Main Index) - (Song Index) (This Song)
La Bamba - (Valens) - Los Lobos [Original Spanish] (C2)
TIP: Because of syntax the translation from Spanish to English doesn't work well. If you can, just fake the Spanish although an English translation is also provided afterwards.
TIP: You must play the full (E7) chord as indicated as you need that treble note.
TIP: You can't fake the electric guitar riff during the instrumental so just strum (A) for a bit, then (E) for a bit, then do the intro again and proceed.
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INTRO: (E)-(A)(D)(E); (E)(A)(D)
ALT INTRO: (A)(D)(E); (A)(D)(E)
(E7) Para bailar la (A) bamba (D)(E). (Em7) Para bailar la (A) bamba se (D) nece (E) sita, una poca de (A) gracia (D)(E).
(E7) Una poca de (A) gracia para (D) mi-para (E) ti, arriba y (A) arriba (D)(E).
(E7) Arriba y (A) arriba por (D) ti seré (E). Por ti (A) seré, por (D) ti se (E) re.
(E7) Yo no soy mari (A) nero (D)(E). (Em7) Yo no soy mari (A) nero (D) soy capi (E) tán.
Soy capi (A) tán, soy (D) capi (E) tán.
(A) La (D) ma (E) bamba. (A) La (D) ma (E) bamba. (A) La (D) la (E) bamba. (E) Bam (A) ba.
(E7) Para bailar la (A) bamba (D)(E). (Em7) Para bailar la (A) bamba se (D) nece (E) sita, una poca de (A) gracia (D)(E).
(E7) Una poca de (A) gracia para (D) mi-para (E) ti, arriba y (A) arriba.
[Instrumental] (A) (E); (A) (E); (A)(D)(E), (A)(D)(E)
(E7) Para bailar la (A) bamba (D)(E). (Em7) Para bailar la (A) bamba se (D) nece (E) sita, una poca de (A) gracia (D)(E).
(E7) Una poca de (A) gracia para (D) mi-para (E) ti, arriba y (A) arriba (D)(E).
(E7) Arriba y (A) arriba por (D) ti seré (E). Por ti (A) seré, por (D) ti se (E) re.
(A) La (D) ma (E) bamba. (A) La (D) ma (E) bamba. (A) La (D) la (E) bamba.
(A) La (D) la (E) bamba. (E) Bam (A) ba.
(Los Lobos) (Artist Index) - (Main Index) - (Song Index) (This Song)
- - - - - - - - - - - - - - - - - - - -
La Bamba - (Valens) - Los Lobos [English Translation]
TIP: The word "Captain" needs three syllables so sing it as "Cap i tan" even though it's not spelled phonetically that way. You may also want to sing "... dance the La Bamba" instead of "...dance the Bamba." Just sounds better although not gramatically correct.
TIP: You must play the full (E7) chord as indicated as you need that treble note.
TIP: You can't fake the electric guitar riff during the instrumental so just strum (A) for a bit, then (E) for a bit, then do the intro again and proceed.
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INTRO: (E)-(A)(D)(E); (E)(A)(D)
(E7) In order to dance the (A) Bamba (D)(E). In order to dance the (A) Bamba a little (D) humor is (E) needed.
(E7) A little humor for (A) me (D) and for (E) you - faster and (A) faster (D)(E).
(E7) Faster and (A) faster, (D) I'll be for (E) you. I'll be for (A) you. I'll (D) be for (E) you.
(E7) I'm not a (A) sailor (D)(E). (E7) I'm not a (A) sailor I'm (D) cap (E) tain. I'm cap (A) tain. I'm (D) cap (E) tain.
(A) La (D) ma (E) bamba. (A) La (D) ma (E) bamba. (A) La (D) la (E) bamba. (E) Bam (A) ba.
(E7) In order to dance the (A) Bamba (D)(E). In order to dance the (A) Bamba a little (D) humor is (E) needed.
(E7) A little humor for (A) me (D) and for (E) you - faster and (A) faster (D)(E).
(E7) A little (A) humor for (D) me and for (E) you - faster and (A) faster (D)(E).
[Instrumental] (A) (E); (A)(D)(E), (A)(D)(E)
(E7) In order to dance the (A) Bamba (D)(E). In order to dance the (A) Bamba a little (D) humor is (E) needed.
(E7) A little humor for (A) me (D) and for (E) you - faster and (A) faster (D)(E).
(E7) Faster and (A) faster, (D) I'll be for (E) you. I'll be for (A) you. I'll (D) be for (E) you.
(A) La (D) ma (E) bamba. (A) La (D) ma (E) bamba. (A) La (D) la (E) bamba.
(A) La (D) la (E) bamba. (E) Bam (A) ba.
(Los Lobos) (Artist Index) - (Main Index) - (Song Index) (This Song)
LADY MADONNA – (Lennon/McCartney) – The Beatles [C0]
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Intro: (E) (A) (E) (A) (E) (A) (C) (D) (E)
(E) Lady Ma (A) donna, (E) children at your (A) feet. (E) Wonder how you (A) manage to (C) make ends (E) meet. Who finds the (A) money (E) when you pay the (A) rent? (E) Did you think that (A) money was (C) hea (D) ven (E) sent?
(Am) Friday night arrives without a (D) suitcase, (G) Sunday morning creeping like a (Em) nun.
(Am) Monday's child has learned to tie his (D7) bootlegs. (G) See (D) how (F#m) they (B7) run.
(E) Lady Ma (A) donna, (E) baby at your (A) breast. (E) Wonders how you (A) manage to (C) feed the (E) rest.
(Am) Pa pa pa pa, pa pa pa (D7) pa pa pa pa pa. (G) Pa pa pa pa pa, pa pa pa (C) pa pa pa pa pa.
(Am) Pa pa pa pa, pa pa pa (D7) pa pa pa pa pa. (G) See (D) how (F#m) they (B7) run.
(E) Lady Ma (A) donna (E) lying on the (A) bed, (E) listen to the (A) music playing (C) in (D) your (E) head.
(Am) Tuesday afternoon is never (D) ending. (G) Wednesday morning papers didn't (Em) come. (Am) Thursday night you stocking needed (D7) mending. (G) See (D) how (F#m) they (B7) run.
(E) Lady Ma (A) donna, (E) children at your (A) feet. (E) Wonder how you (A) manage to (C) make (D) ends (E) meet. (E) (C) (D) (C) (E)
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE LAST RESORT - (Henley/Frey) - The Eagles (C2)
TIP: For the intro piano part, form and hold (E) and then pluck the 2nd and top/6th strings together (notes and ), followed by a pluck of the 3rd string (note ). Repeat this sequence 8 times, then strum (E) once and begin singing. Looks complicated but it's not.
TIP: After verse two is the first bridge. After the final (A) x 8 strum, pause for about two seconds (. . . ) then pluck single notes: bottom string/4th fret , bottom string/2nd fret , open bottom string , and open 2nd string . Then it's like the opening only a little reversed: form and hold (E) and pluck top and 3rd string together and then the 2nd string. Do this 5 time, strum (E) and begin the next verse. Again, looks messy but it's not.
TIP: Many people find (B) one of the harder chords to play, especially if you're capo'd up the neck. I included an alternate method of playing (B) as a barre at the 4th fret, with the pinky covering the bottom string of the 7th fret. Even though its a barre you might actually find it easier to play.
TIP: In the second bridge you can cover/alternate the (Asus) by either sliding your bottom finger over one fret, or adding your pinky to 2nd string/3rd fret.
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Intro: x 8; (E)
(E) She came from (A) Providence, (B) the one in Rhode (E) Island. Where the old world (A) shadows hang, (B) heavy in the (E) air. She packed her (A) hopes and dreams, (B) like a refu (E) gee, just as her (A) father came (B) across the (E) sea. She heard a (A) bout a place, (B) people were
(E) smilin'. They spoke about the (A) red man's way, (B) how they loved the (E) land. And they came from (A) everywhere (B) to the Great Di (E) vide. Seeking a (A) place to stand, (B) or a place to (E) hide. (E) x 8
Down in the (A) crowded bars, (B) out for a (E) good time. Can't wait to (A) tell you all, (B) what it's like up (E) there. And they called it (A) paradise, (B) I don't know (E) why. Somebody laid the (A) mountains low, (B) while the town got (E) high.
(E) x 8, (A) x 8, (E) x 8, (A) x 8 . . . ; ; x 5 (E)
Then the chilly (A) winds blew down, (B) across the (E) desert, through the canyons (A) of the coast, (B) to the Mali (E) bu. Where the pretty (A) people play, (B) hungry for pow (E) er, to light their (A) neon way, and (B) give them things to (E) do. (E) x 8
Some rich men came and (A) raped the land. (B) Nobody (E) caught 'em. Put up a bunch of (A) ugly boxes, and (B) Jesus people (E) bought 'em. And they called it (A) paradise. (B) The place to
(E) be. They watched the (A) hazy sun, (B) sinking in the (E) sea.
(E) x 8, (A) x 8, (E) x 8, (A) x 8; [softly] (E) x 4 . . . [delicately] (A)(A)(Asus)(Asus) x 8
(Gadd) You can leave it (C) all behind, (D) and sail to La (G) haina. Just like the
(C) aries did, (D) so many years a (G) go. They even brought a (C) neon sign: (D) "Jesus is
(G) coming." Brought the white man's (C) burden down; (D) brought the white man's (G) reign.
Who will provide the (C) grand design? (D) What is yours and what is (G) mine? 'Cause there is no more (C) new frontier. (D) We have got to (G) make it here. We satisfy our (C) endless needs,
(D) and justify our (G) bloody deeds, in the name of (C) destiny (D) and in the name of (G) God. (G) x 8
And you can (Cadd) see them there, (D) on Sunday (G) morning. They stand up and (C) sing about,
(D) what it's like up (G) there. They call it (C) paradise. (D) I don't know (G) why. You call someplace (C) paradise. (D) Kiss it good (G) bye. (G) x 8
(CaddG) x 8, (Gadd x 8), (CaddG x 8); repeat and end with (G).
(The Eagles) (Artist Index) - (Main Index) - (Song Index) (This Song)
LEARNING TO FLY - (Petty/Lynne) - Tom Petty
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Intro: (F)(C)(Am)(G) x 4
Well I (F) started (C) out (Am)(G), down a (F) dirty (C) road (Am)(G). (F) Started
(C) out (Am)(G), (F) all a (C) lone (Am)(G). And the (F) sun went (C) down (Am)(G), as I
(F) crossed the (C) hill (Am)(G). And the (F) town lit (C) up (Am)(G), the (F) world got
(C) still (Am)(G).
I'm (F) learning to (C) fly (Am)(G), but I (F) ain't got (C) wings (Am)(G). (F) Coming
(C) down (Am)(G), is the (F) hardest (C) thing (Am)(G).
Well the (F) good old (C) days (Am)(G), may (F) not re (C) turn (Am)(G). And the (F) rocks might (C) melt (Am)(G), and (F) the sea may (C) burn (Am)(G).
I'm (F) learning to (C) fly (Am)(G), but I (F) ain't got (C) wings (Am)(G). (F) Coming
(C) down (Am)(G), is the (F) hardest (C) thing (Am)(G).
Well (F) some say (C) life (Am)(G), will (F) beat you (C) down (Am)(G). And (F) break your
(C) heart (Am)(G), (F) steal your (C) crown (Am)(G). So I (F) started (C) out (Am)(G), for
(F) God knows (C) where (Am)(G). I (F) guess I'll (C) know (Am)(G), when (F) I get
(C) there (Am)(G).
I'm (F) learning to (C) fly (Am)(G), a (F) round the (C) clouds (Am)(G). But (F) what goes
(C) up (Am)(G), (F) must come (C) down (Am)(G).
(F)(C)(Am)(G); (F)(C)(Am)(G)
I'm (F) learning to (C) fly (Am)(G), but I (F) ain't got (C) wings (Am)(G). (F) Coming
(C) down (Am)(G), is the (F) hardest (C) thing (Am)(G).
I'm (F) learning to (C) fly (Am)(G), a (F) round the (C) clouds (Am)(G). But (F) what goes
(C) up (Am)(G), (F) must come (C) down (Am)(G).
I'm (F) learning to (C) fly (Am)(G). (F)(C)(Am)(G). I'm (F) learning to (C) fly (Am)(G). (F)(C)(Am)(G). (C)
(Tom Petty) (Artist Index) - (Main Index) - (Song Index) (This Song)
LEAVING ON A JET PLANE – (Denver) - John Denver/Peter, Paul, & Mary
TIP: At the end of the final chorus, sing “on a jet plane” as notes “g-f-e-d”, and linger on the final “babe” and “hate.”
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Intro: Strum (D7)
All my (G) bags are packed, I'm (C) ready to go. I'm (G) standin' here out (C) side your door. I (G) hate to wake you (C) up to say good (D) bye (D7). But the (G) dawn is breakin', it's (C) early morn. The (G) taxi's waitin', he's (C) blowin' his horn. Al (G) ready I'm so (C) lonesome I could (D) die. (D7)
So (G) kiss me and (C) smile for me. (G) Tell me that you'll (C) wait for me. (G) Hold me like you'll (C) never let me (D) go. (D7) 'Cause I'm (G) leaving (C) on a jet (G) plane. I don't know when (C) I'll be back a (G) gain. Oh, (C) babe, I hate to (D) go. (D7)
There's so (G) many times I've (C) let you down. So (G) many times I've (C) played around. I (G) tell you now, (C) they don't mean a (D) thing (D7). Every (G) place I go, I’ll (C) think of you. Every (G) song I sing, I (C) sing for you. When (G) I come back I'll (C) wear your wedding (D) ring. (D7)
So (G) kiss me and (C) smile for me. (G) Tell me that you'll (C) wait for me. (G) Hold me like you'll (C) never let me (D) go. (D7) 'Cause I'm (G) leaving (C) on a jet (G) plane. I don't know when (C) I'll be back a (G) gain. Oh, (C) babe, I hate to (D) go. (D7)
(G) Now the time (C) has come to leave you. (G) One more time, (C) let me kiss you. And (G) close your eyes, (C) I'll be on my (D) way (D7). (G) Dream about the (C) days to come, when (G) I won't have to (C) leave alone. A (G) bout the times that (C) I won't have to (D) say. (D7)
(G) Kiss me and (C) smile for me. (G) Tell me that you'll (C) wait for me. (G) Hold me like you'll (C) never let me (D) go. (D7) 'Cause I'm (G) leaving (C) on a jet (G) plane. I don't know when (C) I'll be back a (G) gain. Oh, (C) babe . . . I hate . . . to (D) go.
(John Denver)(Peter, Paul & Mary) (Artist Index) - (Main Index) - (Song Index) (This Song)
LET IT BE – (Lennon/McCartney) - The Beatles [C1]
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(G) When I find myself in (D) times of trouble, (Em) mother Mary (C) comes to me, (G) speaking words of (D) wisdom, let it (C) be (G). And in my hour of (D) darkness she is (Em) standing right in (C) front of me, (G) speaking words of (D) wisdom, let it (C) be (G).
Let it (Em) be, let it (D) be, let it (C) be, let it (G) be. Whisper words of wis (D) dom, let it (C) be (G).
(G) And when the broken (D) hearted people (Em) living in the (C) world agree, (G) there will be an (D) answer, let it (C) be (G). For though they may be (D) parted there is (Em) still a chance that (C) they will see, (G) there will be an (D) answer, let it (C) be (G).
Let it (Em) be, let it (D) be, let it (C) be, let it (G) be. Whisper words of wis (D) dom, let it (C) be (G).
(G) And when the night is (D) cloudy, there is (Em) still a light, that (C) shines on me. (G) Shine until to (D) morrow, let it (C) be (G). I wake up to the (D) sound of music, (Em) mother Mary (C) comes to me, (G) speaking words of (D) wisdom, let it (C) be (G).
Let it (Em) be, let it (D) be, let it (C) be, let it (G) be. Whisper words of wis (D) dom, let it (C) be (G).
Let it (Em) be, let it (D) be, let it (C) be, let it (G) be. Whisper words of wis (D) dom, let it (C) be (G).
(C) (G) (D) (C) (G)
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
LET IT BE ME – (Becaud/Curtis) – The Everly Brothers
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(G) I bless the (D) day I found you. (Em) I want to (Bm) stay around you. (C) And so I (G) beg you, (C) let it be (G) me. Don't take this (D) heaven from one. (Em) If you must (Bm) cling to someone, (C) now and for (G) ever, (C) let it be (G) me.
(C) Each time we (Bm) meet love, (C) I find com (G) plete love. (Am) Without your (Bm) sweet love, (C) what would life (B) be?
(G) So never (D) leave me lonely. (Em) Tell me you (Bm) love me only. (C) And that you'll
(G) always, (C) let it (G) be me.
(C) Each time we (Bm) meet love, (C) I find com (G) plete love. (Am) Without your (Bm) sweet love, (C) what would life (B) be?
(G) So never (D) leave me lonely. (Em) Tell me you (Bm) love me only. (C) And that you'll
(G) always, (C) let it (G) be me.
(The Everly Brothers) (Artist Index) - (Main Index) - (Song Index) (This Song)
LET'S GET MARRIED - (Reid/Reid) - The Proclaimers
TIP: The song has a distinct downward strum beat, kind of like (chord) 1-2-3-4 (chord) 1-2-3-4 etc.
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Intro: (G)(C)(G)(D); (G)(C)(G)(D)(Dsus)(D)
(G) We've been, going together, too (C) long, to be (D) vague, when there's (C) something, to
(D) say. If it's (G) not now, then it's never. So I'll (C) say it straight (D) out, 'cuz I
(C) have no (Cm) doubt, no (D) doubt.
Let's get (G) married. I love ya, and I, want to stay with ya. Let's get (C) married. Have kids, grow old, and grey with ya. Let's get (D) married. Hold hands, walk in the park. Let's get
(G) married, let's get (C) married (G) (D).
(G) We know, other people, who (C) drifted a (D) part, who (C) broke each others (D) hearts. But (G) we ain't, other people. So we'll (C) do things our (D) way. We're (C) gonna be o, (Cm) kay.
We're gonna be (D) more, than okay.
Let's get (G) married. We're ready, for tying the knot. Let's get (C) married. Set the seal, on the feelings we've got. Let's get (D) married. We can make each other happy, or we can make each other blue. Let's get (G) married. Yeah it's just a piece of paper, but it (D) says "I Love You."
For the (G) good times. For the days, when we can do no wrong. For the (C) bad times. For the moments, when we think we can't go on. For the (D) family. For the lives, of the children that we've planned. Let's get (G) married. C'mon darlin', (C) please take my (G) hand.
Oh and (D) I'll be the one, who's (C) by, your (G) side. (D) I'll be the one, still (C) taking
(G) pride. (Em) When we're old, if they ask me, "(Am) How do you define success?" I'll say,
"(C) You meet a woman and, you fall in love and, (D) you ask her if she says 'Yes'. Ask her if she says 'Yes'."
(G) Let's get married. I love ya, and I want to stay with ya. Let's get (C) married. Have kids, grow old, and grey with ya. Let's get (D) married. Hold hands, when we walk, in the park. Let's get (G) married. All right you can get a cat, just as (D) long, as it barks.
For the (G) good times. For the days, when we can do no wrong. For the (C) bad times. For the moments, when we think we can't go on. For the (D) family. For the lives, of the children that we've planned. Let's get (G) married.
C'mon darlin', (C) please, take my (G) hand. C'mon darlin', (C) please, take my hand. C'mon darlin', (C) please, take my (G) hand. (C) (G) (C) (G) (G)-(C)-(D)-(G)
(The Proclaimers) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE LETTER - (Thompson) - The Box Tops (C1)
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INTRO: (Am)(F)(E)(Am)
(Am) Gimme a ticket for an (F) aeroplane. (G) Ain't got time to take a (Am) fast train.
Lonely days are gone, (F) I'm a-goin' home, my (E) baby just a wrote me a (Am) letter.
I don't care how much money I (F) gotta spend. (G) Got to get back to (Am) baby again.
Lonely days are gone, (F) I'm a-goin' home, my (E) baby just a wrote me a (Am) letter.
Well, she (C) wrote me a (G) letter, said she (F) couldn't (C) live with (G) out me no more.
(C) Listen mister (G) can't you see I (F) got to get (C) back to my (G) baby once a more.
(E7) Anyway, yeah.
(Am) Gimme a ticket for an (F) aeroplane. (G) Ain't got time to take a (Am) fast train.
Lonely days are gone, (F) I'm a-goin' home, my (E) baby just a wrote me a (Am) letter.
Well, she (C) wrote me a (G) letter, said she (F) couldn't (C) live with (G) out me no more.
(C) Listen mister (G) can't you see I (F) got to get (C) back to my (G) baby once a more.
(E7) Anyway, yeah.
(Am) Gimme a ticket for an (F) aeroplane. (G) Ain't got time to take a (Am) fast train.
Lonely days are gone, (F) I'm a-goin' home, my (E) baby just a wrote me a (Am) letter.
(The Box Tops) (Artist Index) - (Main Index) - (Song Index) (This Song)
LETTER FROM AMERICA - (Reid/Reid) - The Proclaimers
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Intro: (Cadd)(G)(Am)(G); (Cadd)(G)(Am)(G); (Cadd)(G)(Am)(G); (Cadd)(G)(Am)(G)
When you (C) go, will you send back, a (F) letter (G) from A (C) merica? Take a look, up the railtrack, from Mi (F) ami (G) to Cana (C) da.
(F) Broke off from my work, the other day. (Am) I spent the evening thinking about (Am7) all the (Am) blood that (A4) flowed a (Am) way. (F) Across the ocean, to the second chance. I (Am) wonder how it got on, when it (F) reached the promised (G) land.
When you (C) go, will you send back, a (F) letter (G) from A (C) merica? Take a look, up the railtrack, from Mi (F) ami (G) to Cana (C) da.
(F) I've looked at the ocean, tried hard to imagine, the (Am) way you felt, the day you sailed,
from (Am7) Wester Ross to (A4) Nova (Am) Scotia. (F) We should have held you, we should have told ya, (Am) but you know our sense of timing, we (F) always wait too (G) long.
When you (C) go, will you send back, a (F) letter (G) from A (C) merica? Take a look, up the railtrack, from Mi (F) ami (G) to Cana (C) da.
Lochaber no (G) more, (Am) Sutherland no (G) more, (C) Lewis no (G) more, (Am) Skye no (G) more. (C) Lochaber no (G) more, (Am) Sutherland no (G) more, (C) Lewis no (G) more, (Am) Skye no
(G) more. (C) Lochaber no (G) more, (Am) Sutherland no (G) more, (C) Lewis no (G) more,
(Am) Skye no (G) more.
(F) I wonder my blood, will you ever return, (Am) to help us kick the life back, to a dying mutual (Am7) frien- (Am) -end? (F) Do we not love her, I think we all tell you about. (Am) Do we have to roam the world to (F) prove how much it (Gadd) hurts?
When you (C) go, will you send back, a (F) letter (G) from A (C) merica? Take a look, up the railtrack, from Mi (F) ami (G) to Cana (C) da.
(C) Bathgate no (G) more, (Am) Linwood no (G) more, (C) Methil no (G) more, (Am) Irvine no
(G) more. (C) Bathgate no (G) more, (Am) Linwood no (G) more, (C) Methil no (G) more, (Am) Irvine no (G) more. (C) Bathgate no (G) more, (Am) Linwood no (G) more, (C) Methil no (G) more,
(Am) Irvine no (G) more. (C) Bathgate no (G) more, (Am) Linwood no (G) more, (C) Methil no
(G) more, (Am) Loch - (C) - ab - er (Am) no (G) more.
(The Proclaimers) (Artist Index) - (Main Index) - (Song Index) (This Song)
LIGHT ONE CANDLE - (Yarrow) - Peter, Paul and Mary
TIP: The intro is pretty easy, and part of it is also played again, when indicated, as a transition between chorus and the next verse. To play (G4) lift the top two fingers, moving one to the (2nd string/1st fret), and keeping the bottom finger in place. The (G) is strummed three times and the (G4) once. The (EmF) is just regular (Em) with pinky added to bottom string/2nd fret. Really pretty finger-picked too.
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INTRO: (G)-(G4) x 4; (Em)-(EmF)x 2; (G)-(G4)x2; (Em)-(EmF); (Em)
(G) Light one candle for the Maccabee children, with thanks their light didn't (Em) die. And
(C) light one candle for the pain they endured, when their right to exist was de (B7) nied.
(Em) Light one candle for the terrible sacrifice (C) justice and freedom de (A) mand. And
(G) light one (Em) candle for the (G) wisdom to (Em) know, that the (C) peacemaker's (D) time is at (G) hand. (B7)(E)
(E) Don't let the (Am) light go out. It's (D) lasted for so many (G) years (B7). (E) Don't let the (Am) light go out. Let it (D) shine through our love and our (G) tears (B7)(Em).
(Em)-(EmF) x 2
(G) Light one candle for the strength that we need, to never become our own (Em) foe. And
(C) light one candle for those who are suff'ring, a pain they learned so long a (B7) go.
(Em) Light one candle for all we believe in, that (C) anger not tear us a (A) part. And (G) light one (Em) candle to (G) bind us to (Em) gether, with (C) peace as the (D) song in our
(G) heart (B7)(E).
(E) Don't let the (Am) light go out. It's (D) lasted for so many (G) years (B7). (E) Don't let the (Am) light go out. Let it (D) shine through our love and our (G) tears (B7)(Em).
(Em)-(EmF) x 4
(G) What is the memory that's valued so highly, that we keep it alive in that (Em) flame?
(C) What's the commitment to those who have died? We cry out "they've not died in (B7) vain."
(Em) We have come this far, always believing, that (C) justice will somehow pre (A) vail. (G) This is the (Em) burden, (G) this is the prom (Em) ise, (C) this is why (D) we will not
(G) fail (B7)(E).
(E) Don't let the (Am) light go out. It's (D) lasted for so many (G) years (B7). (E) Don't let the (Am) light go out. Let it (D) shine through our love and our (G) tears (B7)(E).
(E) Don't let the (Am) light go out. It's (D) lasted for so many (G) years (B7). (E) Don't let the (Am) light go out. Let it (D) shine through our love and our (G) tears (B7)(E).
(E) Don't let the (Am) light go out! (E) Don't let the (Am) light go out! (E) Don't let the (Am) light go (C) out.
(Peter, Paul & Mary) (Artist Index) - (Main Index) - (Song Index) (This Song)
LILY, ROSEMARY AND THE JACK OF HEARTS – (Dylan) – Joan Baez/Bob Dylan (C2)
[Can also be played in G – C – D (substituting for A – D – E) and ignoring the Bm chord placement]
[There’s a whole litany of theories concerning what this ballad is about. Does Jack die? Did Lily save him? Are Rosemary and Lily the same person? Google the song title sometime. Whatever theory you like best is the right one!]
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(A) The festival was over, and the (D) boys were all plannin' for a (A) fall. The cabaret was quiet, ex (D) cept for the drillin' in the (A) wall. The (D) curfew had been (A) lifted and the (E) gamblin' wheel shut (A) down. (D) Anyone with (A) any sense, had (Bm) already left (E) town. He was (A) standin' in the doorway (D) lookin' like the (E) Jack of Hear (A) arts.
He moved across the mirrored room, (D) "Set em up for everyone," he (A) said. Then everyone commenced to do, what (D) they'd been doin', before he moved their (A) heads. Then he (D) walked up to a (A) stranger, and he (E) asked him with a (A) grin, "Could you (D) kindly tell me, (A) mister, what (Bm) time the show be (E) gins?" He (A) moved into the corner, (D) face down like the (E) Jack of Hear (A) arts.
Backstage the girls were playin' (D) five-card stud by the (A) stairs. Lily had two queens and she was (D) hopin' for a third to match her (A) pair. Out (D) side the streets were (A) fillin' up and a (E) window was open (A) wide. A (D) gentle breeze was (A) blowin', you could (Bm) feel it from in (E) side. (A) Lily called another bet, and (D) drew up the (E) Jack of Hear (A) arts.
Big Jim was no one's fool, (D) he owned the town's only diamond (A) mine. He made his usual entrance, (D) lookin' all so dandy and so (A) fine. With his (D) bodyguards and (A) silver cane and (E) every hair in (A) place, he (D) took whatever he (A) wanted to, and he (Bm) laid it all to (E) waste, But his (A) bodyguards and his silver cane, they were (D) no match for the (E) Jack of Hear (A) arts.
Rosemary combed her hair, and (D) took the carriage into (A) town. She slipped into the side door, (D) lookin' like a queen without a (A) crown. She (D) fluttered her false (A) eyelashes and (E) whispered in his (A) ear, "I'm (D) sorry, darlin', (A) that I'm late," but he (Bm) didn't seem to (E) hear. He was (A) starin' into space, (D) over at the (E) Jack of Hear (A) arts.
"Well I know I've seen that face somewhere," (D) Big Jim was thinkin' to him (A) self. "Maybe down in Mexico or A (D) picture upon somebody's (A) shelf." But then the (D) crowd began to (A) stamp their feet, and the (E) house lights did (A) dim, and (D) in the darkness (A) of the room, there was (Bm) only Jim and (E) him. (A) Starin' at the butterfly, who (D) just up drew up the (E) Jack of Hear (A) arts.
Lily was a princess, She was (D) fair-skinned and precious as a (A) child. She had that certain something, (D) was a kind of a flash every time she (A) smiled. She'd (D) come away from a (A) broken home, had (E) lots of strange a (A) ffairs with (D) men in every (A) walk of life, who (Bm)/ took her every - (E) where. But she'd (A) never met anyone (D) quite like the (E) Jack of Hear (A) arts.
The hangin' judge came in un (D) noticed, and was being wined and (A) dined. The drillin' in the wall kept up, but (D) no one seemed to pay it any (A) mind. It was (D) known all a (A) round that Lily (E) had Jim's (A) ring, and (D) nothing would ever (A) come between (Bm) Lily and the (E) king. No, (A) nothin' ever could, ex (D) cept maybe the (E) Jack of Hear (A) arts.
Rosemary started drinkin' hard and (D) seein' her reflection in the (A) knife. She was tired of the attention, (D) tired of playin' the role of Big Jim's (A) wife. She had (D) done a lot of (A) bad things, even (E) once tried sui (A) – cide. Was (D) lookin' to do just (A) one good (Bm) deed before she (E) died. She was (A) gazin' to the future, (D) riding on the (E) Jack of Hear (A) arts.
Lily took her dress off, (D) buried it a (A) way. "Has your luck run out?" she laughed at him, "I (D) guess you must have known it would some (A) day. Be (D) careful not to (A) touch the wall, there's a (E) brand-new coat of (A) paint. I'm (D) glad to see you're (A) still alive, and you're (Bm) lookin' like a (E) saint." (A) Down the hallway footsteps were (D) comin' for the (E) Jack of Hear (A) arts.
The Backstage Manager was (D) pacin', all around by his (A) chair. "There's somethin' funny going on, " I (D) know, I can just feel it in the (A) air." He (D) went to get the (A) hangin' judge but the (E) hangin' judge was (A) drunk, and the (D) leading actor (A) hurried by in the (Bm) costume of a (E) monk. But there was (A) no actor anywhere, (D) better than the (E) Jack of Hear (A)/ arts.
Lily had her arms around the (D) man she dearly loved to (A) touch. She forgot all about the man she (D) hated who hounded her so (A) much. I (D) missed you so she (A) said to him, and he (E) thought she was sin (A) cere but (D) in the hallway (A) he found (Bm) jealousy and (E) fear. (A) Just another night in the (D) life of the (E) Jack of Hear (A) arts.
No one knew the circumstance but (D)d they say that it happened pretty (A) quick. The door to the dressing room burst (D) open and a cold revolver (A) clicked. And (D) Big Jim was (A) standin' there, you (E) couldn't say sur - (A) prised, Rose (D)/ mary right be (A) side him, (Bm) steady in her (E) eyes. She was (A) with Big Jim, but she was (D) leanin' to the (E) Jack of Hear - (A) arts.
Two doors down and the (D) boys finally made it through the (A) wall. They cleaned out the bank safe, (D) said they got off with quite a (A) haul. And in the (D) darkness of the (A) riverbed they (E) waited on the (A) ground for (D) one more (A) member who had (Bm) business back in (E) town. But they (A) couldn't go no further, (D) without the (E) Jack of Hear (A) arts.
Well the next day was hangin' day, the (D) sky was overcast and (A) black. Big Jim lay covered up, (D) killed by a penknife in the (A) back. And Rose (D) mary on the (A) gallows, Lord she (E) didn't even (A) blink. The (D) hangin' judge was (A) sober, Lord, he (Bm) hadn't had a (E) drink and the (A) only person on the scene (D) missing was the (E) Jack of Hear (A) arts.
Well the cabaret was quiet now and a (D) sign said, "Closed for re (A)/ pair." Lily had already taken (D) all of the dye out of her (A)/ hair. She was (D) thinkin' about her (A) father who she (E) very rarely (A) saw. (D) Thinkin' about Rose (A) mary, and (Bm) thinkin' about the (E) law. But (A) most of all she was (D) thinkin' about the (E) Jack of Hear (A) arts.
(Bob Dylan)(Joan Baez) (Artist Index) - (Main Index) - (Song Index) (This Song)
LITTLE MOUNTAIN CHURCH HOUSE - (Jackson/Rushing) - Ricky Skaggs/Nitty Gritty Dirt Band
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(D) There's a little mountain church in my (G) thoughts of yesterday, where (D) friends and family gathered for the (A) Lord. There an (D) old fashioned preacher taught the (G) straight and narrow way, for what few (D) coins the congreg (A) ation could af (D) ford.
Dressed in all our Sunday best, we sat on (G) pews of solid oak, and I re (D) member how our voices filled the (A) air. How Mama (D) sounded like an angel on those (G) high soprano notes and "When the (D) Roll is Called Up (A) Yonder I'll Be (D) There."
Looking back now that little mountain (G) church house, has be (D) come my life's corner (A) stone.
It was (D) there in that little mountain (G) church house, I first (D) heard the word I (A) based my life up (D) on.
(D)(G)(D)(A); (D)(G)(D)(A)(D)
At the all day Sunday singing, with (G) dinner on the ground. (D) Many were the souls that were re (A) vived. While the (D) brothers and the sisters who've gone (G) on to Gloryland slept in (D) peace in the (A) maple grove near (D) by.
Looking back now that little mountain (G) church house, has be (D) come my life's corner (A) stone.
It was (D) there in that little mountain (G) church house, I first (D) heard the word I (A) based my life up (D) on.
Looking back now that little mountain (G) church house, has be (D) come my life's corner (A) stone.
It was (D) there in that little mountain (G) church house, I first (D) heard the word I (A) based my life up (D) on.
(Nitty Gritty Dirt Band) (Ricky Skaggs) (Artist Index) - (Main Index) - (Song Index) (This Song)
LITTLE PINK HOUSES - John Mellencamp (C1)
TIP: This isn't a hard song to play, with only 4 major chords, but it's a little tricky to get the cadence down as Mellencamp has a kind of stilted/slurring kind of tempo.
TIP: In the intro, form the (G) and then pick the top string , second string , and the open third string (from the bottom)- - followed by the first (G).
TIP: The same "intro" is played after each verse but you can just play the chords if you wish as it's a little trickier coming off the preceding (C).
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INTRO: (G)(C)-(G); (G)(C)-(G); (G)(C)-(G); (G)(C)-(G)
There's a black man, with a black cat, livin' in a black neighborhood. He's got a, interstate, runnin' through his front yard, you know he (F) thinks he's (C) got it so (G) good. And there's a woman, in the kitchen, cleanin' up evenin' slop. And he (F) looks at her and says "Hey (C) darlin', I can remember when you could, (G) stop a clock."
Oh, but ain't that A (C) merica, for you and (G) me. Ain't that A (C) merica, somethin' to (G) see baby. Ain't that A (C) merica, home of the (D) free yeah. Little pink houses for (C) you and me.
Oh yeah for you and me. (G)(C)-(G); (G)(C)-(G)
Well there's a young man, in a T-shirt, listenin' to a rock 'n' roll station. He's got a greasy hair, greasy smile. He says, (F) "Lord this must be (C) my destin (G) ation." 'Cause they told me, when I was younger, said "Boy you're gonna be President." But just like (F) everything else those old crazy dreams, just (C) kinda came and (G) went.
Oh, but ain't that A (C) merica, for you and (G) me. Ain't that A (C) merica, somethin' to (G) see baby. Ain't that A (C) merica, home of the (D) free yeah. Little pink houses for (C) you and me.
Oh built baby for you and me. (G)(C)-(G); (G)(C)-(G); (G)(C)-(G)
(F)(C)(G); (F)(C)(G); (F)(C)(G); (F)(C)(G)
Well there's people, and more people. What do they know know know? Go to work in, some high rise, and va (C) cation down at the Gulf of Mexi (G) co. Oooh yeah. And there's winners, and there's losers. But they ain't no big deal. 'Cause the (F) simple man baby pays the (C) thrills, the bills, the (G) pills that kill.
Oh, but ain't that A (C) merica, for you and (G) me. Ain't that A (C) merica, somethin' to (G) see baby. Ain't that A (C) merica, home of the (D) free yeah. Little pink houses for (C) you and me. Ooooh. Oooh (G) yeah.
Ain't that A (C) merica, for you and (G) me. Ain't that A (C) merica, hey with somethin' to (G) see baby. Ain't that A (C) merica oh the home of the (D) free yeah yeah yeah yeah yeah (C) yeah. Little pink houses for you and (G) me. (C)(G) Ooooh yeah. (C)(G) Oooh yeah. (G)(C)(G), (G)(C)(G)
(John Mellencamp) (Artist Index) - (Main Index) - (Song Index) (This Song)
LITTLE RED RIDING HOOD (Blackwell) - Sam the Sham and the Pharohs (C0)
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(Em) Owwww! Who's that I see walkin'in these woods? (Em) Why it's Little Red Riding Hood.
(Em) Hey there, Little Red (G) Riding Hood (A) you sure are lookin' good. (C) You’re everything a (B7) big bad wolf could (Em) want. (B7) Listen to me! (Em) Little Red (G) Riding Hood, (A) I don't think little big girls should, (C) go walkin’ in these (B7) spooky old woods (Em) alone (B7) Owwww!
(G) What big eyes you have. (Em) The kind of eyes that drive wolves mad. So (A) just to see that you don't get chased, I think I (D7) ought to walk with you for a ways. (G) What cool lips you have. (Em) They're sure to lure someone bad, so (A) until you get to Grandma's place, I think you (D7) ought to walk, with me and be safe.
(Em) I'm gonna keep my (G) sheep suit sheep suit on, (A) til I'm sure that you've been shown, that (C) I can be trusted, (B7) walkin' with you (Em) alone. (B7) Ow (Em) Little Red (G) Riding Hood, (A) I'd like to hold you if I could. But (C) you might think I’m a (B7) big bad wolf, so I (Em) won’t. (B7) Owwww!
(G) What a big heart I have. (Em) All the better to love you with. (A) Little Red Riding Hood (D7), even bad wolves can be good. (G) I’ll try to be satisfied, (Em) just to walk close by your side. (A) Maybe you'll see, things my way, (D7) before we get to grandma's place. (Em) Little Red (G) Riding Hood, (A) you sure are lookin' good. (C) You're everything a (B7) big bad wolf could (Em) want. (B7) Owwww!
I mean (Em) baaa! (G) Baaaa? (A) (C) (B7) (Em)
(Sam the Sham & the Pharohs) (Artist Index) - (Main Index) - (Song Index) (This Song)
LITTLE SISTER - (Pomus/Shuman) - Dwight Yoakam/Elvis Presley (C0)
TIP: The (A)(A4)(Emsus4) voicing in the chorus is quite easy and is just a sequential pulling off from the (A), as shown in the diagram, and then finishing with the (E).
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INTRO: Strum (E) quickly 8 times
(E) Little sister don't you . . . Little sister don't you . . . Little sister don't you (A) kiss me once or twice, (A7) tell me that's it nice and then you, (E) ru - -un. Yeah - (B) -aah little sister don't you (C) do what your (B7) big sister (E) done.
You know I (A) da (A4) ted (Emsus4) your big (E) sister. Oh I (A) took (A4) her (Emsus4) to the (E) show. Hey I (A) went for (A4) some (A) candy, (A4) and a (A) long came (A4) Jim (A) Dandy,
(A4) and they (A) slipped (A4) right (Emsus4) out the (E) door. [Strum (E) quickly 8 times]
(E) Little sister don't you . . . Little sister don't you . . . Little sister don't you (A) kiss me once or twice, (A7) tell me that's it nice and then you, (E) ru - -un. Yeah - (B) -aah little sister don't you (C) do what your (B7) big sister (E) done.
I used to (A) pull (A4) down (Emsus4) on your (E) pigtails. Hey girl (A) pinch (A4) your
(Emsus4) turned-up (E) nose. Oh but (A) baby you've (A4) been (A) growin', (A4) and (A) lately it's (A4) been (A) showin', (A4) from your (A) head (A4) down (Emsus4) to your (E) toes. [Strum (E) quickly 8 times]
(E) Little sister don't you . . . Little sister don't you . . . Little sister don't you (A) kiss me once or twice, (A7) tell me that's it nice and then you, (E) ru - -un. Yeah - (B) -aah little sister don't you (C) do what your (B7) big sister (E) done.
Every (A) time (A4) I (Emsus4) see your (E) sister, Lord she's (A) with (A4) some (Emsus4) body
(E) new. Oh she's (A) mean and (A4) she's (A) evil, (A4) like a (A) little old (A4) boll
(A) weevil. (A4) Think I'll (A) try (A4) my (Emsus4) love with (E) you. [Strum (E) quickly 8 times]
(E) Little sister don't you . . . Little sister don't you . . . Little sister don't you (A) kiss me once or twice, (A7) tell me that's it nice and then you, (E) ru - -un. Yeah - (B) -aah little sister don't you (C) do what your (B7) big sister (E) done.
Well - (B) - ell little sister don't you (C) do what your (B7) big sister (E) done. Oh - (B) - oh little sister don't you (C) do what your (B7) big sister (E) done.
CODA: Strum (E) moderately quickly 8 times.
(Elvis Presley) (Dwight Yoakum) (Artist Index) - (Main Index) - (Song Index) (This Song)
LIVING ON LOVE – Alan Jackson
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Intro: (A) (E) (D) (A)
Two young (A) people, without a (E) thing, say some (A) vows, and spread their (D) wings. Settle (A) down with just what they need, livin’ on (E) love. She don’t (A) care, 'bout what’s in (E) style. She just (A) likes, the way he (D) smiles. It takes (A) more than marble and (E) tile, livin’ on (A) love.
Livin’ on (E) love, buyin’ on (A) time. Without some (D) body nothing ain’t worth a (A) dime. Just like an (D) old-fashioned story book (A) rhyme, livin’ on (E) love. It sounds (A) simple, that’s what you're (E) thinkin', but love can (A) walk through fire without (D) blinkin'. It doesn’t take (A) much, when you get (E) enough, livin' on (A) love.
(A) (E) (D) (A); (D) (A) (E); (A)(E)(D)(A)(E)(D)(A); (E)
Two old (A) people, without a (E) thing. Children (A) gone, but still they (D) sing. Side by (A) side in that front porch swing, livin’ on (E) love. He can’t (A) see, any (E) more, she can (A) bare, ly sweep the (D) floor. Hand in (A) hand they'll walk through that (E) door, just livin’ on (A) love.
Livin’ on (E) love, buyin’ on (A) time. Without some (D) body nothing ain’t worth a (A) dime. Just like an (D) old-fashioned story book (A) rhyme, livin’ on (E) love. It sounds (A) simple, that’s what you're (E) thinkin', but love can (A) walk through fire without (D) blinkin'. It doesn’t take (A) much, when you get (E) enough, livin' on (A) love.
Livin’ on (E) love, buyin’ on (A) time. Without some (D) body nothing ain’t worth a (A) dime. Just like an (D) old-fashioned story book (A) rhyme, livin’ on (E) love. It sounds (A) simple, that’s what you're (E) thinkin', but love can (A) walk through fire without (D) blinkin'. It doesn’t take (A) much, when you get (E) enough, livin' on (A) love.
(D) No it doesn’t take (A) much, when you get (E) enough, livin' on (D) love (A).
(Alan Jackson) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE LOCOMOTION - (Coffin/King) - Little Eva/Grand Funk Railroad
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(G) Everybody's doin' a (Em) brand new dance now. (G) Come on baby, (Em) do the Locomotion.
I (G) know you'll get to like it if you (Em) give it a chance now. (G) Come on baby, (Em) do the Locomotion. My (C) little baby sister can (Am) do it with ease, it's (C) easier than learnin' your (A) ABCs. So (G) come on, come on and (D) do The Locomotion with (G) me.
You've got to swing your hips now (C). Come on. Jump (G) up, jump back. Oh well I (D) think you've got the knack. Whoa, whoa.
(G) Now that you can do it well (Em) let's make a chain now. (G) Come on baby, (Em) do the Locomotion. A (G) chuga-chuga motion like a (Em) railroad train now. (G) Come on baby, (Em) do the Locomotion. (C) Do it nice and easy now and (Am) don't lose control. A (C) little bit of rhythm and a (A) lot of soul. So (G) come on, come on and (D) do the Locomotion with (G) me.
Woah, woah. (G) Move around the floor in a (Em) locomotion. (G) Come on baby, (Em) do the Locomotion. (G) Do it holdin' hands if'n (Em) you get the notion. (G) Come on baby, (Em) do the Locomotion. There's (C) never been a dance that's so (Am) easy to do. It (C) even makes you happy when you're (A) feelin' blue. So (G) come on, come on and (D) do The Locomotion with (G) me . . .
. . . come on baby, (Em) do the Locomotion. So (G) come on, come on, and (D) do the Locomotion with (G) me. (G) Come on baby, (Em) do the Locomotion. So (G) come on, come on, and (D) do The Loco-Motion with (G) me.
(G) Come on baby, (Em) do the Locomotion. (G) Come on baby, (Em) do the Locomotion.
(G) Come on baby, (Em) do the Locomotion. (G) Come on baby, (Em) do the Locomotion. (G)
(Little Eva)(Grand Funk Railroad) (Artist Index) - (Main Index) - (Song Index) (This Song)
LODI – (Fogerty) - Creedance Clearwater Revival [C1]
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Intro: (C) (F) (F) (G) (G) (Gadd) (C)
(C) Just about a year ago, I (F) set out on the (C) road. Seekin my (Em) fame and (Am) fortune, (Dm) lookin for a pot of (G) gold. (C) Things got (Em) bad, and (Am) things got worse, I (F) guess you will know the (C) tune. Oh Lord, (G) stuck in Lodi a (F) gain (C).
(C) Rode in on the greyhound, I’ll be (F) walkin’ out if I (C) go. I was (Em) just (Am) passin through, must be (Dm) seven months or (G) more. (C) Ran out of (Em) time and (Am) money, (F) looks like they took my (C) friends. Oh Lord, (G) stuck in Lodi a (F) gain (C).
The (C) man from the magazine, (F) said I was on my (C) way. Somewhere I (Em) lost conn (Am) ections, (Dm) ran out of songs to (G) play. (C) I came into town, a (Am) one nightstand, (F) looks like my plans fell (C) through. Oh Lord, (G) stuck in Lodi a (F) gain (C).
[Key change]
(D) Mmmm ... If I only had a dollar, for (G) ev’ry song I’ve (D) sung. And (F#m) ev’ry time I’ve (Bm) had to play while (Em) people sat there (A) drunk. You (D) know I’d (F#m) catch the (Bm) next train, (G) back to where I (D) live. (D) Oh Lord, I’m (A) stuck in Lodi a (G) gain (D).
(D) Oh Lord, I’m (A) stuck in Lodi a (G) gain. (D) (G) (D) (A) (D)
(CCR) (Artist Index) - (Main Index) - (Song Index) (This Song)
LOLA – (Davies) - The Kinks
TIP: When playing the (C)-(D)-(E) riff, include your pinky above your ring finger on the top string to emphasize the bass note.
TIP: The movement from (A) to (E) to (B) in the bridge is a little tricky.
TIP: Play the (AA5) as a barre with your index finger and extend your pinky to cover the bottom string.
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Intro RIFF (C) – (D) – (E)
I (E) met her in a club down in old Soho where you (A) drink champange and it (D) tastes just like cherry (E) cola. C-O-L-A (A) cola. She (E) walked up to me and she asked me to dance. I (A) asked her her name and in a (D) dark brown voice she said (E) Lola. L-O-L-A (A) Lola. (D) Lo lo lo lo (C) Lo-La. (RIFF)
Well (E) I’m not the world’s most physical guy but when she (A) squeezed me tight she nearly
(D) broke my spine. You know my (E) Lola. Lo lo lo lo (A) Lola. Well (E) I’m not dumb but I can’t understand why she (A) walked like a woman but (D) talked like a man. I know my (E) Lola. Lo lo lo lo (A) Lola. (D) Lo lo lo lo (C) Lola. (RIFF)
Well we (B7) drank champagne and danced all night, (F#) under electric candle light. She (A) picked me up and sat me on her knee and said pretty boy won’t you (AA5) come home with me?
Well (E) I’m not the world’s most passionate guy but when I (A) looked in her eyes, well I (D) almost fell for my (E) Lola. Lo lo lo lo (A) Lo-La. (D) Lo lo lo lo (C) Lo-La. (RIFF) (E) Lo lo lo lo (A) Lo-La. (D) Lo lo lo lo (C) Lo-La. (RIFF)
I (A) pushed (E) her a (B) way. (E) I (A) walked (E) to the (B) door. (E) I (A) fell (E) to the (B) floor. I got (E) down (F#m) on my (C#m) knees. Then (B) I looked at her and she at me.
Well (E) that’s the way that I want it to stay, and I (A) always want it to (D) be that way for my (E) Lola. Lo lo lo lo (A) Lola. (E) Girls will be boys and boys will be girls, it’s a (A) mixed up muddled up (D) shook up world. Except my (E) Lola. Lo lo lo lo (A) Lola.
Hey and (B7) I’d left home just a week before and (F#) I’d never ever kissed a woman before. Well (A) Lola smiled and took me by the hand. Said pretty boy, gonna (AA5) make you a man.
Well (E) I’m not the world’s most passionate man but I (A) know what I am and I’m (D) glad I am and so is (E) Lola. Lo lo lo lo (A) Lo-La. (D) Lo lo lo lo (C) Lo-La (RIFF) Repeat and fade.
(The Kinks) (Artist Index) - (Main Index) - (Song Index) (This Song)
LONELY PEOPLE – (Peek) – America
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(G) This is for all the lonely (Bm) people, (G) thinking that life has (Em) passed them (D) by. (C) Don't give (D) up until you (G) drink from the silver (Em) cup, (C) and ride that (D) highway in the (G) sky.
This is for all the single (Bm) people, (G) thinking that love has (Em) left them (D) dry. (C) Don't give (D) up until you (G) drink from the silver (Em) cup. (C) You never (D) know until you (G) try.
Well, I'm (C) on (G) my (Am) way. Yes, I'm (C) back (G) to (Am) stay. Well, I'm (C) on (G) my (Am) way (D) back (G) home.
(G) (Bm) (G) (D); (C) (D) (G) (Em) (C), (C) (D) (G)
Well, I'm (C) on (G) my (Am) way. Yes, I'm (C) back (G) to (Am) stay. Well, I'm (C) on (G) my (Am) way (D) back (G) home.
(G) This is for all the lonely (Bm) people, (G) thinking that life has (Em) passed them (D) by. (C) Don't give (D) up until you (G) drink from the silver (Em) cup. (C) She’ll never (D) take you down or, (G) never give you (Em) up. (C) You’ll never (D) know until you (Em) try.
(America) (Artist Index) - (Main Index) - (Song Index) (This Song)
LONG BLACK VEIL – (Wilkin/Dill) – Mick Jagger with the Chieftains/Johnny Cash (C0)
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(G) Ten years ago on a cold dark night, (D7) someone was killed 'neath the (C) town hall (G) lights. There were few at the scene but they all agreed that the (D7) man who ran looked a (C) lot like (G) me.
She (C) walks these (G) hills in a (C) long black (G) veil. (G) She (C) visits my (G) grave when the (C) night winds (G) wail. (G-Add) Nobody knows, (C) nobody (G) sees. (C) Nobody (D7) knows but (C) me (G).
The Judge said son, “What’s your alibi? If you were (D7) somewhere else, then you (C) won't have to (G) die.” I spoke not a word though it meant my life for I'd (D7) been in the arms of my (C) best friends (G) wife.
She (C) walks these (G) hills in a (C) long black (G) veil. (G) She (C) visits my (G) grave when the (C) night winds (G) wail. (G-Add) Nobody knows, (C) nobody (G) sees. (C) Nobody (D7) knows but (C) me (G).
Now the scaffold is high and eternity's near. She (D7) stood in the crowd and (C) shed not a (G) tear. But some times at night when the (C) cold wind moans. In a (D7) long black veil she (C) cries over my (G) bones.
She (C) walks these (G) hills in a (C) long black (G) veil. (G) She (C) visits my (G) grave when the (C) night winds (G) wail. (G-Add) Nobody knows, (C) nobody (G) sees. (C) Nobody (D7) knows but (C) me. (G)
(The Chieftains) (Johnny Cash) (Artist Index) - (Main Index) - (Song Index) (This Song)
LONG COOL WOMAN – (Clarke/Cook/Greenway) The Hollies (C1)
TIP: There are some rock and roll classics that probably shouldn’t be performed acoustically . . . and this is one of them. But if Clapton can do Layla (also having one of the most recognizable opening guitar riffs in musical history) then why not this one. Besides, it’s unusual just to see the actual words to the Hollies’ incomprehensible singing.
TIP: The intro isn’t that great opening riff but is the bass thump-thump that comes afterwards and precedes the song. Each chord is strummed once and quickly. You can repeat it as often as you want before diving in.
TIP: In the second verse, play the (A) with your bottom three fingers as it will make the slide to (B) easier. It’s the only (B) in the song.
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INTRO: (E)-(E) (A)-(D)-(A); . . . repeat
(E) Saturday night I was downtown, (Gadd) working for the (A) F.B. (E) I. Sittin’ in a nest of bad men, (Gadd) whiskey bottles (A) piling (E) high. Bootleggin’ boozer on the west side, full of (Gadd) people who are (A) doin’ (E) wrong. Just about to call up the D.A. man, when I (Gadd) heard this woman (A) singin’ a (E) song.
A (A) pair of 45s made me open my eyes, my (B) temperature startin’ to rise. She was a (A) long cool woman in a black dress, just a (Gadd) five-nine, beautiful, (E) tall. Well just (A) one look I was a bad mess, ‘cuz that (G) long cool woman had it (E) all.
(E)-(E) (A)-(D)-(A)
(E) I saw her head up to the table, well a (Gadd) tall walking (A) big black (E) cat. Charlie said, "I hope that you're able boy, ‘cuz I'm (Gadd) telling you she (A) knows where it's (E) at." Suddenly we heard the sirens, and (Gadd) everybody (A) started to (E) run. Jumping under doors and tables, well I (Gadd) heard somebody (A) shooting a (E) gun.
(E) Well, the DA was pumping my left hand, (Gadd) she was (A) holding my (E) right. Well, I told her, "Don't get scared 'cuz you're (Gadd) gonna be spared.” I'm (A) gotta be forgiven if I (G) wanna spend my livin’ with a (A) long cool woman in a black dress, just a (Gadd) five-nine, beautiful, (E) tall.
With (A) just one look I was a bad mess, ‘cuz that (G) long cool woman had it (E) all. (G) Had it (E) all. (G) Had it (E) all. (G) Had it (E) all. (G) Had it (E) all. (A) Oooooh. (G) Had it (E) all.
(The Hollies) (Artist Index) - (Main Index) - (Song Index) (This Song)
LONG ROAD OUT OF EDEN - (Henley, Frey, Schmit) - The Eagles (C2)
TIP: The intro notes are usually picked.
TIP: To play the (F-D) in the outgoing verse just keep the (F) and place your pinky on the 2nd string/3rd fret, and then lift to return to the (F).
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Intro: (Am)(D), (Am)(D); (Am)(D), (Am)(G)(D)
(Am) Moon shining, (D) down through the palms. (Am) Shadows moving on the (D) sand.
(Am) Somebody whispering the (D) twenty-third Psalm, (Am) dusty rifle in his (D) trembling hands.
(Am) Somebody trying just to (D) stay alive. (Am) He got promises to (D) keep, (Am) over the ocean in (D) America, (Am) far away and fast a (D) sleep.
(F) Silent stars (G) blinking in the (F) blackness of an (G) endless (Am) sky. (F) Cold silver
(G) satellites, (F) ghostly, (G) caravans (Am) passing by. (F) Galaxies un (G) folding, (F) new worlds being (G) born. (F) Pilgrims and (G) prodigals (F) creeping toward the (G) dawn. And it's a (C) long, (E7) road, out of (Am) Eden.
(Am) Music blasting from an (D) S.U.V. (Am) on a bright and sunny (D) day. (Am) Rolling down the (D) interstate, (Am) in the good ol' U. S. (D) A. (Am) Having lunch at the pe (D) troleum club,
(Am) smokin' fine cigars and swappin' (D) lies. He said: (Am) "Gimme 'nother slice o' that
(D) barbecued brisket. (Am) Gimme 'nother piece o' that (D) pecan pie."
(F) Freeways (G) flickering, (F) cell phones (G) chiming a (Am) tune. We're (F) riding to
u (G) topia, (F) road map (G) says we'll be a (Am) rriving soon. (F) Captains of the (G) old order (F) clinging to the (G) reins, (F) assuring us these (G) aches inside are (F) only growing
(G) pains. But it's a (C) long, (E7) road, out of (Am) Eden.
(Am)(C)(Gadd) . . . (Am)(C), (Gadd)(Am)-(NC)-(D); (Am)(C)(Gadd) . . . (Am)(C), (Gadd)(Am)-(NC)-(D)
(F) Back home I was so (G) certain, (F) the path was very (G) clear. (F) But now I have to
(G) wonder: (F) "What are we (G) doing (F) here?" I'm not counting on to (G) morrow, and I
(F) can't tell wrong from (G) right, (F) but I'd give any (Gadd) thing to be (F) there (Am) in your (C) arms to (Am) night (Gadd)(Am).
(Am)(D), (Am)(G)-(D); (Am)(D), (Am)(G)-(D)
(Am) Weaving down the A (D) merican highway, through the (Am) litter and the wreckage and the
(D) cultural junk. (Am) Bloated with entitlement, (D) loaded on propaganda, (Am) and now we're driving (D) dazed and drunk. Been down the (Am) road to Damascus, the road to Mandalay. Met the ghost of Caesar on the (D) Appian way. He said, "It's (Am) hard to stop this bingeing, (D) once you get a taste, (Am) but the road to empire is a bloody stupid waste."
Be (F) hold the bitten (G) apple, the (F) power of the (F-D) tools. But (F) all the knowledge
(F-D) in the world is (Gadd) of no use to fools. And it's a (C) long . . . (E7) road . . . out of (Am) Eden.
(Am)(D), (Am)(D), (Am)(D), (Am)(G)-(D); (Am)(D), (Am)(G)-(D) . . . (Am)
(The Eagles) (Artist Index) - (Main Index) - (Song Index) (This Song)
LONG TIME GONE – (Scott) – Dixie Chicks (C0)
TIP: The chord sequence that appears emulates the banjo and violin solos in the song.
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INTRO: Pick out the notes for the instrumental opening and then (D) (G)-(D)-(A) (A) (D)
(D) Daddy sits on the front porch a-swinging, looking out on a (G) va (D) cant (A) field. Used to be filled with burley t'bacca. Now he knows it never (D) will. My brother found work in Indiana, sister's a nurse at the (G) old (D) folks (A) home. Mama’s still cookin’ too much for supper, and me I been a long time (D) gone.
Been a (G) long (D) time (A) gone. No, I (G) ain't hoed a (D) row since I (A) don't know when. Long (D) time (G) gone, and it (A) ain't coming back a (D) gain. (D) (G)-(D)-(A) (A) (D)
Deliah plays that ol' church piana, sittin’ out on her (G) dad (D) dy's (A) farm. She always thought that we'd be together. Lord I never meant to do her (D) harm. Said she could hear me singin' in the choir. Me, I heard a (G) noth (D) er (A) song. I caught wind and hit the road runnin', and Lord, I been long time (D) gone.
Been a (G) long (D) time (A) gone. No, I (G) ain't had a (D) prayer since I (A) don't know when. Long (D) time (G) gone, and it (A) ain't coming back a (D) gain (E).
(E) (A)-(E)-(B7) (B7) (E); (E) (A)-(E)-(B7) (B7) (E)
Now (C) me, I went to Nashville, tryin' to beat the big deal. (D) Playin' down on Broadway, gettin' there the hard a way. (C) Living from a tip jar, sleepin’ in my car. (D) Hocking my guitar, yeah I’m gonna be a (E) star.
Now, (D) me and Deliah singin’ every Sunday, watchin’ the children and the (G) gard (D) en
(A) grow. We listen to the radio to hear what's cookin’, but the music ain't got no (D) soul. Now they sound tired but they don't sound Haggard. They got money but they (G) don't (D) have
(A) Cash. They got Junior but they don't have Hank. I think, I think, I think, the rest is a
(G) Long (D) time (A) gone. No, I (G) ain't hit the (D) roof since I (A) don’t know when. Long (D) time (G) gone, and it (A) ain't coming (D) back . . . I said a (G) Long (D) time (A) gone. No, I (G) ain't honked the (D) horn since I (A) don’t know when. Long (D) time (G) gone, and it
(A) ain't coming back (D) again. (D) (G)-(D)-(A) (A) (D)
I said a long time, long time, long time (A) gone. Well it’s been a long time.
(D) Long time, long time, long time (A) gone. Oh, it's been a long . . . time . . . gone.
(D) Long time, long time, long time (A) gone. Yeah, yeah.
(D) (G)-(D)-(A) (A) (D)
(Dixie Chicks) (Artist Index) - (Main Index) - (Song Index) (This Song)
LOOK OUT HERE COMES TOMORROW - (Diamond) - The Monkees (C0)
TIP: On the chorus, it's important to sing the word "here" in the line that goes "Look out here comes tomorrow" on an up inflection to match the (F) or it won't sound right.
TIP: The words in [italics/brackets] are background vocal parts which can be ignored completely but if you've got a buddy, here's his/her time to shine. The background vocal at the end of the verse, like [Can't make up my mind.] is meant to be concurrently with the main vocal.
TIP: In the instrumental, each chord is strummed 5 times (down-up-down-up-down) before moving to the next one.
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INTRO: Strum (G)(C)(G)(C) . . .
(G) Look out, (Am) here comes tomorrow. (D7) That's when, (G) I'll have to choose. How I, (Am) wish I could borrow, (D7) someone else's (G) shoes.
(G) Mary, [Mary] (Am) oh what a sweet girl. (D7) Lips like, (G) strawberry pie. Sondra, [Sondra] (Am) long hair and pig tails. (D7) Can't make up my (G) mind.
(Gadd) I see, (F) all kinds of sorrow. (C) Wish I, (F) only loved (G) one. (C) Look out, (F) here comes tomorrow. (C) Oh how I (F) wish to (C) morrow would (F) never (G) come. (D)
(G) Told them, [told them] (Am) both that I loved them. (D7) Sayin' it, (G) and it was true. But I, [but I] (Am) can't have both of them. (D7) Don't know what to (G) do.
(Gadd) I see, (F) all kinds of sorrow. (C) Wish I, (F) only loved (G) one. (C) Look out, (F) here comes tomorrow. (C) Oh how I (F) wish to (C) morrow would (F) never (G) come. (D)
[Instrumental/Whispered] (G),(C),(D) "Mary, I (G) love you." (G),(C),(D) "Sondra, I (G) love you."
Well (Gadd) I see, (F) all kinds of sorrow. (C) Wish I, (F) only loved (G) one. (C) Look out, (F) here comes tomorrow. (C) Oh how I (F) wish to (C) morrow would (F) never (G) come. (D)
(G)(C)(D)(G); (G)(C)(D)(G)
(The Monkees) (Artist Index) - (Main Index) - (Song Index) (This Song)
LOOK WHAT THEY’VE DONE TO MY SONG – Melanie Safka (C4 or C5)
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(G) Look what they've done to my (Em) song, Ma. (C) Look what they've done to my (C7) song. Well it's the (G) only thing I could (A) do half right, and it's (C) turning out all wrong, Ma. (G) Look what they've (D) done to my (G) song. (D7)
(G) Look what they've done to my (Em) brain, Ma. (C) Look what they've done to my (C7) brain. Well they (G) picked it like a (A) chicken bone, and I (C) think I'm half insane, Ma. (G) Look what they've (D) done to my (G) song. (D7)
(G) I wish I could find a good (Em) book to live in. (C) Wish I could find a good (C7) book. Well, if (G) I could find a (A) real good book, I'd (C) never have to come out and look at (G) what they've (D) done to my (G) song. (D7)
(G) La la la la, la la (Em) la, la. (C) La la la la, la la (C7) la. La la (G) la la, la (A) la la, la la (C) la la la la la. (G) Look what they've (D) done to my (G) song. (D7)
(G) But maybe it'll-all be al (Em) right, Ma. (C) Maybe it'll all be o (C7) kay. Well, (G) if the people are (A) buying tears, (C) I'll be rich some day, Ma. (G) Look what they've (D) done to my (G) song. (D7)
(G) Look what they've done to my (Em) song, Ma. (C) Look what they've done to my (C7) song, Ma. Well they (G) tied it up in a (A) plastic bag, and (C) turned it upside down, Ma. (G) Look what they've (D) done to my (G) song. (D7)
(G) Look what they've done to my (Em) song, Ma. (C) Look what they've done to my (C7) song. Well it's the (G) only thing I could (A) do all right, and they (C) turned it upside down. (G) Look what they've (D) done to my (G) song.
(Melanie Safka) (Artist Index) - (Main Index) - (Song Index) (This Song)
LOOKIN’ OUT MY BACK DOOR – (Fogerty) - Creedence Clearwater Revival [C0/C6]
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Intro: (G)-G)-(G) (C) (G) (D7) (G)
Just got home from Illinois, (Em) lock the front door, oh boy. (C) Got to sit (G) down, take a (D) rest on the (D7) porch. Im (G) agination sets in, (Em) pretty soon I'm singing, (C) Doo, doo, (G) doo, lookin’ (D7) out my back (G) door.
There's a giant doing cartwheels, a (Em) statue wearing high heels. (C) Look at all the (G) happy creatures (D) dancing on the (D7) lawn. A (G) dinosaur Victrola, (Em) listening to Buck Owens. (C) Doo, doo, (G) doo, lookin’ (D7) out my back (G) door.
(D) Tambourines and elephants are (C) playing in the (G) band. Won't you take a ride (Em) on the flying (D) spoon? Doo, doo doo. (G) Wond'rous apparition, pro (Em) vided by magician. (C) Doo, doo, (G) doo, lookin’ (D7) out my back (G) door.
(D) Tambourines and elephants are (C) playing in the (G) band. Won't you take a ride (Em) on the flying (D) spoon? Doo, doo doo. (G) Bother me tomorrow, to (Em) day, I'll buy no sorrows. (C) Doo, doo, (G) doo, lookin’ (D7) out my back (G) door.
Forward troubles Illinois, (Em) lock the front door, oh boy. (C) Look at all the (G) happy creatures (D) dancing on the (G7) lawn. (G) Bother me tomorrow, to (Em) day, I'll buy no sorrows. (C) Doo, doo, (G) doo, lookin’ (D7) out my back (G) door.
(CCR) (Artist Index) - (Main Index) - (Song Index) (This Song)
LORD I HOPE THIS DAY IS GOOD - (Hanner) - Don Williams (C1)
TIP: Don performs this song in the key of D using (D)(A)(G) with (Bm)(F#m)(G)(D)(Em) in the chorus, but presented here in the easier key of C.
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(C) Lord, I hope this day is good. I'm feelin' empty and misunderstood. (G) I should be thankful, Lord, I know I should, but (F) Lord I hope this (G) day is (C) good.
Lord, have you forgotten me? I've been prayin' to you faithfully. (G) I'm not sayin' I'm a righteous man, but (F) Lord I hope you (G) under (C) stand.
(Am) I don't need (Em) fortune and I (F) don't need (C) fame. (Am) Send down the (Em) thunder, Lord, (F) send down the (C) rain. (Am) But when you're (Em) plannin' just (F) how it will (C) be,
(Dm) plan a good (F) day for (G) me.
(C) Lord, I hope this day is good. I'm feelin' empty and misunderstood. (G) I should be thankful, Lord, I know I should, but (F) Lord I hope this (G) day is (C) good.
(C)(G)(F)(G)(C)
(Am) You've been the (Em) King since the (F) dawn of (C) time. (Am) All that I'm (Em) askin' is a (F) little less (C) crime. (Am) It might be (Em) hard for the (F) devil to (C) do, but (Dm) it would be (F) easy for (G) you.
(C) Lord, I hope this day is good. I'm feelin' empty and misunderstood. (G) I should be thankful, Lord, I know I should, but (F) Lord I hope this (G) day is (C) good.
(Don Williams) (Artist Index) - (Main Index) - (Song Index) (This Song)
LORD IT'S HARD TO BE HUMBLE - Mac Davis (C0)
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Oh (D) Lord it's hard to be humble, when you're perfect in every (A7) way. I can’t wait to look in the mirror, cuz I get better looking each (D) day. To know me is to love me. I (D7) must be a hell of a (G) man. Oh Lord it’s hard to be (D) humble, but I’m (A7) doing the best that I (D) can. (G) (D)
I (D) used to (G) have a (D) girlfriend, but I guess she just couldn't com (A7) pete, with all of these love-starved women, who keep clamoring at my (D) feet. Well I prob'ly could find me another, but I (D7) guess they're all in awe of (G) me. Who cares, I never get (D) lonesome, cuz I (A7) treasure my own compan (D) y.
Oh (D) Lord it's hard to be humble, when you're perfect in every (A7) way. I can’t wait to look in the mirror, cuz I get better looking each (D) day. To know me is to love me. I (D7) must be a hell of a (G) man. Oh Lord it’s hard to be (D) humble, but I’m (A7) doing the best that I (D) can. (G) (D)
I (D) guess you could (G) say I'm a (D) loner. A cowboy outlaw tough and (A7) proud. Oh I could have lots of friends if I wanted, but then I wouldn’t stand out in a (D) crowd. Some folks say that I’m egotistical. Hell I (D7) don't even know what that (G) means. I guess it has something to (D) do with the way that I (A7) fill out my skin-tight blue (D) jeans.
Oh (D) Lord it's hard to be humble when you're perfect in every (A7) way. I can’t wait to look in the mirror cuz I get better looking each (D) day. To know me is to love me. I (D7) must be a hell of a (G) man. Oh Lord it’s hard to be (D) humble but I’m (A7) doing the best that I (D) can. (G) (D)
(Mac Davis) (Artist Index) - (Main Index) - (Song Index) (This Song)
LOS ANGELOSER - (Michael) - Meat Loaf (C1)
TIP: In the intro, strike each chord and then stop the sustain before going on to the next chord.
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INTRO: (D) (A) (Gadd) (D)
(Spoken) "I wrote you this poem - I'd like to dedicate it to you."
I'm just a (G) white boy, I play the (D) guitar. I put my (A) pants on. I drive a (D) shit car, up into the (Gadd) valley, to see my (D) girlfriend. She got a (A) big couch, she's got a (G) Mercedes (D) Benz.
Sing halle (G) lujah, my glass is (D) half full. She pours me (A) champagne, she drinks a (D) Red Bull. And she says (Gadd) "Darling, one thing you (D) got to understand: as long as (A) I am satisfied well you will (Gadd) always be my (D) man."
You know that (G) I, I'll give you all the (D) love that I have. I'll (A) empty all my pockets and I'll (D) give you what I can. You know that (Gadd) I, I'll give you all the (D) love that I have. I'll (A) give you all the love that I (D) can.
Los Ange (G) loo loo loo (D) ser. Los Ange (A) loo loo loo (D) ser. Los Ange (Gadd) loo loo loo (D) ser. I'm gonna (A) give you all the love that I (D) can.
Oh yeah. We got the (G) sunshine, we got the (D) good friends. We doe si (A) doe and all the time. Out in the (G) wilder - ness, she always (D) looks fine. She's gonna (A) be the one to make it and I'll (Gadd) be two steps be (D) hind.
You know that (G) I, I'll give you all the (D) love that I have. I'll (A) empty all my pockets and I'll (D) give you what I can. You know that (Gadd) I, I'll give you all the (D) love that I have. I'll (A) give you all the love that I (D) can.
Los Ange (G) loo loo loo (D) ser. Los Ange (A) loo loo loo (D) ser. Los Ange (Gadd) loo loo loo (D) ser. I'm gonna (A) give you all the love that I (D) can.
[Spoken, while repeating chords (D) (A) (Gadd) and (D)]
"Now check this out. I say this with the deepest appreciation for all you ladies out there. Especially the ones who've shown a little love for someone such as myself. You believed in me.
You loved me. Oh, so friendly toward me. And if it wasn't for you there would be no me."
You know that (G) I, I'll give you all the (D) love that I have. I'll (A) empty all my pockets and I'll (D) give you what I can. You know that (Gadd) I, I'll give you all the (D) love that I have. I'll (A) give you all the love that I (D) can.
You know that (G) I, I'll give you all the (D) love that I have. I'll (A) empty all my pockets and I'll (D) give you what I can. You know that (Gadd) I, I'll give you all the (D) love that I have. I'll (A) give you all the love that I (D) can.
(G) I, I'll give you all the (D) love that I have. I'll (A) empty all my pockets and I'll (D) give you what I can. You know that (Gadd) I, I'll give you all the (D) love that I have. I'll (A) give you all the love that I (D) can.
I'll (A) give you all the love that I (Gadd)-(D) can. I'll (A) give you all the love that I (Gadd)-(D) have.
[Spoken]: "If it wasn't for you there would be no me."
(Meat Loaf) (Artist Index) - (Main Index) - (Song Index) (This Song)
LOSING MY RELIGION – (Stipe/Buck) - R.E.M. (C5)
TIP: The chords are easy but this isn’t the easiest song to play because of Stipe's stilted singing cadence.
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INTRO: Form (Am) along with pinky on on 3rd fret/2nd string. Pick first four notes and strum (Am); Pick same notes and strum (F), repeat, strum (G) and start singing . . .
Oh (Am) life, is bigger. (Em) It's bigger than you, and you are (Am) not me. The lengths that I will (Em) go to. The distance in your (Am) eyes. (Em) Oh no I've said too (Dm) much. I set it (G) up.
That's me in the cor (Am) ner. That's me in the (Em) spot - light. Losing my relig (Am) on. Trying to (Em) keep up with you. And I (Am) don't know if I can do it. (Em) Oh no I've said too (Dm) much. I haven't said e (G) nough.
I thought that I heard you (F) laughing. I thought that I heard you (Am) sing. (F) I think I thought I saw you (Am) try.
(G) Every (Am) whisper, of every waking (Em) hour. I'm choosing my confess (Am) ions. Trying to (Em) keep an eye on you. Like a (Am) hurt lost and blinded fool. (Em) Oh no I've said too (Dm) much. I set it (G) up.
Consider (Am) this, consider this the (Em) hint of the century. Consider (Am) this, the slip, that (Em) brought me to my knees. Pale. (Am) What if all these fantasies come (Em) flailing around. Now I've (Dm) said too (G) much.
I thought that I heard you (F) laughing. I thought that I heard you (Am) sing. I (F) think I thought I saw you (Am) try. Try (G).
[High pick: Using just the bottom string, pick 12th fret, 10th fret, 8th fret, and 5th fret. Repeat]
But (F) that was just a dream. (Am) That was just a (F) dream.
That's me in the cor (Am) ner. That's me in the (Em) spot - light. Losing my relig (Am) on. Trying to (Em) keep up with you. And I (Am) don't know if I can do it. (Em) Oh no I've said too (Dm) much. I haven't said e (G) nough.
I thought that I heard you (F) laughing. I thought that I heard you (Am) sing. I (F) think I thought I saw you (Am) try. But (F) that was just a dream. (Am) Try, cry, fly, try. (F) That was just a dream, just a (Am) dream. Just a (G) dream. (Am) Dream.
[CODA: Strum (Am) pick out final notes and finish with (Am).]
(R.E.M.) (Artist Index) - (Main Index) - (Song Index) (This Song)
LOST HIGHWAY - Hank Williams (C0)
TIP: Presented in both keys of (D) and (G). Hank wrote it in (D) and it plays just fine if you're strumming and singing the melody, but I find it's also a fairly easy (and pretty) song to pick and therefore easier to play fingerstyle in (G).
(Key of D)
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INTRO: (D)(A)(D)
(NC) I'm a rollin (D) stone all a (G) lone and (D) lost. For a life of sin I have paid
the (A) cost. When I pass (G) by, all the people (D) say: "There goes another boy (A) down the lost high (D) way.
Just a deck of cards and a (G) jug of (D) wine. And a woman's lies makes a life like (A) mine.
For the day we (G) met, I went a (D) stray. I started rolling down (A) that lost high (D) way.
[Repeat chords] (D)(G)(D), (D)(A), (A)(G)(D), (D)(A)(D)
I was just a lad nearly (G) twenty (D) two. Neither good nor bad just a kid like (A) you. And now I'm (G) lost too late to (D) pray. Lord I've paid the cost (A) on the lost high (D) way.
Now boys don't start to (G) ramblin' (D) round. On this road of sin are you sorrow (A) bound. Take my ad (G) vice or you'll curse the (D) day, you started rollin' down (A) that lost
high (D) way.
---------------------------------------
(Key of G) (C4)
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INTRO: (G)(D)(G)
(NC) I'm a rollin (G) stone all a (C) lone and (G) lost. For a life of (Gadd) sin I have paid
the (D) cost. When I pass (CaddG) by, all the people (Gadd) say: "There goes another (G) boy
(D) down the lost high (G) way. (C)(G)
Just a deck of cards and a (C) jug of (G) wine. And a woman's (Gadd) lies makes a life like
(D) mine. For the day we (CaddG) met, I went a (Gadd) stray. I started rolling (G) down (D) that lost high (G) way. (C)(G)
[Repeat chords] (G)(C)(G), (G)(Gadd)(D), (D)(CaddG)(Gadd), (Gadd)(G)(D)(G)
I was just a lad nearly (C) twenty (G) two. Neither good nor (Gadd) bad just a kid like (D) you. And now I'm (CaddG) lost too late to (Gadd) pray. Lord I've paid the (G) cost (D) on the lost high (G) way. (C)(G)
Now boys don't start to (C) ramblin' (G) round. On this road of (Gadd) sin are you sorrow
(D) bound. Take my ad (CaddG) vice or you'll curse the (Gadd) day, you started rollin' (G) down (D) that lost high (G) way.
(Hank Williams) (Artist Index) - (Main Index) - (Song Index) (This Song)
LOVE AIN'T FOR KEEPING - (Townshend) - The Who (C0)
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INTRO: (G)-(G)-(G) (A), (D)(A)
(G) Layin' on my (D) back, in the newly mown (A) grass. (G) Rain is coming (D) down but I know the clouds will (A) pass. (D) You bring me tea; say "The babe's a- (A) -sleepin'." (C) Lay down be (G) side me. Love ain't for keep (A) ing. (A)(G)-(D), (A)(G)-(D)
(G) Black ash from the (D) foundry, hangs like a (A) hood. (G) But the air is per (D) fumed, by the burning fire (A) wood. (D) The seeds are bursting; the spring's a- (A) -seeping. (C) Lay down my dar (G) ling. Love ain't for keep (A) ing. (A)(G)-(D), (A)(G)-(D)
(C) Lay down be (G) side me. Love ain't for kee (A) ping (A)(G)-(D), (A)(G)-(D)
(G)(D)(Dsus2)(D)(Dsus2)(A); (G)(D)(Dsus2)(D)(Dsus2)(A); (G)(D)(Dsus2)(D)(Dsus2)(A)
(C) Lay down be (G) side me. Love ain't for kee (A) ping (A)(G)-(D), (A)(G)-(D)
(C) Lay down my dar (G) ling. Love ain't for keep (A) ing.
(The Who) (Artist Index) - (Main Index) - (Song Index) (This Song)
LOVE CAN BUILD A BRIDGE – (N. Judd/Jarvis/Overstreet) – The Judds
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I'd gladly (D) walk across the desert, with no (G) shoes upon my feet, to (A) share with you the last bite, of (G) bread I had to (D) eat. I would swim out to save you, in your (Bm) sea of broken dreams. When (G) all your hopes are (D) sinking, (A) let me show you what love means.
(D) Love can build a (A) bridge, be (A7) tween your heart and (D) mine. (D7) Love can build a (G) bridge. Don't you think it's (D) time? (A) Don't you think it's (D) time?
I would whisper love so loudly, every (G) heart could understand, that (A) love and only love, can (G) join the tribes of (D) man. I would give my heart's desire, (Bm) so that you might see. The (G) first step is to (D) realize, that it (A) all begins with you and me.
(D) Love can build a (A) bridge, be (A7) tween your heart and (D) mine. (D7) Love can build a (G) bridge. Don't you think it's (D) time? (A) Don't you think it's (D) time?
(G) When we stand together, (D) it's our finest hour. We can do (A) anything, (anything). Anything, (anything). (G) Keep believin' (D) in the power.
(D) Love can build a (A) bridge, be (A7) tween your heart and (D) mine. (D7) Love can build a (G) bridge. Don't you think it's (D) time? (A) Don't you think it's (D) time?
Yeah, yes I do. (D) Love can build a (A) bridge, be (A7) tween your heart and (D) mine. (D7) Love can build a (G) bridge. Don't you think it's (D) time? (A) Don't you think it's (D) time?
(The Judds) (Artist Index) - (Main Index) - (Song Index) (This Song)
LOVE ME TENDER – (Darby) – Elvis Presley (C0)
TIP: In the first line of each verse there’s a quick (Cmaj7) in between two (C) chords. Just play the (C) then remove the bottom index finger for one strum and replace it to go the next (C).
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(C) Love me (Cmaj7) ten (C) der, (Dm) love me sweet. (G7) Never let me (C) go. You have made my (Dm) life complete. (G7) And I love (C) so.
(C) Love me (E) tender, (Am) love me (C7) true. (F) All my (Fm) dreams ful (C) filled. For, my (A) darling (Dm) I love you. (G7) And I always (C) will.
(C) Love me (Cmaj7) ten (C) der, (Dm) love me long. (G7) Take me to your (C) heart. For it’s there that (Dm) I belong, (G7) and we’ll never (C) part.
(C) Love me (E) tender, (Am) love me (C7) true. (F) All my (Fm) dreams ful (C) filled. For, my (A) darling (Dm) I love you. (G7) And I always (C) will.
(C) Love me (Cmaj7) ten (C) der, (Dm) love me dear. (G7) Tell me you are (C) mine. I’ll be yours through (Dm) all the years, (G7) till the end of (C) time.
(C) Love me (E) tender, (Am) love me (C7) true. (F) All my dreams (Fm) ful (C) filled. For, my (A) darling (Dm) I love you. (G7) And I always (C) will.
(Elvis Presley) (Artist Index) - (Main Index) - (Song Index) (This Song)
LOVE HURTS – (Brant) - Gram Parsons & Emmylou Harris/Nazareth (C0)
TIP: Whenever possible include (add) a base string when playing (F) and (C). For example, when playing (C) add pinky to the top string, third fret. When playing (F) add pinky to A-string, third fret.
TIP: (C-) is simply (C) without the ring finger on the third fret.
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Intro (slowly with bass emphasis): (G) (Em) (C) (D)
Love (G) hurts. Love (Em) scars. Love (C) wounds and (D7) mars. Any (G) heart, not (Em) tough, nor (C) strong, e (D7) nough. To take a lot of (G) pain, (B7) take a lot of (Em) pain. Love is like a (C) cloud. (C-) Pulls a lot of (D7) rain. Love (G) hurts. (F) Mmm, (C) mmm, love (G) hurts.
I'm (G) young, I (Em) know. But (C) even (D7) so. I-know-a (G) thing or (Em) two I (C) learned from (D7) you. I really learned a (G) lot, (B7) really learned a (Em) lot. Love is like a (C) stove, (C-) burns you when it's (D7) hot. Love (G) hurts. (F) Mmm, (C) mmm, love (G) hurts.
(Em) Some fools think of (B7) happi (Em) ness, (B7) blissful (Em) ness, (B7) together (Em) ness. (A7) Some fools fool themselves I guess but (A) they're not (A7) fooling (D7) me.
I know it isn't (G) true, (B7) know it isn't (Em) true. Love is just a (C) lie (C-) made to make you (D7) blue. Love (G) hurts. (F) Mmm, (C) mmm, love (G) hurts.
(Emmylou Harris)(Nazareth) (Artist Index) - (Main Index) - (Song Index) (This Song)
LOVE ME TONIGHT - Don Williams (C1)
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(C) I been lonesome, I been (F) empty. I got a (C) achin', (G7) way down in side. I need (C) someone, someone to (F) hold me. Pull down the (C) shade, turn out the (G7) light, and love me (C) tonight.
Don't (G7) think about to (F) morrow, it don't (C) matter anymore. (G7) We can turn the (F) key and lock the (C) world outside the (G7) door. I need you (C) so now, come on let (F) go now. Kick off your (C) shoes, turn out the (G7) light, and love me (C) tonight.
(C) Now don't you worry, we're all a (F) lone now. Let your (C) hair down, sit (G7) down by my side. Turn off the (C) TV, put on some (F) music, pull down the (C) shade, turn out the (G7) light, and love me to (C) night.
Don't (G7) think about to (F) morrow, it don't (C) matter anymore. (G7) We can turn the (F) key and lock the (C) world outside the (G7) door. I need you (C) so now, come on let (F) go now. Kick off your (C) shoes, turn out the (G7) light, and love me (C) tonight.
(Don Williams) (Artist Index) - (Main Index) - (Song Index) (This Song)
LOVE WILL KEEP US ALIVE - (Capaldi/Carrack/Vale) - The Eagles (C1)
TIP: In the song the intro and outro are picked so if you strum use short "stabs" with the (A4) chord, aiming for two strings at a time, starting with the 4th/3rd strings and working your way from top to bottom and back. Also, midway through the song there's a solo using a guitar slide. I don't know how to emulate this so just play the (A4) sequence again.
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Intro: Strum/pick (A4) . . . (E)
I was (A) standing, all alone against the (F#m) world outside. You were (A) searching, for a place to (E) hide. Lost and (A) lonely, now you've given me the (F#m) will to survive. When we're
(A) hungry, (D) love will (E) keep us a (A) live.
Don't you worry, sometimes you've just gotta (F#m) let it ride. The world is (A) changing, right before your (E) eyes. Now I've (A) found you, there's no more empti (F#m) ess inside. When we're (A) hungry, (D) love will (E) keep us a (A) live.
I would (D) die for you. Climb the (F#m) highest mountain. (Bm) Baby, there's nothing I wouldn't (E) do.
Now I've (A) found you, there's no more empti (F#m) ness in - side. When we're (A) hungry,
(D) love will (E) keep us a (A) live.
(A4) . . .
I would (D) die for you. Climb the (F#m) highest mountain. (Bm) Baby, there's nothing I wouldn't (E) do.
I was (A) standing, all alone against the (F#m) world outside. You were (A) searching, for a place to (E) hide. Lost and (A) lonely, now you've given me the (F#m) will to survive. When we're
(A) hungry, (D) love will (E) keep us a (A) live.
When we're (A) hungry, (D) love will (E) keep us a (A) live.
When we're (A) hungry, (D) love will (E) keep us a (A) live. (A4) . . . (A)
(The Eagles) (Artist Index) - (Main Index) - (Song Index) (This Song)
LUCILLE – (Bynum/Bowling) - Kenny Rogers
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(C) In a bar in Toledo, across from the depot, on a barstool she took off her (G7) ring. I thought I'd get closer, so I walked on over. I sat down and asked her her (C) name. When the drinks finally hit her, She said,"I'm no quitter, but I (C7) finally quit living on (F) dreams. I'm (G7) hungry for laughter, and here ever after, I'm after whatever the other life (C) brings."
In the mirror I saw him, and I closely watched him. I thought how he looked out of (G7) place. He came to the woman, who sat there beside me. He had a strange look on his (C) face. His big hands were calloused, he looked like a mountain, for a (C7) minute I thought I was (F) dead. But (G7) he started shaking, his big heart was breaking. He turned to the woman and (C) said:
"You picked a fine time to leave me, Lu (F) cille. With four hungry children and crops in the (C) field. (F) I've had some bad times, lived through some sad times, this time the hurtin' won't (C) heal. You picked a (G7) fine time to leave me, Lu (C) cille.
After he left us, I ordered more whiskey. I thought how she'd made him look (G7) small. From the lights of the barroom, to the rented hotel room, we walked without talking at (C) all. Now she was a beauty, but when she came to me, she (C7) must have thought I'd lost my (F) mind. (G7) I couldn't hold her, for the words that he told her, kept comin' back time after (C) time.
"You picked a fine time to leave me, Lu (F) cille. With four hungry children and crops in the (C) field. (F) I've had some bad times, lived through some sad times, this time the hurtin' won't (C) heal. You picked a (G7) fine time to leave me, Lu (C) cille.
You picked a (G7) fine time to leave me, Lu (C) cille. (C)
(Kenny Rogers) (Artist Index) - (Main Index) - (Song Index) (This Song)
LUCKENBACK TEXAS – (Emmons/Moman) - Waylon Jennings and Willie Nelson
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(G-Add) The only two things in (D) life that make it worth (G) livin’. Is a (C) guitar in tune, a good and (D7) firm feelin’ (G) woman. (C) I don’t need my (Am) name in the marquee (G) lights. I (C) got my song, and I (D7) got you with me to (G) night. (C) Maybe it’s (G) time we got (D) back, to the (D7) basics of (G) love.
Let’s go to Luckenbach, Texas, with Waylon and Willie and the (C) boys. This suc (D) cessful life we’re livin’s got us (D7) feudin’ like the Hatfields and Mc (G) Coys. Between Hank Williams pain songs and (G7) Newberry’s train songs, and (Am) Blue Eyes cryin’ in the (C) rain. Out (D7) Luckenbach, Texas, ain’t nobody feelin’ no (G) pain.
So baby, let’s sell your diamond ring, (C) buy some boots and faded (D7) jeans and (G) go away. This coat and tie is chokin me. (C) In your high society, (D7) you (G) cry all day. We’ve been so busy keepin’ (G7) up with the Jones. (C) Four-car garage and were (A) still buildin’ on. (C) Maybe it’s time we got (D) back, to the (D7) basics of (G) love.
Let’s go to Luckenbach, Texas, with Waylon and Willie and the (C) boys. This suc (D) cessful life we’re livin’s got us (D7) feudin’ like the Hatfields and Mc (G) Coys. Between Hank Williams pain songs and (G7) Jerry Jeff's train songs, and (Am) Blue Eyes cryin’ in the (C) rain. Out in (D7) Luckenbach, Texas, ain’t nobody feelin’ no (G) pain. Out in (D7) Luckenbach, Texas, ain’t nobody feelin’ no (G) pain.
(Waylon Jennings)(Willie Nelson) (Artist Index) - (Main Index) - (Song Index) (This Song)
LUCKY MAN – (Lake) – Emerson, Lake & Palmer
TIP: This song is special to me as it’s the very first song I ever learned to play in 1975. So you have to do it right. It’s a very simple song but it’s essential you nail the (D)(Dsus2)(A) part of the word “was” in chorus. And it’s not hard at all. First off, the (D) comes first followed by the (Dsus2). The (Dsus2) is just the (D) without the bottom ring finger. Couldn’t be easier! More importantly, the word “was” is sung as two syllables (e.g. “wa – uz”) with the (D) accenting the “wa” and the (Dsus2) on the “uz”, following quickly by the (A). Try it and get it down before playing the song. I mean it. Don’t make me come find you. Oh yeah, one final thought. If you have a kazoo to play the Moog part at the end, that would be cool.
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(D) He had (A) white horses, and (D) ladies by the (A) score. (D) All dressed in (A) satin, and (D) waiting by the (A) door. (E) Ooooh, what a (A) lucky man, he (D)(Dsus2) was (A). (E) Ooooh, what a (D) lucky man, he (A) was.
(D) White lace and (A) feathers, they (D) made up his (A) bed. A (D) gold covered (A) mattress, on (D) which he was (A) laid. (E) Ooooh, what a (A) lucky man, he (D)(Dsus2) was (A). (E) Ooooh, what a (D) lucky man, he (A) was.
He (D) went to fight (A) wars, for his (D) country and his (A) king. Of his (D) honor and his (A) glory, the (D) people would (A) sing. (E) Ooooh, what a (A) lucky man, he (D)(Dsus2) was (A). (E) Ooooh, what a (D) lucky man, he (A) was.
A (D) bullet had (A) found him, his (D) blood ran as he (A) cried. No (D) money could (A) save him, so he (D) laid down and he (A) died. (E) Ooooh, what a (A) lucky man, he (D)(Dsus2) was (A). (E) Ooooh, what a (D) lucky man, he (A) was.
(E) Ooooh, what a (D) lucky man, he (A) was.
(ELP) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE LUMBERJACK SONG - (Jones/Palin/Tomlinson) - Monty Python
TIP: Of course this is the classic from Monty Python. There were several soliloquys depending upon which sketch the song expanded from, be it barber (the original), pet shop owner, or as featured here, a weatherman. The length of the introduction also varied, often going straight from "mighty Scots Pine" to "with my best girl (or buddy) by my side . . .".
TIP: The INTRO is playerd throughout the spoken bit leading up to the actual song, although you might find it difficult to concentrate on both the chord cadence while speaking the words. So suggest you strum the chords and have your best buddy (or girl) speak the intro. Go on then.
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[Spoken]: "Well the weather for the whole area will continue much the same as the past few days. Temperature 17 Centigrade, that's 49 Fahrenheit. Winds will freshen later tonight to southwest, force 6 or 7, and there will be showers, sometimes heavy in many . . . oh sod it! I didn't want to do this. I don't want to be a weather forecaster. I don't want to rabbit on all day about sunny
periods and patches of rain spreading from the west. I wanted to be . . . a Lumberjack!"
INTRO: (G)(D)(C); (D)(D)(D)-(G)(D)(C); repeat
"Leaping from tree to tree, as they float down the mighty rivers of British Columbia. The Giant Redwood. The Larch. The Fir. The mighty Scots Pine. The lofty flowering Cherry. The plucky little Apsen. The limping Roo tree of Nigeria. The towering Wattle of Aldershot. The Maidenhead Weeping Water Plant. The naughty Leicestershire Flashing Oak. The flatulent Elm of West Ruislip. The Quercus Maximus Bamber Gascoini. The Epigillus. The Barter Hughius Greenus.
With my best girl [or buddy] by my side, we'd sing! Sing! Sing!"
Oh, (G) I'm a lumberjack, and (C) I'm okay. I (D) sleep all night and I (G) work all day.
(G) He's a lumberjack, and (C) he's okay. He (D) sleeps all night and he (G) works all day.
I cut down trees. I (C) eat my lunch. I (D) go to the lava (G) tree. On Wednesdays I go (C) shopping and have (D) buttered scones for (G) tea.
He (G) cuts down trees. He (C) eats his lunch. He (D) goes to the lava (G) tree. On Wednesdays he goes (C) shopping and has (D) buttered scones for (G) tea.
(G) He's a lumberjack and (C) he's okay. He (D) sleeps all night and he (G) works all day.
I (G) cut down trees. I (C) skip and jump. I (D) like to press wild (G) flowers. I put on women's (C) clothing and (D) hang around in (G) bars.
He cuts down trees. He (C) skips and jumps. He (D) likes to press wild (G) flowers. He puts on women's (C) clothing and (D) hangs around in (G) bars?
He's a lumberjack, and (C) he's okay. He (D) sleeps all night and he (G) works all day.
I cut down trees. I (C) wear high heels, sus (D) pendies, and a (G) bra. I wish I'd been a (C) girlie, just (D) like my dear (G) Papa.
He cuts down trees. He (C) wears high heels, sus (D) pendies, and a (G) bra . . . ?
He's a lumberjack, and (C) he's okay. He (D) sleeps all night and he (G) works all day.
He's a lumberjack, and (C) he's okaaaaay. He (D) sleeps all night and he (G) works . . . (C) all . . . (G) day.
(Monty Python) (Artist Index) - (Main Index) - (Song Index) (This Song)
LYIN’ EYES – (Frey/Henley) – The Eagles (C5)
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(G) City girls just (Bm) seem to find out (C) early, (Am) how to open doors with just a (D) smile. A (G) rich old man and (Bm) she won't have to (C) worry. She'll (Am) dress up all in (C) lace and go in (G) style. Late at night a (Bm) big old house gets (C) lonely. I guess (Am) every form of refuge has its (D) price. And it (G) breaks her heart to (Bm) think her love is (C) only, given (Am) to a man with (C) hands as cold as (G) ice (C) (D). So she (G) tells him she must (Bm) go out for the (C) evening, to (Am) comfort an old friend who's feelin' (D) down. But (G) he knows where she's (Bm) goin' as she's (C) leavin'. She is (Am) headed for the (C) cheatin' side of (G) town (C) (G).
You can't (Gadd) hide your (G) ly (C) in' (G) eyes. And your (Em) smi (Bm) le is a thin dis (Am) guise (D). I thought by (G) now (Gadd) you'd real (C) ize (A), there (Am) ain't no way to (D) hide your lyin' (G) eyes.
On the other side of (Bm) town a boy is (C) waiting, with (Am) fiery eyes and dreams no one could (D) steal. She (G) drives on through the (Bm) night antici (C) pating. 'Cause he (Am) makes her feel the (C) way she used to (G) feel. She rushes to his (Bm) arms, they fall to (C) gether. She (Am) whispers that it's only for a (D) while. She (G) swears that soon she'll be (Bm) comin' back for (C) ever. She (Am) pulls away and (C) leaves him with a (G) smile (C) (G).
You can't (Gadd) hide your (G) ly (C) in' (G) eyes. And your (Em) smi (Bm) le is a thin dis (Am) guise (D). I thought by (G) now (Gadd) you'd real (C) ize (A), there (Am) ain't no way to (D) hide your lyin' (G) eyes.
She gets up and (Bm) pours herself a (C) strong one, and (Am) stares out at the stars up in the (D) sky. A (G) nother night, it's (Bm) gonna be a (C) long one. She (Am) draws the shade and hangs her head to (D) cry. She (G) wonders how it (Bm) ever got this (C) crazy. She (Am) thinks about a (C) boy she knew in (D) school. Did (G) she get tired or (Bm) did she just get (C) lazy? She's (Am) so far gone she (C) feels just like a (G) fool (C) (D). (G) My, oh my, you (Bm) sure know how to a (C) rrange things. You (Am) set it up so well, so carefull (D) y. Ain't it
(G) funny how your (Bm) new life didn't (C) change things. You're (Am) still the same old (C) girl you used to (G) be (C) (G).
You can't (Gadd) hide your (G) ly (C) in' (G) eyes. And your (Em) smi (Bm) le is a thin dis (Am) guise (D). I thought by (G) now (Gadd) you'd real (C) ize (A), there (Am) ain't no way to (D) hide your lyin' (G) eyes.
There (Am) ain't no way to (D) hide your lyin' (G) eyes. (Am) Honey, you can't (D) hide your lyin' (G) eyes (C) (G).
(The Eagles) (Artist Index) - (Main Index) - (Song Index) (This Song)
MAMA HE’S CRAZY – (Odell) – The Judds
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(G) Mama, I found someone. (G7) Like you said would come a (C) long. He's a sight, (G) so unlike, any man I've (D) known. I (G) was afraid, to let him in, (G7) 'cause I'm not the trustin (C) kind. But now I'm convinced, that (G) he's heaven sent, and (D7) must be out of his (G) mind.
Mama, he's (C) crazy. Crazy over me. And (G) in my life, is where he says, he always wants to (D) be. I've (G) never been so loved. (G7) He beats (C) all I've ever seen. (Am7) Mama, he's (G) crazy (D7). He's crazy over (G) me.
And (G) Mama, you've always said, (G7) "Better look before you (C) leap" Maybe so, but (G7) here I go. Lettin' my heart lead (D) me. He (G) thinks I hung, the moon and stars. (G7) I think he's a livin' (C) dream. Well there are men, but (G) ones like him, are (D7) few and far be (G) tween.
Mama, he's (C) crazy. Crazy over me. And (G) in my life, is where he says, he always wants to (D) be. I've (G) never been so loved. (G7) He beats (C) all I've ever seen. (Am7) Mama, he's (G) crazy (D7). He's crazy over (G) me.
Oh (C) Mama, he's (G) crazy (D7). He's crazy over (C) me (G).
(The Judds) (Artist Index) - (Main Index) - (Song Index) (This Song)
MAMAS DON’T LET YOUR BABIES GROW UP TO BE COWBOYS – (Bruce) - Waylon Jennings/Willie Nelson
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(D) Cowboys ain't easy to love and they're harder to (G) hold. (A7) They'd rather give you a (A) song than diamonds or (D) gold. Lonestar belt buckles and old faded levis, and (G) each night begins a new day. If you (A7) don't understand him, and (A) he don't die young, (A7) he'll prob'ly just ride (D) away.
(D) Mamas, don't let your babies grow up to be (G) cowboys. Don't (A7) let 'em pick guitars or (A) drive them old trucks. Let 'em be doctors and lawyers and (D) such. Mamas, don't let your babies grow up to be (G) cowboys. Cuz they'll (A7) never stay home and they're (A) always alone, (A7) even with someone they (D) love.
(D) Cowboys like smokey old pool rooms and clear mountain (G) mornings. (A7) Little warm puppies and (A) children and girls of the (D) night. Them that don't know him won't like him, and them that do, (G) sometimes won't know how to take him. (A7) He ain't wrong, he's just different, but (A) his pride won't let him, do things to make (A7) you think he's (D) right.
(D) Mamas, don't let your babies grow up to be (G) cowboys. Don't (A7) let 'em pick guitars or (A) drive them old trucks. Let 'em be doctors and lawyers and (D) such. Mamas, don't let your babies grow up to be (G) cowboys. Cuz they'll (A7) never stay home and they're (A) always alone, (A7) even with someone they (D) love.
(Waylon Jennings)(Willie Nelson) (Artist Index) - (Main Index) - (Song Index) (This Song)
MAMA TRIED – Merle Haggard
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(D) First thing I remember (G) knowin, was a (D) lonesome whistle (G) blowin, and a (D) young-un's dream of (G) growin up to (A7) ride. On a (D) freight train leaving (G) town, not (D) knowin where I'm (G) bound. No (D) one could change my (A7) mind but Mama (D) tried.
One and only rebel (G) child, from a (D) family meek and (G) mild. My (D) Mama seemed to (G) know what lay in (A7) store. Despite (D) all my Sunday (G) learnin, towards the (D) bad, I kept on (G) turnin, til (D) Mama couldn't (A7) hold me any (D) more.
And I turned twenty-one in (D7) prison doing (G) life without pa (D) role. No (Bm) one could steer me right but Mama (A7) tried, Mama tried. Mama (D) tried to raise me (D7) better, but her (G) pleading, I de (D) nied. That leaves only me to (A7) blame 'cuz Mama (D) tried.
Dear old Daddy, rest his (G) soul, left my (D) Mom a heavy (G) load. She (D) tried so very (G) hard to fill his (A7) shoes. Working (D) hours without (G) rest, wanted (D) me to have the (G) best. She (D) tried to raise me (A7) right but I re (D) fused.
And I turned twenty-one in (D7) prison doing (G) life without pa (D) role. No (Bm) one could steer me right but Mama (A7) tried, Mama tried. Mama (D) tried to raise me (D7) better, but her (G) pleading, I de (D) nied. That leaves only me to (A7) blame 'cuz Mama (D) tried.
(Merle Haggard) (Artist Index) - (Main Index) - (Song Index) (This Song)
MAN ON THE MOON - (Berry/Buck/Mills/Stipe) - R.E.M.
TIP: In the intro, focus on the bass strings (top 3) through first two (Em) chords and in particular the top open bass string with the (Em). Then strum the final set including the treble strings but again emphasize the open E string on the final (Em).
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Intro: (C) (Am) (Em); (Em); (C) (Am) (Em)
(C) Mott the Hoople and the (D/A) game of (D) Life. (C) Yeah, yeah, yeah, yeah. Andy Kaufman in the (D/A) wrestling (D) match. (C) Yeah, yeah, yeah, yeah. Monopoly, Twenty-one, (D) Checkers, and Chess. (C) Yeah, yeah, yeah, yeah. Mister Fred Blassie in a (D/A) breakfast (D) mess.
(C) Yeah, yeah, yeah, yeah. Let's play Twister, (D) let's play Risk. (C) Yeah, yeah, yeah, yeah. See you in heaven if you (D/A) make the (D) list. (C) Yeah, yeah, yeah, yeah.
Now (Am) Andy did you hear about (G) this one? (Am) Tell me are you locked in the (G) punch?
(Am) Andy are you goofing on (G) Elvis? Hey, ba (C) by. (D) Are we losing touch? (G) If you be (Am) lieve, (C) they put a man on the (G) moon, (Am) man on the (D) moon. (G) If you be
(Am) lieve, (C) there's nothing up his (Am) sleeve, then nothing is (D/A) cool.
(C) Moses went walking with the (D/A) staff of (D) wood. (C) Yeah, yeah, yeah, yeah. Newton got beaned by the (D/A) apple (D) good. (C) Yeah, yeah, yeah, yeah. Egypt was troubled by the
(D) horrible asp. (C) Yeah, yeah, yeah, yeah. Mister Charles Darwin had the (D/A) gall to
(D) ask. (C) Yeah, yeah, yeah, yeah.
Now (Am) Andy did you hear about (G) this one? (Am) Tell me are you locked in the (G) punch?
Hey (Am) Andy are you goofing on (G) Elvis? Hey, ba (C) by. (D) Are you having fun? (G) If you be (Am) lieve, (C) they put a man on the (G) moon, (Am) man on the (D) moon. (G) If you
be (Am) lieve, (C) there's nothing up his (Am) sleeve, then nothing is (D/A) cool.
(Em)-(EmC)-(Em)(D)-(D4)-(D); (Em)-(EmC)-(Em)(D)-(D4)-(D); (Em)-(EmC)-(Em)(D)-(D4)(D), (D)-(D4)-(D)
(C) Here's a little agit for the (D/A) never-be (D) liever. (C) Yeah, yeah, yeah, yeah. Here's a little ghost for the (D/A) offer (D) ing. (C) Yeah, yeah, yeah, yeah. Here's a truck stop
in (D) stead of Saint Peter's. (C) Yeah, yeah, yeah, yeah. Mister Andy Kaufman's gone
(D/A) wrestl (D) ing. (C) Yeah, yeah, yeah, yeah.
Now (Am) Andy did you hear about (G) this one? (Am) Tell me are you locked in the (G) punch? And (Am) Andy are you goofing on (G) Elvis? Hey, ba (C) by. (D) Are we losing touch? (G) If you be (Am) lieve, (C) they put a man on the (G) moon, (Am) man on the (D) moon. (G) If you
be (Am) lieve, (C) there's nothing up his (Am) sleeve, then nothing is (D/A) cool.
(G) If you be (Am) lieve, (C) they put a man on the (G) moon, (Am) man on the (D) moon. (G) If you be (Am) lieve, (C) there's nothing up his (Am) sleeve, then nothing is (D/A) cool.
(G) If you be (Am) lieve, (C) they put a man on the (G) moon, (Am) man on the (D) moon. (G) If you be (Am) lieve, (C) there's nothing up his (Am) sleeve, then nothing is (D/A) cool.
(G) If you be (Am) lieve, (C) they put a man on the (G) moon, (Am) man on the (D) moon. (G) If you be (Am) lieve, (C) there's nothing up his (Am) sleeve, then nothing is (D/A) cool. (Em)
(R.E.M.) (Artist Index) - (Main Index) - (Song Index) (This Song)
MARGARITAVILLE – Jimmy Buffett
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Intro: (A) x 5 (D)
(D) Nibblin’ on sponge cake. Watchin’ the sun bake all of those tourists covered with (A) oil. Strummin’ my six-string on my front porch swing. Smell of shrimmp dip beginning to (D) boil (D7).
(G) Wastin’ (A) away again in Marga (D) ritaville (D7). (G) Searching for my (A) lost shaker of (D) salt (D7). (G) Some people (A) claim that there’s a (D) woman to blame (G) but I (A) know (G) it’s nobody’s (D) fault.
(D) I don’t know the reason I stayed here all season. Nothin’ to show but this brand new tat (A) too. But it’s a real beauty, a Mexican cutie, how it got here I haven’t a (D) clue. (D7).
(G) Wastin’ (A) away again in Marga (D) ritaville (D7). (G) Searching for my (A) lost shaker of (D) salt (D7). (G) Some people (A) claim that there’s a (D) woman to blame (G). Now I (A) think, (G) “Hell it could be my (D) fault.”
(D) I blew out my flip-flop, stepped on a pop-top. Cut my heel had to cruise on back (A) home. But there’s booze in the blender and soon it will render that frozen concoction that helps me (D) hang on. (D7)
(G) Wastin’ (A) away again in Marga (D) ritaville (D7). (G) Searching for my (A) lost shaker of (D) salt (D7). (G) Some people (A) claim that there’s a (D) woman to blame (G). But I (A) know (G) it’s my own damned (D) fault.
Yes and (G) some people (A) claim that there’s a (D) woman to (G) blame. And I (A) know (G) it’s my own damned (D) fault.
(Jimmy Buffett) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE MARVELOUS TOY - (Paxton) - Peter, Paul, and Mary
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When (D) I was just a (A7) wee little lad (D), full of health and (G) joy, my father homeward
(D) came one night and (E) gave to me a (A) toy. A (D) wonder to be (A7) hold it was with (D) many colors (G) bright. And the moment I laid (D) eyes on it it be (E7) came my heart's de (A) light.
It went (D) "zip" when it moved and (A7) "bop" when it stopped and (D) "whirr" when it stood
(G) still. I never knew just (D) what it was and I (A7) guess I never (D) will.
The first time that I (A7) picked it up, I (D) had a big sur (G) prise, for right on its bottom were (D) two big buttons that (E) looked like big green (A) eyes. I (D) first pushed one and
(A7) then the other, and (D) then I twisted its (G) lid. And when I set it (D) down again,
(E7) this is what it (A) did:
It went (D) "zip" when it moved and (A7) "bop" when it stopped and (D) "whirr" when it stood
(G) still. I never knew just (D) what it was and I (A7) guess I never (D) will.
It first marched left and (A7) then marched right, and (D) then marched under a (G) chair. And when I looked where (D) it had gone, it (E) wasn't even (A) there. I (D) started to sob and my (A7) daddy laughed, for he (D) knew that I would (G) find, when I turned around my (D) marvelous toy would be (E7) chugging from be (A) hind.
It went (D) "zip" when it moved and (A7) "bop" when it stopped and (D) "whirr" when it stood
(G) still. I never knew just (D) what it was and I (A7) guess I never (D) will.
Well the years have gone by too (A7) quickly it seems. I (D) have my own little (G) boy. And yesterday I (D) gave to him my (E) marvelous little (A) toy. His (D) eyes nearly popped right
(A7) out of his head, and he (D) gave a squeal of (G) glee. Neither one of us knows just (D) what it is but he (E7) loves it just like (A) me.
It still went (D) "zip" when it moved and (A7) "bop" when it stopped and (D) "whirr" when it stood
(G) still. I never knew just (D) what it was and I (A7) guess I never (D) will.
It went (D) "zip" when it moved and (A7) "bop" when it stopped and (D) "whirr" when it stood
(G) still. I never knew just (D) what it was and I (A7) guess I never (D) will.
(Peter, Paul and Mary) (Artist Index) - (Main Index) - (Song Index) (This Song)
MARY DANCED WITH SOLDIERS - (Kennerly) - Emmylou Harris
TIP: You can play this song with just the three major chords. But the (CaddD) in the 3rd and 4th verses is really easy to play as all you do is play the preceding (C) and "add" your pinky to the 2nd string/3rd fret. Then rotate your wrist to play the upcoming (Gadd). Plus it sounds prettier (and is how Emmlou plays it).
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(G) She'd slip away each (C) day with the (D) dimming (G) light. And with the sweetest smile she'd (C) kiss the (D) child good (G) night. At the (C) mill she worked her fingers till (D) they were (Gadd) raw. For the (G) sake of her son and the (C) daddy he (D) never (G) saw.
(C) Mary danced with (G) soldiers, (C) she stepped a (D) light quad (G) rille. (C) Shawl across her (G) shoulders, to keep a (D) way the (G) chill (C)(G). To keep a (D) way the (G) chill.
It was a rebel boy who (C) brought her (D) joy they (G) say. Though the years had passed the memor (C) ies stood (D) fast each (G) day. Before a (C) bullet crushed the life of (CaddD) their ro (Gadd) mance, he (G) gave her a shawl and a (D) parasol from (G) France.
(C) Mary danced with (G) soldiers, (C) she stepped a (D) light quad (G) rille. (C) Shawl across her (G) shoulders, to keep a (D) way the (G) chill (C)(G). To keep a (D) way the (G) chill.
They came around to the (C) tavern in (D) town that (G) night. And with silent cries Mary (C) never (D) tried to (G) fight. They (C) cut her hair and left (CaddD) her body (Gadd) torn.
Her (G) spirit slipped a (D) way before the (G) dawn.
(C) Mary danced with (G) soldiers, (C) but now her (D) body's (G) still. (C) Shawl across her (G) shoulders, to keep a (D) way the (G) chill.
(C) Mary danced with (G) soldiers, (C) she stepped a (D) light quad (G) rille. (C) Shawl across her (G) shoulders, to keep a (D) way the (G) chill (C)(G). To keep a (D) way the (G) chill.
(Emmylou Harris) (Artist Index) - (Main Index) - (Song Index) (This Song)
MAXWELL’S SILVER HAMMER – (Lennon/McCartney) - The Beatles [C0]
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(C) Joan was quizzical, (A7) studied pataphysical (Dm) science in the home. (G7) Late nights all alone with a test tube. (C) Oh, oh, oh, (G) oh. (C) Maxwell Edison, (A7) majoring in medicine, (Dm) calls her on the phone. (G7) "Can I take you out to the pictures, (C) Joa, oa, oa, (G) oan?" But (D7) as she's getting ready to go, a (G7) knock comes on the door.
(C) Bang! Bang! Maxwell's silver hammer came down (D7) upon her head. (G7) Clang! Clang! Maxwell's silver hammer made sure that she was (C) dead.
(C) Back in school again, (A7) Maxwell plays the fool again. (Dm) Teacher gets annoyed. (G7) Wishing to avoid an unpleasant (C) sce, e, e, (G) ene. (C) She tells Max to stay (A7) when the class has gone away, (Dm) so he waits behind. (G7) Writing fifty times "I must not be (C) so, oh, oh, (G) oh." But (D7) when she turns her back on the boy, he (G7) creeps up from behind.
(C) Bang! Bang! Maxwell's silver hammer came down (D7) upon her head. (G7) Clang! Clang! Maxwell's silver hammer made sure that she was (C) dead.
(C) PC thirty-one, (A7) said "We've caught a dirty one." (Dm) Maxwell stands alone. (G7) Painting testimonial pictures. (C) Oh, oh, oh, (G) oh. (C) Rose and Valerie, (A7) screaming from the gallery, (Dm) say he must go free. (Maxwell must go free). The (G7) judge does not agree and he tells them (C) so, oh, oh, (G) oh. But (D7) as the words are leaving his lips, a (G7) noise comes from behind.
(C) Bang! Bang! Maxwell's silver hammer came down (D7) upon his head. (G7) Clang! Clang! Maxwell's silver hammer made sure that he was (C) dead.
(C) Silver (A7) Hammer (Dm) (G) (C) (G) (C)
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
MAYBE BABY – (Hardin/Petty) – Buddy Holly
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INTRO: (A)x7 (F#m), (A)x7 (F#m), (A)x7 (D)(E)(A)(D)(A)(E)
(A) Maybe baby, (F#m) I'll have you. (A) Maybe baby, (F#m) you'll be true. (A) Maybe baby, I'll have (E) you for (A) me (D)(A)(E).
(A) It's funny honey, (F#m) you don't care. (A) You never listen, (F#m) to my prayer. (A) Maybe baby, you will (E) love me some (A) day (D) (A).
Well (D) you are the one that makes me glad, (A) and you are the (D) one that, (A) makes me sad.
(D) When someday, you want me well, (E) I'll be there, just wait and see.
(A) Maybe baby, (F#m) I'll have you. (A) Maybe baby, (F#m) you'll be true. (A) Maybe baby, I'll have (E) you for (A) me (D)(A).
(A)x7 (F#m); (A)x7 (F#m); (A)x7 (F#m), (A)(D)(A)
Well (D) you are the one that makes me glad, (A) and you are the (D) one that, (A) makes me sad.
(D) When someday, you want me well, (E) I'll be there, just wait and see.
(A) Maybe baby, (F#m) I'll have you. (A) Maybe baby, (F#m) you'll be true. (A) Maybe baby, I'll have (E) you for (A) me (D)(A)(E).
(A) Maybe baby, I'll have (E) you for (A) me. (D)(A)
(Buddy Holly) (Artist Index) - (Main Index) - (Song Index) (This Song)
MAY IT BE – (Bhraonáin/Tolkein) – Enya
TIP: The words in the chorus, “Mornie utulie” (darkness has come) and “Mornie atlantie” (darkness has fallen) are not Gaelic but were created by J.R.R. Tolkein and are “Quenya Elfin,” the dialect spoken by the elves of Middle Earth. Which of course is utter nonsense. In order to sing them as Enya does they’re presented phonetically.
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May it (A) be an evening (D) star, shines (A) down upon (E) you. May it (A) be when darkness (D) falls, your (A) heart will be (E) true. You (D) walk a lonely (A) road. Oh how (D) far you (A) are from (E) home.
(A) Mor nee ay, ooh (D) too lee (A) aah-(E)-aah. Be (A) lieve and you will (D) find your (E) way. Mor-(A)-or nee ay, ah (D) lahn tee (A) aah-(E)-ahh. A (A) promise (D) lives with (E) in you (A) now.
May it be, the shadows call, will fly away. May it be you journey on, to light the day. When the night, is overcome, you may rise to find the sun.
(A) Mor nee ay, ooh (D) too lee (A) aah-(E)-aah. Be (A) lieve and you will (D) find your (E) way. Mor-(A)-or nee ay, ah (D) lahn tee (A) aah-(E)-ahh. A (A) promise (D) lives with (E) in you (A) now.
A (A) promise (D) lives with (E) in you (A) now.
(Enya) (Artist Index) - (Main Index) - (Song Index) (This Song)
ME AND BOBBY MCGEE – (Kristofferson) - Janis Joplin
TIP: You just have to know how all the “la da da’s” go.
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Intro: (C) (G) (C)
(C) Busted flat in Baton Rouge, waitin' for a train. Feelin' near as faded as my (G7) jeans. Bobby thumbed a diesel down, just before it rained. Rode us all the way to New Or (C) leans. I pulled my harpoon, out of my dirty red bandana. I was playin' soft while (C7) Bobby sang the (F) blues, yeah. Windshield wipers slappin' time, I was (C) holdin' Bobby's hand in mine, and (G7) we sang every song that driver knew.
(F) Freedom's just another word for (C) nothin' left to lose. (G7) Nothin', don't mean nothin' hon' if it ain't (C) free, no, no. And (F) feelin' good was easy, Lord, (C) when he sang the blues. You know (G7) feelin' good was good enough for me. Good enough for me and my Bobby Mc (C) gee.
From the Kentucky coal mine, to the California sun. Bobby shared the secrets of my (G7) soul. Through all kinds of weather, through everything we done. Yeah Bobby baby kept me from the (C) cold world. One day up near Salinas, oh Lord, I let him slip away. He's lookin' for that (C7) home and I hope he (F) finds it. But I'd trade all of my tomorrows for one (C) single yesterday. To be (G7) holdin' Bobby's body next to mine.
(F) Freedom's just another word for (C) nothin' left to lose. (G7) Nothin', and that’s all that Bobby (C) left me, yeah. But (F) feelin' good was easy, Lord, (C) when he sang the blues. Hey (G7) feelin' good was good enough for me, mm-hmm. Good enough for me and my Bobby Mc (C) gee.
La da da, la da da da. La da da, da da da da. La da da da da da Bobby Mc (G7) gee, yeah.
La da da, da da da. La da, da da da. La da da da da da Bobby Mc (C) gee, yeah.
La da La, la da da la da da. La da da la da da da. Hey, my Bobby. Oh, my Bobby Mc (G7) gee, yeah. La la la la la la la la. La la la la la la la la la. Hey, my Bobby. Oh, my Bobby Mc (C) gee, yeah.
Well, I call him my lover, call him my man. I said I call him my lover, did the best I can, c'mon. Hey now Bobby, now. Hey now Bobby Mc (G) gee, yeah.
La la la la la la la la la la la la la. Hey, hey, hey, Bobby Mc (C) Gee. (C)
(Janis Joplin) (Artist Index) - (Main Index) - (Song Index) (This Song)
ME AND JULIO DOWN BY THE SCHOOLYARD - Paul Simon
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Intro: (G)(C)(G)(D); (G)(C)(G)(D); (G)(C)(G)(D)
(G) Mama pajama rolled outa bed and she ran to the police (C) station. When the (D) Papa found out he began to shout, and he started the investi (G) gation. It's against the (D) law. It was against the (G) law. What the mama (D) saw, it was against the (G) law.
The mama looked down and she spit on the ground every time my name gets (C) mentioned. The (D) papa said "Oy if I get that boy I'm gonna stick him in the house of deten (G) tion."
Well I'm on my (C) way. I don't know (G) where I'm going. But I'm on my (C) way. I'm takin my (G) time but I (A) don't know (D) where. Goodbye to (C) Rosie, the Queen of Cor (G) ona. See me and (F) Julio (C) down by the (D) school (G) yard. (C)(G)(D)(D)(D) (G) See me and (F) Julio (C) down by the (D) school (G) yard. (C)(G)(D); (G)(C)(G)(D); (G)(C)(G)(D); (G)(C)(G)(D)(D)(D)
Whoa-oh. In a (G) couple of days they come to take me away but the press let the story (C) leak. And when the (D) radical priest come to get me released we was all on the cover of News (G) week.
And I'm on my (C) way. I don't know (G) where I'm going. But I'm on my (C) way. I'm takin my (G) time but I (A) don't know (D) where. Goodbye to (C) Rosie, the Queen of Cor (G) ona. See me and (F) Julio (C) down by the (D) school (G) yard. (C)(G)(D)(D)(D) (G) See me and (F) Julio (C) down by the (D) school (G) yard. See me and (F) Julio (C) down by the (D) school (G) yard.
(G)(C)(G)(D); (G)(C)(G)(D); (G)(C)(G)(D); (G)(C)(G)(D); (G)(C)(G)(D); (G)(C)(G)(D) (G)
(Paul Simon) (Artist Index) - (Main Index) - (Song Index) (This Song)
ME AND YOU AND A DOG NAMED BOO – (LaVoie) – Lobo (C3)
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(G) I remember to this day, the (C) bright red (D) Georgia (G) clay. And how it stuck to the tires
after the (D) summer rain. Willpower (G) made that old car go. A woman's (C) mind told (D) me that (G) so. Oh how I wish wee were, (F) back on the road a (C) gain. (C)-(D), (C)-(D)
(C) Me and (D) you and a (G) dog named Boo. (C) Travellin' and (D) livin' off the (G) land.
(C) Me and (D) you and a (G) dog named Boo. How I (F) love being, (C) a free (G) man.
I can still recall, the (C) wheat fields (D) of St. (G) Paul. And the morning we got caught, robbing from an (D) old hen. Old Mc (G) Donald he made us work, but then he (C) paid us for (D) what it was (G) worth. Another tank of gas and, (F) back on the road a (C) gain. (C)-(D), (C)-(D)
(C) Me and (D) you and a (G) dog named Boo. (C) Travellin' and (D) livin' off the (G) land.
(C) Me and (D) you and a (G) dog named Boo. How I (F) love being, (C) a free (G) man.
I'll never forget the day, we motored (C) stately into (D) big L. (G) A. The lights of the city put settlin' down in my (D) brain. Though it's (G) only been a month or so, that old (C) car's buggin' (D) us to (G) go. We've gotta get away and get, (F) back on the road a (C) gain. (C)-(D), (C)-(D)
(C) Me and (D) you and a (G) dog named Boo. (C) Travellin' and (D) livin' off the (G) land.
(C) Me and (D) you and a (G) dog named Boo. How I (F) love being, (C) a free (G) man.
(Lobo) (Artist Index) - (Main Index) - (Song Index) (This Song)
MEAN WOMAN BLUES - (DeMetrius) - Roy Orbison (C4)
TIP: The lyrics here are from Roy's recording which differ from the one performed by Elvis in "Loving You." Also sounds good (maybe better) in (A)(D)(E7), and (A7).
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(G) Mmmmmmmm. Well I got a woman mean as she can be. Well (C) I got a woman mean as she can (G) be. Some a (D7) times I think she's (C) almost mean as (G) me. (D7)
She gotta (G) ruby lips, she got shapely hips yeah. Boy she makes old (G7) Roy flip. (C) I got a woman, mean as she can (G) be. Some a (D7) times I think she's (C) almost, mean as (G) me. (D7)
Yeah well (G) I ain't braggin', it's understood. Everything I do, well I (G7) sure do it good yeah. (C) I got a woman, mean as she can (G) be. Some a (D7) times I think she's (C) almost mean as (G) me.
Well! (Gadd) (Gadd) (Cadd) (Gadd) (D) (Gadd)
She gotta (G) ruby lips, she got shapely hips yeah. Boy she makes old (G7) Roy flip. (C) I got a woman, mean as she can (G) be. Some a (D7) times I think she's (C) almost, mean as (G) me.
(D7) Easy now, a (G) huh-huh. A huh-huh. A (C) huh-ha. (G) Whoooo a huh-huh. A (D7) huh-huh. (C) Yeah, (G) yea-yeah. Ahhhhhhhhhhh. (G) (C) Oooooooooooh. (G) (D) (G) Yeah.
Now let's go one time. (G) Well I got a woman - sha la la la. Yeah I got a woman (G7) sha la la la. Yeah (C) I got a woman (CaddG) sha la la la. Well (G) I got a woman sha la la la. Some a (D7) times I think she's (C) almost mean as (G) me. Sha la la la.
(Roy Orbison) (Artist Index) - (Main Index) - (Song Index) (This Song)
MEDICINE JAR - (McCulloch/Allen) - Paul McCartney & Wings (C3)
TIP: You need to get the strum cadence down as it serves as the intro and continues through the entire song. Try strumming the last line in the verse ("Dead on your feet . . . ) through to the end and you'll wind up feeling the right strum pattern.
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INTRO: (Am)
What's wrong with you? I wish I knew. You say (Dm) time will tell. I hope that's (Am) true. There's more to life than (Dm) blues and reds. I say I (G) know how you feel now your (E) friends (E7) are (Am) dead. (Dm) Dead on your feet you won't get far if you (G) keep on sticking your
(E) hand in the (E7) medicine (Am) jar.
Now don't give up, whatever you do. You say (Dm) time will tell. I hope that's (Am) true. If you go down and (Dm) lose your head I say I (G) know how you feel now your (E) friends (E7) are
(Am) dead. (Dm) Dead on your feet you won't get far if you (G) keep on sticking your (E) hand in the (E7) medicine (Am) jar. (Dm) Dead on your feet you won't get far if you (G) keep on sticking your (E) hand in the (E7) medicine (Am) jar.
What can I do? I can't let go. You say (Dm) time will heal, but very (Am) slow. So don't forget the (Dm) things you said. I say I (G) know how you feel now your (E) friends (E7) are (Am) dead.
(Dm) Dead on your feet you won't get far if you (G) keep on sticking your (E) hand in the
(E7) medicine (Am) jar.
(Dm) Dead on your feet you won't get far if you (G) keep on sticking your (E) hand in the
(E7) medicine (Am) jar. Medicine (Dm) jar, in the medicine (Am) jar. Medicine (Dm) jar. The medicine (Am) jar. Medicine (Dm) jar. Medicine (Am) Jar. Medicine (Dm) Jar. Medicine (Am) Jar.
(Paul McCartney) (Artist Index) - (Main Index) - (Song Index) (This Song)
MEMORIES ARE MADE OF THIS - (Gilkyson/Dehr/Miller) - Dean Martin (C1)
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Intro: (G) Sweet sweet (D7) memories you gave to me. (G) You can't beat the (D7) memories you gave to me.
(G) Take, one (D7) fresh and tender (G) kiss (D7). (G) Add, one (D7) stolen night of
(G) bliss (D7). (C) One girl, (G) one boy, (D7) some grief, (G) some joy. Memor (D7) ies are made of (G) this (D7).
(G) Don't, for (D7) get a small moon (G) beam (D7). (G) Fold, in (D7) lightly with a
(G) dream (D7). (C) Your lips, (G) and mine, (D7) two sips, (G) of wine. Memor (D7) ies are made of (G) this (D7).
(C) Then add the wedding bells. (G) One house where lovers dwell. (D7) Three little kids, for the (G) flavor (G7). (C) Stir carefully through the days. (G) See how the flavor stays. (A) These are the (A7) dreams you will (A) sav (D7) or.
(G) With, His (D7) blessings from a (G) bove (D7). (G) Serve, it (D7) generously with
(G) love (D7). (C) One man, (G) one wife, (D7) one love, (G) through life. Memor (D7) ies are made of (G) this (D7). (G) Memor (D7) ies are made of (G) this. (G)(C)(D)(G)
(Dean Martin) (Artist Index) - (Main Index) - (Song Index) (This Song)
MEMORY – (Eliot/Nunn/Webber) – Barbra Streisand (C3)
TIP: I struggled with how to present this song. There is the “official” version which is how the “song” is presented in the London and Broadway stage productions of Cats. And then there are the popular versions which pick and choose which verses to include. I suppose this is fine as the “offical” version actually comes from two different parts of the play, “Grizabella” which closes Act One and “Memory” from Act Two. In the end I decided on the Streisand version. (By the way, you really need a two-octave range to sing this song!)
TIP: In “most” cases you can play a (D) instead of the (Bm). And where the (Bm) is followed by a (D) as in the final two verses you can just play a (D) if you have to.
TIP: For the (Bm) and the (F#m) I’ve included both the EasyChord and the “full” chord diagrams. The song will sound better if you can play the full version of the chord and by that I mean adding the pinky (or ring) finger to the 4th string/4th fret (ignoring the others). To do this you’ll have to play the F#m (full) as a mini-barre chord and the Bm (full) using the index finger on the bottom string (sort of like playing an (F)), rather than playing the (Bm) as an extension of (D) if that’s the way you normally play the (Bm).
TIP: The final verse (“Touch me!”) begins in the key of G. And since “Touch . . .” is such an uplifting, triumphant verse it will help for dramatic effect if you pause for a moment after “dawning” before launching into “Touch”.
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(C) Midnight, not a sound from the (Am) pavement. Has the moon lost her (F) memory? She is smiling a (Em) lone. In the (G) lamplight, the (F) withered leaves col (Am) lect at my (Em) feet. And the (G) wind, begins to (C) moan.
(C) Memory, all alone in the (Am) moonlight. I can dream of the (F) old days; I was beautiful (Em) then. I re (G) member, the (F) time I knew what (Am) happiness (Em) was. Let the (G) memory, live a (C) gain.
(Em) Every street (Am) lamp, (Em) seems to beat, a fatal (C) istic (Bm) warning. (G) Someone mutt (Em) ers, and the (Am) streetlamp sputt (F#m) ers, and (G) soon it (Em) will (A) be (D) morning.
(C) Daylight, I must wait for the (Am) sunrise. I must think of a (F) new life, and I musn't give (Em) in. When the (G) dawn comes, to (F) night will be a (Am) memory (Em) too. And a (G) new day will be (C) gin.
(Em) Burnt out ends (Am) of, (Em) smoky days. The stale, cold, (C) smell, of (Bm) morning. A (G) streetlamp dies, another (Am) night is o (F#m) ver. A (G) nother (Em) day (A) is (D) dawning.
(G) Touch me! It's so easy to (Em) leave me, all alone with the (C) memory, of my days in the (Em) sun. If you (D) touch me, you'll (Am) understand what (Em) happiness (G) is.
Look: A (D) new day, has be (G) gun.
(Barbra Streisand) (Artist Index) - (Main Index) - (Song Index) (This Song)
MERCEDES BENZ – (Joplin/McClure/Neuwirth) – Janis Joplin (C1)
TIP: If you can, play the (F#m) as a barre and add your pinky to the 4th string/4th fret on the (F#m) as indicated in the “full” chord diagram (ignoring the top two strings).
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(Spoken) “I'd like to do a song of a great social and poetical import. It goes like this:”
Oh (D) Lord, won't you buy me a (G) Mercedes (D) Benz? My friends all drive Porches, I (F#m) must make a (A) mends. Worked (D) hard all my lifetime, no (G) help from my (D) friends. So oh Lord, won't you buy me a (A) Mercedes (D) Benz?
Oh Lord, won't you buy me a (G) color T (D) V? "Dialing for dollars" is (F#m) trying to find (A) me. I (D) wait for delivery each (G) day until (D) three. So oh Lord, won't you buy me a (A) color T (D) V?
Oh Lord, won't you buy me a (G) night on the (D) town? I'm counting on you Lord, (F#m) please don't let me (A) down. (D) Prove that you love me and (G) buy the next (D) round. Oh Lord, won't you buy me a (A) night on the (D) town?
(Spoken): “Everybody:”
Oh (D) Lord, won't you buy me a (G) Mercedes (D) Benz? My friends all drive Porches, I (F#m) must make a (A) mends. Worked (D) hard all my lifetime, no (G) help from my (D) friends. So oh Lord, won't you buy me a (A) Mercedes (D) Benz?
(Spoken): “That’s it.” (Silly giggle)
(Janis Joplin) (Artist Index) - (Main Index) - (Song Index) (This Song)
MICHAEL ROW THE BOAT ASHORE – Traditional (C1 or C2)
TIP: The (G-add) is really optional but adds the high D note. If it’s too cumbersome just hold the (G) and ignore the (G-add)
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(G) Michael (G-add) row the boat ashore, halle (C) lu (G) jah. Michael (G-add) row the boat a (D) shore, halle (G) lu (D) (G) jah.
Sister (G-add) help to trim the sails, halle (C) lujah (G). Sister (G-add) help to trim the (D) sails, halle (G) lu (D) (G) jah.
The River (G-add) Jordan is deep and cold, halle (C) lu (G) jah. And I've got a (G-add) home on the other (D) side, halle (G) lu (D) (G) jah.
The River (G-add) Jordan is chilly and cold, halle (C) lu (G) jah. Chills the (G-add) body but not the (D) soul, halle (G) lu (D) (G) jah.
When I get to (G-add) Heaven I'm gonna' sing and shout, halle (C) lu (G) jah. Nobody (G-add) there's gonna' kick me (D) out, halle (G) lu (D) (G) jah.
(G) Michael (G-add) row the boat ashore, halle (C) lu (G) jah. Michael (G-add) row the boat a (D) shore, halle (G) lu (D) (G) jah.
Michael's (G-add) boat is a music boat, halle (C) lu (G) jah. Michael's (G-add) boat is a music (D) boat, halle (G) lu (D) (G) jah.
(G) Michael (G-add) row the boat ashore, halle (C) lu (G) jah. Michael (G-add) row the boat a (D) shore, halle (G) lu (D) (G) jah.
The trumpets (G-add) sound the Jubilee, halle (C) lu (G) jah. The trumpets (G-add) sound for you and (D) me, halle (G) lu (D) (G) jah.
Michael's (G-add) boat is a music boat, halle (C) lu (G) jah. Michael's (G-add) boat is a music (D) boat, halle (G) lu (D) (G) jah.
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
MICHELLE POST – (Bryan/Felber/Rucker/Sonefeld) – Hootie and the Blowfish (C3)
TIP: The intro and bridge emulates the banjo part that appears in the original recording. It’s not the same but go with it (pick it if you can).
TIP: Add your pinky to the base string (top string/3rd fret) when playing the (Cmaj7) which is just (C) without the index finger.
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Intro: (Gadd) (C)-(C) (Gadd), (Em) (C) (G); repeat
I met a girl just the (C) other (G) day. (Em) Stop to talk, she had a (Cmaj7) lot to (G) say. She told me all about (C) poli (G) tics. (Em) She told us somethings that have (Cmaj7) made me (G) sick.
(G) (C)-(C) (G), (Em) (C) (G)
I don't want just (C) call her (G) up. (Em) Tell her I love her and (Cmaj7) tell her how (G) much.
She don't need that (C) any (G) way. (Em) And what she don't need is a (Cmaj7) bigger (G) head.
Michelle Post knows (C) all a (G) bout it. (Em) What she don’t want is to (Cmaj7) talk (G) about it. She got everything that (C) she be (G) lieves in. (Em) She got something and she (Cmaj7) won’t let (G) me in.
(Gadd) (C) (Gadd), (Em) (D) (G), (Gadd) (C) (Gadd), (G) (C) (G)
I met a girl just the (C) other (G) day. (Em) Stop to talk, she had a (Cmaj7) lot to (G) say. She told me all about (C) poli (G) tics. (Em) She told us somethings that have (Cmaj7) made me (G) sick.
Michelle Post knows (C) all a (G) bout it. (Em) What she don’t want is to (Cmaj7) talk (G) about it. She got everything that (C) she be (G) lieves in. (Em) She got something and she (Cmaj7) won’t let (G) me in. (Cmaj7) Won’t let (G) me in. (Cmaj7) Won’t let me (G) in, (Cmaj7) Woe is (G) me.
(Hootie and the Blowfish) (Artist Index) - (Main Index) - (Song Index) (This Song)
MICKEY MOUSE CLUB MARCH - (Dodd) - The Mouseketeers (C0)
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INTRO: (G)(D)(C)(G); (G)(D)(C)(G);
(G) Who's the leader of the club that's (A7) made for you and (D7) me? (G) M, I, C; (C) K, E, Y; (G) M, O, (D7) U, S, (G) E.
Hey there hi there ho there, you're as (A7) welcome as can (D7) be. (G) M, I, C; (C) K, E, Y; (G) M, O, (D7) U, S, (G) E.
Mickey (C) Mouse (Donald Duck). Mickey (G) Mouse (Donald Duck). For (A7) ever let us hold our banner (D7) high (high, high, high!).
(G) Come along and sing a song, and (A7) join the jambor (D7) ee. (G) M, I, C; (C) K, E, Y; (G) M, O, (D7) U, S, (G) E.
[Ending theme, much slower:]
Now it's time . . . to say goodbye . . . to (A7) all our compan (D7) y. (G) M-I-C . . . see you real soon. (C) K-E-Y. Why? Because we like you. (G) M, O, (D7) U, S, (C) E. (G)
(The Mousketeers) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE MIDNIGHT SPECIAL – (Traditional) - Creedence Clearwater Revival [C2]
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TIP: Chord (D) or pluck bottom string to find first singing note.
Well, you wake up in the mor (G) nin', you hear the work bell (D) ring. And they march you to the ta (A7) ble, you see the same old (D) thing. Ain't no food upon the (G) table, and no fork up in the (D) pan. But you'd better not complain, (A7) boy, you'll get in trouble with the (D) man.
Let the midnight (G) special shine the light on (D) me. Let the midnight (A7) special shine the light on (D) me. Let the midnight (G) special shine the light on (D) me. Let the midnight (A7) special shine the ever-lovin' (D) light on me.
Yonder come Miss (G) Rosie, how in the world did you (D) know? By the way she wears her a (A7) pron, and the clothes she (D) wore. Umbrella on her (G) shoulder, piece of paper in her (D) hand. She come to see the (A7) gov'nor. She wanna free her (D) man.
Let the midnight (G) special shine the light on (D) me. Let the midnight (A7) special shine the light on (D) me. Let the midnight (G) special shine the light on (D) me. Let the midnight (A7) special shine the ever-lovin' (D) light on me.
If you're ever in (G) Houston, ooh, you'd better do (D) right. You'd better not gam (A7) ble and you'd better not (D) fight. Or the sheriff will (G) grab ya, and the boys'll bring you (D) down. The next thing you know, (A7) boy, ooh, you're prison (D) bound.
Let the midnight (G) special shine the light on (D) me. Let the midnight (A7) special shine the light on (D) me. Let the midnight (G) special shine the light on (D) me. Let the midnight (A7) special shine the ever-lovin' (D) light on me.
(CCR) (Artist Index) - (Main Index) - (Song Index) (This Song)
MIND YOUR OWN BUSINESS - Hank Williams (C0 or C1)
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(D) If the wife and I are fussin' brother that's our right, 'cause me and that sweet woman's got a (D7) license to fight. Why don't you (G7) mind your own business? (D) Mind your own business.
'Cause if you (A7) mind your business then you won't be mindin' (D) mine.
Oh the woman on our party line's the nosiest thing. She picks up her receiver when she (D7) knows it's my ring. Why don't you (G7) mind your own business? (D) Mind your own business. Well if you (A7) mind your business then you won't be mindin' (D) mine.
I got a little gal that wears her hair up high. The boys all whistle when (D7) she walks by. Why don't you (G7) mind your own business? (D) Mind your own business. Well, if you (A7) mind your own business you sure won't be minding (D) mine.
If I want to honky tonk around 'til two or three, now brother that's my headache don't you
(D7) worry 'bout me. Just (G7) mind your own business. (D) Mind your own business. If you
(A7) mind your business then you won't be mindin' (D) mine.
Mindin' other people's business seems to be high-toned. I got all that I can do just to (D7) mind my own. Why don't you (G7) mind your own business? (D) Mind your own business. If you (A7) mind your own business you'll stay busy all the (D) time.
(Hank Williams) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE MINSTREL BOY - (Moore) - Traditional (C2)
TIP: Written by Thomas Moore who set it to the melody of The Moreen, an old Irish aire. Originally consisting of the first two verses, the third was added by unknown authors - Irishmen fighting for the union in the U.S. Civil War.
TIP: To simplify things, the (CaddG) can be omitted if necessary but if played you must add the (pinky on bottom string/3rd fret). Likewise, the (Bm) can be ommited in favor of sustaining the (Em).
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The (G) Minstrel (C) Boy to the (G) war is (CaddG) gone. In the (Em) ranks of (G) death you will (D7) find (G) him. His father's (C) sword he has (G) girded (CaddG) on, and his (Em) wild harp (G) slung be (D7) hind (G) him.
"Land of (Em) song!" said the (D) warrior bard, "though (Em) all the (Bm) world be (D) trays thee.
One (G) sword at (C) least thy (G) rights shall (CaddG) guard. One (Em) faithful (G) harp shall (D) praise (G) thee!"
The (G) Minstrel (C) fell but the (G) foeman's (CaddG) chain, could (Em) not bring (G) that proud soul (D7) un (G) der. The (G) harp he (C) loved never (G) spoke a (CaddG) gain, for he (Em) tore its (G) chords a (D7) sun (G) der.
And (Em) said, "No chains shall (D) sully thee, though (Em) soul of (Bm) love and (D) bravery. Thy (G) songs were (C) made for the (G) pure and (CaddG) free, they shall (Em) never (G) sound in
(D) slave (G) ry!"
The (G) Minstrel (C) Boy will re (G) turn we (CaddG) pray. When we (Em) hear the (G) news we all will (D7) cheer (G) it. The (G) minstrel (C) boy will re (G) turn one (CaddG) day, torn per (Em) haps in (G) body not in (D7) spir (G) it.
Then (Em) may he play on his (D) harp in peace, in a (Em) world such as (Bm) Heaven in (D) tended.
For (G) all the (C) bitterness of (G) man must (CaddG) cease, and (Em) ev'ry (G) battle must be (D) end (G) ed.
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
MONTY GOT A RAW DEAL - (Berry/Buck/Mills/Stipe) - R.E.M. (C3)
TIP: In the song there's a short 11-note mandolin riff. Here's how you emulate like this. For the first part, you're going to strum the bottom three strings six times while augmenting the bottom string at various frets one time each: Start by placing a finger (I prefer the ring or middle) on the bottom string/3rd fret (from nut or capo). That's . Strum once (1). Next remove your finger (e.g. no chord) and strum a second time (2). Replace your finger for another (3). Remove (NC 4). Back down (5). Now slide up 4 frets (e.g. +4) and strum (6), slide back down two frets (-2) and strum (7), and slide back to and strum (8), lift (NC 9), now pluck note open 2nd string (10), and finish with an open chord (11). That's the first part. Complete the riff by strumming three (Em) chords, one (Em7) - add pinky as show in the chord diagram - and then another (Em) - remove pinky. Practice a few times. It may help to listen to the song again.
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Intro: (Em)(Gadd),(Em)(Gadd),(Em)(Gadd),(D)(C)(Em)
(Em) Monty this seems (Gadd) strange to me. The (Em) movies had that (Gadd) movie thing. But
(Em) nonsense has a (Gadd) welcome ring, and (D) heroes (C) don't come eas (Em) y.
Now nonsense isn't (Gadd) new to me. I (Em) know my head, I (Gadd) know my feet. But
(Em) mischief knocked me (Gadd) in the knees. Said: (D) "Just (C) let (Em) go. (D) Just (C) let (Em) go."
I saw the ocean (Gadd) meet the man. I (Em) saw you buried (Gadd) in the sand. A (Em) friend was there to (Gadd) hold your hand. Said: (D) "Walk (C) on (Em) by."
So I went walking (Gadd) through the street. I (Em) saw you strung up (Gadd) in a tree. A
(Em) woman knelt there (Gadd) said to me, said: (D) "Hold (C) your (Em) tongue. (D) Hold (C) your (Em) tongue."
-(nc)--(nc)-----(nc)--(nc), (Em)-(Em)-(Em)-(Em7)-(Em)
(G) You don't (D) owe me an (C) y (Em) thing.
-(nc)--(nc)-----(nc)--(nc), (Em)-(Em)-(Em7)-(Em)
(G) You don't (D) want this sym (C) pa (Em) thy. (D) Don't you (C) waste your (Em) breath.
(D) For the (C) silver (Em) screen.
That nonsense doesn't (Gadd) mean a thing. They (Em) tried to bust you (Gadd) in a sting. But
(Em) virtue isn't (Gadd) everything, so (D) don't (C) waste (Em) time.
Now, here's a rhyme that (Gadd) you can steal. (Em) Put this on your (Gadd) reel to reel.
(Em) Mischief threw a (Gadd) rotten deal. (D) Monty's (C) laying (Em) low. (D) He is (C) laying (Em) low. (D) Just (C) let (Em) go. (D) Just (C) let (Em) go.
-(nc)--(nc)-----(nc)--(nc), (Em)-(Em)-(Em)-(Em7)-(Em)
(G) You don't (D) owe me (C) any (Em) thing.
-(nc)--(nc)-----(nc)--(nc), (Em)-(Em)(Em) -(Em7)-(Em)
(G) You don't (D) want this (C) sympa (Em) thy. (D) Don't you (C) waste your (Em) breath. (D) Monty (C) this seems (Em) strange to me. (D)(C)(Em)
(R.E.M.) (Artist Index) - (Main Index) - (Song Index) (This Song)
MOONSHADOW - Cat Stevens (C1)
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Oh, (D) I'm bein' followed by a (A7) moon (D) shadow, (G) moonshadow, (A7) moon (D) shadow. Leapin on hoppin’ on a (A7) moon (D) shadow, (G) moonshadow, (A7) moon (D) shadow.
And (G) if I (D) ever (G) lose my (D) hands, (G) lose my (D) plow, (Em) lose my (A7) land. Oh (G) if I (D) ever (G) lose my (D) hands, oh (Em) if (A7) (D) (F#m) I (Em) won't have to (A) work no (D) more. And (G) if I (D) ever (G) lose my (D) eyes, (G) if my (D) colors (Em) all run (A7) dry. Yes (G) if I (D) ever (G) lose my (D) eyes, oh (Em) if (A7) (D) (F#m) I (Em) won’t have to (A) cry no (D) more.
Oh, (D) I'm bein' followed by a (A7) moon (D) shadow, (G) moonshadow, (A7) moon (D) shadow. Leapin on hoppin’ on a (A7) moon (D) shadow, (G) moon shadow, (A7) moon (D) shadow.
And (G) if I (F#m) ever (G) lose my (D) legs, (G) I won't (F#m) moan, and (Em) I won't (A7) beg. Yes (G) if I (F#m) ever (G) lose my (D) legs, oh (Em) if (A7) (D) (F#m) I (Em) won’t have to (A) walk no (D) more. And (G) if I (F#m) ever (G) lose my (D) mouth, (G) all my (F#m) teeth, (Em) north and (A7) south. Yes (G) if I (F#m) ever (G) lose my (D) mouth, oh
(Em) if (A7) (D) (F#m) I (Em) won't have to (A7) talk.
(D) (A7) (D) (G) (A7) (D); (D) (A7) (D) (G) (A7) (D)
(E7) Did it take long to (A) find me? I (E) asked the faithful (A) light. (E) Did it take long to (A) find me? And (E7) are you gonna stay the (A) night?
Oh, (D) I'm bein' followed by a (A7) moon (D) shadow, (G) moonshadow, (A7) moon (D) shadow. Leapin on hoppin’ on a (A7) moon (D) shadow, (G) moonshadow, (A7) moon (D) shadow. (G) Moonshadow, (A7) moon (D) shadow, (G) moonshadow, (A7) moon (D) shadow.
(Cat Stevens) (Artist Index) - (Main Index) - (Song Index) (This Song)
MORNING HAS BROKEN – (Traditional/Farjeon) - Cat Stevens (C1)
TIP: For (G7/F), play a (G7) with mini-barre using index finger on bottom 2 strings of the first fret (roll wrist to the left). Or just play the bottom two strings and don't strik the top two. (F#) is, well, (F) just moved up one fret.
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INTRO: (D) (G) (A) (F#) (Bm) (G7) (C) (F) (C)
(C) Morning has bro (Dm) ken, (G) like the first (F) morn (C) ing. Blackbird has (Em) spok (Am) en, (D7) like the first (G) bird. (C) Praise for the (F) singing, (C) praise for the (Am) morn (D) ing. (G) Praise for the (C) spring (F) ing (G7) fresh from the (C) world.
(F) (G) (E) (Am) (G7) (C) (G7/F)
Sweet the rain's (C) new (Dm) fall, (G) sunlit from (F) hea (C) ven. Like the first (Em) dew (Am) fall, (D7) on the first (G) grass. (C) Praise for the (F) sweetness (C) of the wet (Am) gard (D) en. (G) Sprung in comp (C) lete (F) ness (G7) where his feet (C) pass.
(F) (G) (E) (Am) (F#) (Bm) (G) (D) (A7) (D)
Mine is the sun (Em) light, (A) mine is the (G) morn (D) ing. Born on the (F#m) one (Bm) light, (E7) eden saw (A) play. (D) Praise with e (G) lation, (D) praise every (Bm) morn (E) ing. (A) God's recre (D) a (G) tion (A7) of the new (D) day.
(G) (A) (F#) (Bm) (G7) (C) (F) (C)
Morning has (C) bro (Dm) ken, (G) like the first (F) morn (C) ing. Blackbird has (Em) spok (Am) en, (D7) like the first (G) bird. (C) Praise for the (F) singing, (C) praise for the (Am) morn (D) ing. (G) Praise for the (C) spring (F) ing (G7) fresh from the (C) world.
(F) (G) (E) (Am) (G7) (C) (F) (C)
(Cat Stevens) (Artist Index) - (Main Index) - (Song Index) (This Song)
MOTHER - (Waters) - Pink Floyd
TIP: There's a couple of little tricky things going on here (nothing's ever easy, is it?) The first is the strum pattern at the end of the first two lines of each verse. You'll want to insert a (C) at "drop" and "like", and end the lines with a (G). But if you listen carefully to the song the lines end with a (C). However, it's followed by a double strum pattern. First is a (CaddG) - in which you strum the (C) but add your pinky to the bottom string/3rd fret. You then shift to the (Gadd) and strum that which also sets you up to start the next line which repeats the process prior to the next (C). If this is all too complicated then you can omit the "add" chords and play a (G) prior to the next line (e.g. "Mother"). The second tricky bit is the singing melody on the "Ooooh Babe" part in the chorus. You end the previous line (e.g. "warm") on note but the next word, "Oooh" is a middle . This is why you need the (D/A) instead of a regular (D) to guide you. If this is a stretch, try substituting a (Bm) for the (D/A).
TIP: The final line is a single strummed (G) - hence the (G)(NC) - and a final strummed (C) to end the song.
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(G) Mother do you think they'll drop the (C) bomb (CaddG)(Gadd)? Mother do you think they'll
like the (C) song (CaddG)(Gadd)? (C) Mother do you think they'll try to break (CaddG) my
(Gadd) balls? (D) Ooooh (C) ahh. Mother should I build the (G) wall?
(Gadd) Mother should I run for presi (C) dent (CaddG)(Gadd)? Mother should I trust the
govern (C) ment (CaddG)(Gadd)? (C) Mother will they put me in the fir (CaddG) ing (Gadd) line?
(D) Ooooh (C) ahh. Is it just a waste of (G) time?
(Gadd) Hush now baby baby, don't you (C) cry. (F) Mama's gonna make all of your (C) nightmares come true. (F) Mama's gonna put all of her (C) fears into you. (F) Mama's gonna keep you right here (C) under her wing. She (F) won't let you fly but she (C) might let you sing. (F) Mama's gonna keep baby (C) cozy and (G) warm. (D/A) Ooooh (C) Babe. (D/A) Ooooh (C) Babe. (D/A) Ooooh Babe, of (C) course Mama's gonna help build the (G) wall.
(Gadd) Mother do think she's good e (C) nough (CaddG). . . for (Gadd) me? Mother do think she's
danger (C) ous (CaddG) . . . to (Gadd) me? (C) Mother will she tear your little boy
(CaddG) a (Gadd) part? (D) Oooh (C) aah. Mother will she break my (G) heart?
(Gadd) Hush now baby baby, don't you (C) cry. (F) Mama's gonna check out all your (C) girl friends for you. (F) Mama won't let anyone (C) dirty get through. (F) Mama's gonna wait up un (C) till you get in. (F) Mama will always find (C) out where you've been. (F) Mamma's gonna keep baby
(C) healthy and (G) clean. (D/A) Ooooh (C) Babe. (D/A) Ooooh (C) Babe. (D/A) Ooooh Babe, you'll
(C) always be a baby to (G) me.
(G)-(NC) Mother did it need to be so (C)-(NC) high?
(Pink Floyd) (Artist Index) - (Main Index) - (Song Index) (This Song)
MOVE IT ON OVER - (Williams) - Hank Williams/George Thorogood
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Came (E) in last night about a half past ten, that woman of mine she wouldn't (E7) let me in.
(A7) Move it on over (move it on over). (E) Move it on over (move it on over). Move (B7) over little dog cause a (A7) big dog's movin (E) in.
She changed the lock on my front door, now my key it don't (E7) fit no more. So (A7) get it on over (move it on over). (E) Scoot it on over (move it on over). Move (B7) over skinny dog cause a (A7) fat dog's moving (E) in.
This dog house here is mighty small, but it's sure better than (E7) no house at all. So (A7) ease it on over (move it on over). (E) Drag it on over (move it on over). Move (B7) over old dog cause a (A7) new dog's moving (E) in.
She told me not to play around, but I done let the (E7) deal go down. So (A7) pack it on over (move it on over). (E) Tote it on over (move it on over). Move (B7) over nice dog cause a
(A7) bad dog's moving (E) in.
She warned me once, she warned me twice, but I don't take (E7) no one's advice. So (A7) scratch it on over (move it on over). (E) Shake it on over (move it on over). Move (B7) over short dog cause a (A7) tall dog's moving (E) in.
I'll crawl back to her on my knees, pretty soon I'll be (E7) scratching fleas. So (A7) slide it on over (move it on over). (E) Sneak it on over (move it on over). Move (B7) over good dog cause a (A7) bad dog's moving (E) in.
Remember pup before you start to whine, that side's yours and (E7) this side's mine. So (A7) shove it on over (move it on over). (E) Sweep it on over (move it on over). Move (B7) over cold dog cause a (A7) hot dog's moving (E) in.
(Hand Williams)(George Thorogood) (Artist Index) - (Main Index) - (Song Index) (This Song)
MR. BOJANGLES – (Walker) – Nitty Gritty Dirt Band (C0)
TIP: The intro, outro, and chorus that ends with "Mr. Bojangles, dance." ends with a (C) that is the lead in to a little step-down voicing that goes kind of 1...2...3... 1-2-3 1...2...3... It starts with the (C) from "dance", then the (Em), and (Am), followed by a quick one-strum of (C)-(Am)-(A4) and returning to the (C). Just lift your index finger to get from (Am) to (A4). Try it a couple of times.
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INTRO: (C),(Em),(Am),(C)-(Am)-(A4)-(C) . . . while holding (C) and pick 3rd string , 2nd string , add pinky to 2nd string/3rd fret) , pull pinky, begin song.
I (C) knew a man Bo (Em) jangles and he (Am) danced for you (Am7)(F), in worn out (G7) shoes. With (C) silver hair a (Em) ragged shirt (Am) and baggy pants (Am7)(F). The old soft (G) shoe. (F) He jumped so (Em) high (E7), he jumped so (Am) high (Am7)(D7). Then he lightly touched (G) down. (G7)
I (C) met him in a (Em) cell in New Or (Am) leans I was (Am7)(F), down and (G7) out. He (C) looked to me to (Em) be the (Am) eyes of age (Am7)(F), as he spoke right (G) out. (F) He talked of (Em) life (E7), talked of (Am) life (Am7)(D7). He laughed clicked his heels and (G) stepped. (G7)
He (C) said his name Bo (Em) jangles and he (Am) danced a lick (Am7)(F), across the (G7) cell. He (C) grabbed his pants and (Em) spread his stance oh he (Am) jumped so high (Am7)(F). And then he clicked his (G) heels. (F) He let go a (Em) laugh, let go a (Am) laugh (Am7)(D7). Shook back his clothes all (G) around.
(Am) Mister Bo (G) jangles. (Am) Mister Bo (G) jangles. (Am) Mister Bo (G) jangles, (C) dance.
(Em)(Am),(C)-(Am)-(A4)-(C)---(C)(Em),(Am)(C)-(Am)-(A4)-(C)
He (C) danced for those at (Em) Minstrel shows and (Am) county fairs (Am7)(F), throughout the (G7) south. He (C) spoke with tears of (Em) fifteen years how his (Am) dog and him (Am7)(F), traveled (G) about. (F) The dog up and (Em) died, he up and (Am) died (Am7)(D7). And after twenty years he still (G) grieved. (G7)
He (C) said "I dance, now at (Em) every chance, in the (Am) Honky Tonks (Am7)(F), for my drinks and (G7) tips. But (C) most the time I (Em) spend behind these (Am) country bars (Am7)(F), cuz I drinks a (G) bit". (F) He shook his (Em) head, and as he shook his (Am) head (Am7)(D7), I heard someone ask him (G) please:
“(Am) Mister Bo (G) jangles. (Am) Mister Bo (G) jangles. (Am) Mister Bo (G) jangles, (C) dance.
(Em)(Am),(C)-(Am)-(A4)-(C)---(C)(Em)(Am),(C)-(Am)-(A4)-(C)
(Nitty Gritty Dirt Band) (Artist Index) - (Main Index) - (Song Index) (This Song)
MR. LONELY - (Vinton/Allen) - Bobby Vinton (C1)
TIP: There's a half-step down in the chords for the second half of the song, but it's very subtle and you can play the second half the same way as the first and it'll sound just fine. That version is included here as well following after the first version.
TIP: The names of the stepped-down chord may look scary but they're just variations of other more familiar chords played on different frets: (Db) is just (D) played down to the first fret (try to include your pinky on the 4th string/3rd fret); (F#) is just (F) up one fret; (Ab) is just (F) on the 4th fret -- just slide up two frets from (F#) to (Ab); and (Bbm) is just (Bm) down to the 1st (try to include your pinky on the 4th string/3rd fret.
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(C) Lonely. I'm Mr. (Em) Lonely. I have no (F) body, for my (G) own. I am so (C) lonely. I'm Mr. (Em) Lonely. Wish I had (F) someone, to call on the (G) phone.
Now I'm a (C) soldier, a lonely (C7) soldier. Away from (F) home, through no wish of my (Fm) own.
That's why I'm (C) lonely. I'm Mr. (Em) Lonely. I wish that (F) I could (G) go back (C) home.
(Db) Letters, never a (Fm) letter. I get no (F#) letters in the (Ab) mail. I've been
for (Db) gotten, yes for (Fm) gotten. Oh how I (F#) wonder, how is it I (Ab) failed.
Now I'm a (Db) soldier, a lonely (Bbm) soldier. Away from (F#) home, through no wish of my
(F#m) own. That's why (Db) I'm lonely. I'm Mr. (Fm) Lonely. I wish that (F#) I could (Ab) go back (Db) home.
==============
MR. LONELY - (Vinton/Allen) - Bobby Vinton (C1)
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(C) Lonely. I'm Mr. (Em) Lonely. I have no (F) body, for my (G) own. I am so (C) lonely. I'm Mr. (Em) Lonely. Wish I had (F) someone, to call on the (G) phone.
Now I'm a (C) soldier, a lonely (C7) soldier. Away from (F) home, through no wish of my (Fm) own.
That's why I'm (C) lonely. I'm Mr. (Em) Lonely. I wish that (F) I could (G) go back (C) home.
(C) Letters, never a (Em) letter. I get no (F) letters in the (G) mail. I've been for (C) gotten, yes for (Em) gotten. Oh how I (F) wonder, how is it I (G) failed.
Now I'm a (C) soldier, a lonely (C7) soldier. Away from (F) home, through no wish of my (Fm) own. That's why (C) I'm lonely. I'm Mr. (Em) Lonely. I wish that (F) I could (G) go back (C) home.
(Bobby Vinton) (Artist Index) - (Main Index) - (Song Index) (This Song)
MRS BROWN YOU’VE GOT A LOVELY DAUGHTER – (Peacock) – Herman’s Hermits (C0)
TIP: For the chorus, which is a little tricky, I’ve renamed some chords completely because they’re otherwise familiar looking chords but just played on different frets than usual. For example, there’s no such chord as (D3); that’s D# (add the pinky if you can). And (F4) is actually (Ab) but it looks like an (F) played up at the 4th fret. Same thing as (F2), (F6), and (Bm1) – not their real names. But I think it will be easier to remember how to play them when playing the chorus rather than having to look back and forth at the diagrams.
TIP: The (C)-(Em)-(Dm)-(G7) chord sequence at the end of each line is a little tricky when the last word is a one syllable word played with a two-count (like “rare). Just remember to move quickly from the (C) to the (Em).
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INTRO: (C) (Em) (Dm) (G7); (C) (Em) (Dm) (G7)
(C) Mrs. (G) Brown you've (Dm) got a (G7) lovely (C) daugh (Em) ter (Dm)(G7). (C) Girls as (G) sharp as (Dm) her are (G7) something (C) rare (Em) (Dm)(G7). (Am) But it's (C) sad, (Am) she doesn't (C) love me now. (Am) She's made it (C) clear enough it ain't no good to (G7) pine.
(C) She wants (G) to re (Dm) turn those (G7) things I (C) bought (Em) her (Dm)(G7). (C) Tell her (G) she can (Dm) keep them (G7) just the (C) same (Em), (Dm) (G7). (Am) Things have (C) changed, (Am) she doesn't (C) love me now. (Am) She's made it (C) clear enough it ain't no good to (G) pine (Bb).
(D3) Walkin' (Gm) about, (F4) even in a (F6) crowd, well, (F2) you'll pick her (Bm1) out. (Bb) makes a bloke feel, (G) so proud.
(C) If she (G) finds that (Dm) I've been (G7) round to (C) see (Em) you (Dm)(G7). (C) Tell her (G) that I'm (Dm) well and (G7) feelin' (C) fine (Em), (Dm)(G7). (Am) Don't let (C) on, (Am) don't say she's (C) broke my heart. (Am) I'd go down (C) on my knees but it's no good to (G) pine (Bb).
(D3) Walkin' (Gm) about, (F4) even in a (F6) crowd, well, (F2) You'll pick her (Bm1) out. (Bb) makes a bloke feel (G) so proud.
(C) If she (G) finds that (Dm) I've been (G7) round to (C) see (Em) you (Dm)(G7). (C) Tell her (G) that I'm (Dm) well and (G7) feelin' (C) fine (Em), (Dm)(G7). (Am) Don't let (C) on, (Am) don't say she's (C) broke my heart. (Am) I'd go down (C) on my knees but it's no good to (G) pine (Bb).
(C) Mrs. (G) Brown you've (Dm) got a (G7) lovely (C) daughter (G7). (C) Mrs. (G) Brown you've (Dm) got a (G7) lovely (C) daughter (G7). (C) Mrs. (G) Brown you've (Dm) got a (G7) lovely (C) daughter (G7). (C) Mrs. (G) Brown you've (Dm) got a (G7) lovely (C) daughter (G7) (C).
(Herman's Hermits) (Artist Index) - (Main Index) - (Song Index) (This Song)
MRS. ROBINSON – (Simon) - Simon and Garfunkel (C5)
TIP: Play E7 with 2 notes except when (E7-full chord) is indicated in which case you include the bottom B note (second E7 diagram below).
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Intro:
(E) (Doo, doo, doo-doo etc. . .)
(A7) Doo . . .(A) (A7) . . .
(D7) (G) (C) (Am)
(E7) (D7)
(D7) And here's to (G) you, Mrs. (Em) Robinson. (G) Jesus loves you (Em) more than you will (C) know, (Am) wo, wo, (D) wo (D7). God bless you (G) please, Mrs. (Em) Robinson, (G) Heaven holds a (Em) place for those who (C) pray. Hey, hey, (Am) hey. Hey, hey, (E7) hey.
(E7-full chord) We'd like to know a (E7) little bit about you for our (E) files. We'd (A) like to help you learn to help your (A7) self. (D) Look around you, (G) all you see are (C) sympathetic (Am) eyes. (E7) Stroll around the grounds un (D) til you feel at home.
(D7) And here's to (G) you, Mrs. (Em) Robinson. (G) Jesus loves you (Em) more than you will (C) know, (Am) wo, wo, (D) wo (D7). God bless you (G) please, Mrs. (Em) Robinson, (G) Heaven holds a (Em) place for those who (C) pray. Hey, hey, (Am) hey. Hey, hey, (E7) hey.
(E7-full chord) Hide it in a (E7) hiding place where no one ever goes. (A) Put it in your pantry with your cup (A7) cakes. (D) It's a little (G) secret, just the (C) Robinsons' (Am) affair. (E7) Most of all, you've got to (D) hide it from the kids.
(D7) Coo coo ca- (G) choo, Mrs. (Em) Robinson. (G) Jesus loves you (Em) more than you will (C) know, (Am) wo, wo, (D) wo (D7). God bless you (G) please, Mrs. (Em) Robinson, (G) Heaven holds a (Em) place for those who (C) pray. Hey, hey, (Am) hey. Hey, hey, (E7) hey.
(E7-full chord) Sitting on a (E7) sofa on a Sunday after (E) noon. (A) Going to the candidates debate. (D) Laugh about it, (G) shout about it. (C) When you've got to (Am) choose. (E7) Ev'ry way you look at it, you (D) lose.
(D7) Where have you (G) gone, Joe Di (Em) Maggio? A (G) nation turns its (Em) lonely eyes to (C) you. (Am) woo, woo, (D) woo (D7). What's that you (G) say, Mrs. (Em) Robinson? (G) Joltin' Joe has (Em) left and gone (C) away. Hey, hey, (Am) hey. Hey, hey, (E7) hey.
CODA: (Em) (strum bass strings down neck to treble strings) repeat and fade
(Simon and Garfunkel) (Artist Index) - (Main Index) - (Song Index) (This Song)
MY DEAR COMPANION - (Ritchie) - Emmylou Harris, Dolly Parton, Linda Ronstadt (C4 or 5)
TIP: Add the (Gadd)s can be ignored in favor of regular (G) without consequence.
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(G) Oh have you (Gadd) seen my dear com (C) panion, for he was (Gadd) all this world to (D) me. I hear he's (Gadd) gone to some far (C) country, and that he (Gadd) cares no (D) more for (G) me.
I wish I (C) were a swallow (G) flying. I'd fly to a high and lonesome (D) place. I'd join the (Gadd) wild birds in their (C) crying, thinking of (Gadd) you and (D) your sweet (G) face.
(G)(Gadd)(C); (Gadd)(D); (Gadd)(C); (Gadd)(D)(G)
(G) Oh have you (Gadd) seen my dear com (C) panion, for he was (Gadd) all this world to (D) me. But now the (Gadd) stars have turned a (C) gainst me, and he (Gadd) cares no (D) more for (G) me.
Oh when the (C) dark is on the (G) mountain, and all the world has gone to (D) sleep. I will go (Gadd) down to cold dark (C) waters, and there I'll (Gadd) lay me (D) down and (G) weep.
Oh have you (Gadd) seen my dear com (C) panion? Oh have you (Gadd) seen my dear com (C) panion?
Oh have you (Gadd) seen my dear com (C) panion, for he was (Gadd) all this (D) world to (G) me.
(E. Harris)(D. Parton)(L. Ronstadt) (Artist Index) - (Main Index) - (Song Index) (This Song)
MY DING A LING - (Bartholomew) - Chuck Berry (C0)
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(G) When I was, a (C) little bitty boy, my (D) grandmother bought me a (G) cute little toy. Silver bells hangin' (C) on a string, she (D) told me it was my (G) ding a ling a ling.
My ding a ling, (C) my ding a ling. I (D) want to play with (G) my ding a ling. My ding a ling, (C) my ding a ling. I (D) want to play with (G) my ding a ling.
And then mother took me to (C) Grammer School. But (D) I stopped all in the (G) vestibule. Every time that (C) bell would ring, (D) catched me playin' with my (G) ding a ling a ling.
My ding a ling, (C) my ding a ling. I (D) want to play with (G) my ding a ling. My ding a ling, (C) my ding a ling. I (D) want to play with (G) my ding a ling.
Once I was climbing the (C) garden wall. I (D) slipped and had a (G) terrible fall. I fell so hard I (C) heard bells ring, but (D) held on to (G) my ding a ling a ling.
My ding a ling, (C) my ding a ling. I (D) want to play with (G) my ding a ling. My ding a ling, (C) my ding a ling. I (D) want to play with (G) my ding a ling.
Once I was swimming cross (C) Turtle Creek, (D) man those snappers all a (G) round my feet. Sure was hard swimming (C) cross that thing, with (D) both hands holdin' my (G) ding a ling a ling.
My ding a ling, (C) my ding a ling. I (D) want to play with (G) my ding a ling. My ding a ling, (C) my ding a ling. I (D) want to play with (G) my ding a ling.
This here song it (C) ain't so sad, the (D) cutest little song you (G) ever had. Those of you who (C) will not sing, you (D) must be playin' with your (G) own ding a ling.
My ding a ling, (C) my ding a ling. I (D) want to play with (G) my ding a ling. My ding a ling, (C) my ding a ling. I (D) want to play with (G) my ding a ling.
Your ding a ling. (C) Your ding a ling. We (D) saw you playin' with (G) your ding a ling. My ding a ling, (C) everybody sing, (D) I want to play with (G) my ding a ling.
My (ding a ling). (C) My (ding a ling). (D) I want to play with (G) my ding a ling.
(Chuck Berry) (Artist Index) - (Main Index) - (Song Index) (This Song)
MY FAVORITE MEMORY – Merle Haggard (C5)
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The (Gadd) first time we met is a (G) favorite mem'ry of (C) mine. They say (Am) time changes all it per (D) tains to. But your memory is stronger than (G) time. I guess (Gadd) everything does (G) change except what you choose to re (C) call. There's a million good daydreams to (D) dream on. But, baby, you are my favorite (D7) Mem'ry of (G) all.
Like the (Gadd) night we made love in the (G) hallway. Slept all night long on the (C) floor. Like the winter we spent at Lake (D) Shasta alone, and closer than ever be (G) fore. And I re (Gadd) member that London va (G) cation. It was you who made the whole thing a (C) ball. There's a million good (Am) times I could (D) dwell on. But, baby, you are, my favorite (D7) mem'ry of (G) all.
But (D) baby, you are, my favorite (D7) Memory of (G) all.
(Merle Haggard) (Artist Index) - (Main Index) - (Song Index) (This Song)
MY GIRL - (Robinson/White) - The Temptations
TIP: There are two parts to the intro, the first being the base bump-thump-thump. Hold the (G) chord formation and pluck the 4th and 6th (top) string accordingly. The second part is the familiar ascending note riff. Start with the (G) chord formation, hit the top string, then lift off and walk down the strings 5-5-4-4-3 using your index finger to alternate between open and closed notes on the 2nd fret. The under underlined notes in the intro are open strings. Listen to the recording to get it but it's not hard to get down.
TIP: (D-A) is just (D) with the pinky extended to cover the 4th string/4th fret. For (Esus) you'll already be playing (E) so just stick your pinky underneath the ring finger, on and then off again.
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Intro: , , , ;
, , ,
I've got (G) sunshine, (C) on a cloudy (G) day (C). When it's (G) cold outside (C), I've got the (G) month of May (C). (G) I, (Am7) guess, (C) you'd, (D) say, (G) what can (Am) make me (C) feel this (D) way? (G) My girl, (my girl, my girl). Talkin' 'bout (Am) my girl, (my girl) (D)-(C)-(D).
I've got (G) so, much honey, (C) the bees envy (G) me (C). I've got a (G) sweeter song, (C) than the birds in the (G) trees (C). (G) I, (Am7) guess, (C) you'd, (D) say, (G) what can (Am) make me (C) feel this (D) way? (G) My girl, (my girl, my girl). Talkin' 'bout (Am) my girl, (my girl) (D)-(C)-(D).
(G) Hey hey (C) hey. Hey hey (D) hey (Bm) Ooooh- (E) -oooh.
I don't (A) need no money (D), fortune or (A) fame (D). I've got (A) all the riches baby (D), one man can (A) claim (D). (A) I, (D-A) guess, (D) you'd, (E) say, (A) what can (D-A) make me (D) feel this (E) way? (A) My girl ,(my girl, my girl). Talkin' 'bout (Bm) my girl, (my girl)
(E)-(Esus)-(E).
I've got (A) sunshine (D) on a cloudy (A) day, with (D) my girl. I've (E) even got (Esus) the
(E) month of May with (A) my girl. (D) Talkin' bout, talkin' bout (A) my girl (E)(Esus)(E).
(D) (A)
(The Temptations) (Artist Index) - (Main Index) - (Song Index) (This Song)
MY GUY - (Robinson) - Mary Wells (C3)
TIP: Relax. There's a lot here but it's not that hard. Just go through it a few times!
TIP: There are two voicing runs that are easy to play. The first is the (Gadd)(NC)(Gb)(NC) and then to either (Gadd) or (B7) sequence. From the (Gadd) the (NC) means just that, no chord, so come completely off the fingerboard and relax for a moment. Now use your index finger for the (Gb) and release again. Now with a free hand you come back to either the (Gadd) or (B7).
TIP: The second is a little trickier and is the (Am)(A4)(Asus)(Am)(Asus)(A4) progression. The key is to keep your middle and ring fingers planted after the first (Am). From (Am) lift the index finger to get (A4), from (A4) use your pinky to cover the 2nd string/3rd fret for (Asus). From (Asus) lift the pinky while replanting the index finger to return to (Am), reverse that action to go back to (Asus), and lift the pinky again to get to (A4), and finally reset the index finger to get move onto the next (Am). Practice a few times; not so bad.
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INTRO: Strum (G) emphasizing bass (top 3) strings, then a pause, then (Am)-(D)
(Gadd) Nothing you could (NC) say can (Gb) tear me a (NC) way from (Gadd) my (G) guy.
(Gadd) Nothing you could (NC) do 'cause I'm (Gb) stuck like (NC) glue to (B7) my guy.
I'm (Am) stickin' to my (A4) guy (Asus) like a (Am) stamp (Asus) to a (A4) letter. Like the
(Am) birds of a (A4) feather (Asus) we (Am) stick togeth (D) er. I'm (G) tellin' you from the
(Gb) start I (Am) can't be torn a (D7) part from my (G) guy. (Am)-(D)
(Gadd) Nothing you can (NC) do could (Gb) make me un (NC) true to (Gadd) my (G) guy (my guy).
(Gadd) Nothing you could (NC) buy could (Gb) make me tell a (NC) lie to (B7) my guy (my guy).
I (Am) gave my (A4) guy (Asus) my (Am) word (Asus) of (A4) honor, (Am) to be (A4) faith (Asus) ful
(Am) and I'm gon (D) na. You (G) best be be (Gb) lieving I (Am) won't be de (D7) ceiving my
(G) guy. (Am)-(D)
As a (Am) matter of o (D) pinion I (Am) think he's (D) tops. (Am) My opinion (D) is he's the
(G) cream of the crop. As a (Em) matter of (Bm) taste, to (Em) be ex (Bm) act, (A7) he's my ideal as a (D7) matter of fact.
No (Gadd) muscle bound (NC) man could (Gb) take my (NC) hand from (Gadd) my (G) guy (my guy).
No (Gadd) handsome (NC) face could ever (Gb) take the (NC) place of (B7) my guy (my guy).
He (Am) may not (A4) be (Asus) a (Am) mov (Asus) ie (A4) star, but when it (Am) comes to being
(A4) hap- (Asus) -py, (Am) we (D) are. There's (G) not a man to (Gb) day who could (Am) take me
a (D7) way from my (G) guy. (Am)-(D);
(G) . . . [pause] (Am)-(D)
No (Gadd) muscle bound (NC) man could (Gb) take my (NC) hand from (Gadd) my (G) guy (my guy).
No (Gadd) handsome (NC) face could ever (Gb) take the (NC) place of (B7) my guy (my guy).
He (Am) may not (A4) be (Asus) a (Am) mov (Asus) ie (A4) star, but when it (Am) comes to being
(A4) hap- (Asus) -py, (Am) we (D) are. There's (G) not a man to (Gb) day who could (Am) take me
a (D7) way from my (G) guy. (Am)-(D);
There's (G) not a man to (Gb) day who could (Am) take me a (D7) way from my (G) guy. (Am) Tell me (D) more? There's (G) not a man to (Gb) day who could (Am) take me a (D7) way from my (G) guy.
(Mary Wells) (Artist Index) - (Main Index) - (Song Index) (This Song)
MY HEROES HAVE ALWAYS BEEN COWBOYS - (Vaughn) – Willie Nelson/Waylon Jennings (C4)
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I (G) grew up a-dreamin' of bein' a cowboy and (C) lovin' the cowboy (G) ways. Pursuin' the life of my high-ridin' heroes, I (A) burned up my childhood (D) days. I (G) learned all the rules of the modern-day drifter. Don't you (C) hold on to nothin' too (G) long. Just (C) take what you need from the (G) ladies, then (C) leave them, with the (G) words of a (D) sad country (G) song.
My (C) heroes have always been (G) cowboys. (A) And they still are, it (D) seems. (C) Sadly, in search of, and (G) one step in (C) back of, them (G) selves and their (D) slow-movin' (G) dreams.
Cowboys are special with their own brand of misery, from (C) being alone too (G) long. You could die from the cold in the arms of a nightmare, (A) knowin' well your best days are (D) gone. (G) Pickin' up hookers instead of my pen, I let the (C) words of my youth fade a (G) way. (C) Old worn-out saddles, and (G) old worn-out (C) memories, with (G) no one and (D) no place to (G) stay.
My (C) heroes have always been (G) cowboys. (A) And they still are, it (D) seems. (C) Sadly, in search of, and (G) one step in (C) back of, them (G) selves and their (D) slow-movin' (C) dreams (G).
(Waylon Jennings)(Willie Nelson) (Artist Index) - (Main Index) - (Song Index) (This Song)
MY HOMETOWN - Bruce Springsteen (C3)
TIP: The (Esus) can be ignored in favor of just the (E) but it's easy to play as (Esus) is just (E) with your pinky added to the 3rd string/2nd fret.
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Intro: (A)(D)(A)(E); (Esus)(E)(Esus)(E)(A)(E)(D)
I was (A) eight years old, and running with, a (D) dime (A) in my (E) hand. Into the (Esus) bus (E) stop to pick, (Esus) up (E) a paper, for (A) my (E) old (D) man. I'd (A) sit on his lap, in that big old Buick, (D) steer as we (A) drove through (E) town. He'd (Esus) tousle (E) my hair, and (Esus) say (E) son take, a (A) good (E) look a (D) round, this is your (A) hometown. This is (D) your (A) home (E) town. (Esus) This is your (E) hometown. This is (A) your (E) home (D) town.
In (A) Sixty-Five, tension was running high, at (D) my (A) high (E) school. There was a (Esus) lot (E) of fights, between the (Esus) black (E) and white. There was (A) nothing (E) you could (D) do.
Two (A) cars at a light, on a Saturday night, in the (D) back seat (A) there was a (E) gun. (Esus) Words (E) were passed, a (Esus) shot (E) gun blast, troubled (A) times (E) had (D) come, to (A) my hometown. (D) My (A) home (E) town. (Esus) My (E) hometown. (A) My (E) home (D) town. (A)
Now (F#m) Main Street's whitewashed windows, and (A) vacant stores. Seems like there (F#m) ain't nobody, wants to come (A) down here no more. They're (F#m) closing down, the textile mill, 'cross the (A) railroad tracks. Foreman (D) says these jobs, are going boys, and (A) they ain't (Asus) com (A) ing (E) back, to (A) your hometown. (D) Your (A) home (E) town. (Esus) Your (E) hometown. (A) Your (E) home (D) town.
Last (A) night me and Kate, we laid in bed, (D) talking about (A) getting (E) out. (Esus) Pack (E) ing up, (Esus) our (E) bags maybe, (A) head (E) ing (D) south. I'm (A) thirty-five, we got a boy, of (D) our, (A) own, (E) now. Last night I (Esus) sat (E) him up, be (Esus) hind (E) the wheel, said (A) son take a (E) good look a (D) round, this is (A) your hometown.
(D)(A)(E); (Esus)(E)(Esus)(E); (A)(E)(D), (A)
(Bruce Springsteen) (Artist Index) - (Main Index) - (Song Index) (This Song)
MY SWEET LADY – John Denver
TIP: The first verse is very pretty to play note-by-note. And it’s fairly easy to do if you can get the melody in your head and then just pick out the notes using some of the chords to form single notes. Begin strumming “like usual” with the chorus (“Close your eyes”) and do the same with the verse.
TIP: The (Em/D) is the “nothing chord”. Just strum the bottom 4 strings open (no strings depressed). And there’s a spot where you move from (D) to (Bm). Usually I advocate playing (Bm) as a “fresh” chord - using index, middle, and ring fingers - but this time you can simply add your pinky to go from (D) to (Bm).
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(Dmaj7) Lady, are you (Em/D) crying? Do the (D) tears be (Dmaj7) long to (G-add) me (Gm)? Did you (D) think our (Dmaj7) time to (D6) gether (D) was all (Em) gone (A7)? (Dmaj7) Lady, you've been (Em/D) dreaming. I'm as (D) close as (Dmaj7) I can (G-add) be (Gm). And I (D) swear to (Dmaj7) you our (Em) time has (A7) just be (D) gun. (D7)
(G) Close your eyes and (A) rest your weary (D) mind (D7). I (G) promise I will (A) stay right here be (D) side you (D7). To (G) day our lives were (A) joined - became en (D) twined. I (Bm) wish that you could know how much I (Em) love (A) you.
(Dmaj7) Lady, are you (Em/D) happy? Do you (D) feel the (Dmaj7) way I (G-add) do (Gm)? Are there (D) meanings (Dmaj7) that you've (D6) never (D) seen be (Em) fore (A7)? (Dmaj7) Lady, my sweet (Em/D)lady. I just (D) can't be (Dmaj7) lieve it's (G-add) true (Gm). And it's (D) like I've (Dmaj7) never (Em) ever (A7) loved be (D) fore. (D7)
(G) Close your eyes and (A) rest your weary (D) mind (D7). I (G) promise I will (A) stay right here be (D) side you (D7). To (G) day our lives were (A) joined - became en (D) twined. I (Bm) wish that you could know how much I (Em) love (A) you.
(Dmaj7) Lady, are you (Em/D) crying? Do the (D) tears be (Dmaj7) long to (G-add) me (Gm)? Did you (D) think our (Dmaj7) time to (D6) gether (D) was all (Em) gone (A7)? (Dmaj7) Lady, you've been (Em/D) dreaming. I'm as (D) close as (Dmaj7) I can (G-add) be (Gm). And I (D) swear to (Dmaj7) you our (Em) time has (A7) just be (D) gun. (D7)
(John Denver) (Artist Index) - (Main Index) - (Song Index) (This Song)
MY WAY – (Anka) - Frank Sinatra (C0)
TIP: If possible, when playing the (Fm), try to play the 3rd fret notes – or at least the lower one. If you can’t reach them, just play the (Fm) Easy Chord (both are listed). The (Dsus2) is just (D) without the middle finger. And play the full (E7) chord this time (with pinky) if possible (both are listed).
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Intro: Place fingers on (C) and slowly hit each string - 2nd from top to 2nd from bottom – and then back up. Repeat.
And (C) now, the end is (Em) near, and so I (C) face the final (A7) curtain. My (Dm) friend, I'll say it (Dm7) clear. I'll state my (G7) case, of which I'm (C) certain. I've (CaddG) lived a life that's (C7) full. I traveled (F) each, and every (Fm) highway. And (C) more, much more than (G7) this, I did it (CaddD) my (C) way.
Regrets, I've had a (Em) few. But then (C) again, too few to (A7) mention. I (Dm) did, what I had to (Dm7) do, and saw it (G7) through, without ex (C) emption. I (CaddG) planned, each charted
(C7) course, each careful (F) step, along the (Fm) byway. And (C) more, much more than (G7) this, I did it (CaddD) my (C) way.
Yes there were times, I'm sure you (C7) knew, when I bit (F) off, more than I could chew. But through it (Dm7) all, when there was (G7) doubt, I ate it (E7) up, and spit it (Am) out. I faced it (Dm7) all, and I stood (G7) tall, and did it my (C) way.
I've loved, I've laughed and (Em) cried, I've had my (C) fill, my share of (A7) losing. And (Dm) now, as tears sub (Dm7) side, I find it (G7) all so a (C) musing. To (CaddG) think, I did all (C7) that, and may I (F) say, not in a (Fm) shy way. Oh (C) no, oh no, not (G7) me. I did it (CaddD) my (C) way.
For what is a man? What has he (C7) got? If not him (F) self, then he has not. To say the (Dm7) things, he truly (G7) feels, and not the (E7) words of one who (Am) kneels. The record (Dm7) shows, I took the (G7) blows, and did it my (C) way.
(Frank Sinatra) (Artist Index) - (Main Index) - (Song Index) (This Song)
NEVER BEEN TO SPAIN - (Axton) - Three Dog Night (C0)
TIP: To find the right note to start the song, strum through the last line beginning with the (B7).
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(NC) Well I've never been to (A) Spain, but I kinda like the (E) music. Say the ladies are
in (A) sane there, and they sure know how to (E) use it. They don't a (B7) buse it; never gonna (A) lose it. I can't re (E) fuse it. Mmmhmm.
Well I've never been to (A) England, but I kinda like the (E) Beatles. Well I headed for
Las (A) Vegas, only made it out to (E) Needles. Can you (B7) feel it? Must be (A) near it. Feels so (E) good. Oh it feels so good.
Well I've never been to (A) heaven, but I've been to Okla (E) homa. Oh they tell me I was (A) born there, but I really don't re (E) member. In Okla (B7) homa, not Ari (A) zona? What does it (E) matter? What does it matter?
Oh I've never been to (A) Spain, but I kinda like the (E) music. Say the ladies are in (A) sane there, and they sure know how to (E) use it. They don't a (B7) buse it; never gonna (A) lose it. I can't re (E) fuse it. Oh oh.
Well I've never been to (A) heaven, but I've been to Okla (E) homa. Oh they tell me I was (A) born there, but I really don't re (E) member. In Okla (B7) homa, not Ari (A) zona? What does it (E) matter? What does it matter?
(Three Dog Night) (Artist Index) - (Main Index) - (Song Index) (This Song)
NEVER DID NO WANDERIN’ – (McKean/Shearer) – The Folksmen (C0)
TIP: The intro is mainly strumming (Em) with a brief one-strum (Em(sus2))
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Intro: (Em)-(Emsus2)-(Em) [repeat]
My (Em) mama was the (D) cold North wind. My (Em) daddy was the (G) son, of a (Em) railroad man from (D) west of hell, where the (C) trains don’t (D) even (Em) run. Never (G) heard the whistle of a (Em) southbound freight, or the (G) singing of it’s driving (B7) wheel. No I, (Em) never did no (D) wanderin’. (Em) Never did no (G) wanderin’. (Em) Never did no (D) wanderin’ after (Em) all.
They say the highway’s just (D) one big road. (Em) And it goes from here to (G) there. And they (Em) say you carry a (D) heavy load, when you’re (C) rolling down the (D) line some (Em) where. Never (G) seen the dance of the (Em) telephone poles, as (G) they go whizzin’ (B7) by. No I, (Em) never did no (D) wanderin’. (Em) Never did no (G) wanderin’. (Em) Never did no (D) wanderin’ after (Em) all.
(Am) Never did no wander (D) in’, (Em) high. (Am) Never did no wander in’, (Bm) low (B7).
(Em)-(Esus2)-(Em) (Em)-(Esus2)-(Em)
Now a sailor’s life is a (D) life for him, (Em) but it never was for (G) me. And I (Em) never soared, where the (D) hawk may soar, or (C) see what the (D) hawk might (Em) see. Never (G) hiked to heaven on a (Em) mountain trail. Never (G) rode on a river’s (B7) rage. No I, (Em) never did no (D) wanderin’. (Em) Never did no (G) wanderin’. (Em) Never did no (D) wanderin’ after (Em) all.
Never did no (D) wanderin’. (Em) Never did no (G) wanderin’. (Em) Never did no (D) wanderin’ after (Em) all.
[slower] Never did no (D) wanderin’ after (Em) all.
(The Folksmen) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE NIGHT THEY DROVE OLD DIXIE DOWN (Robertson) – Joan Baez/The Band (C4)
TIP: The lyrics here are Robbie Robertson’s.
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Intro (Emphasize the top three strings) (G) (D) (C) (D); (G) (D) (C) (D)
(Em) Virgil (G) Cain is my name and I (C) drove on the Danville (Em) train. (G) Till Stoneman’s (Em) cavalry came and (C) tore up the tracks a (Em) gain. (C) In the winter of (G) ‘65, we were (Em) hungry, just (C) barely alive. (Em) By May the tenth, (C) Richmond had fell. It was a (G) time I re (Em) member very (A) well.
The (G) night they (Em) drove old Dix (C) ie (G) down, and all the (Em) bells were ringin’. The (G) night they (Em) drove old Dix (C) ie (G) down, and all the (Em) people were singin’, they (G) went: “Naa na-na (Em) na na na, (A) na-na na-naa na (C) na na na-na.” (G) (D) (C) (D)
(Em) Back with my wife in (G) Tennessee, when (C) one day she called to (Em) me: (G) “Virgil, (Em) quick come see, (C) there goes Robert E. (Em) Lee.” Now (C) I don’t mind I’m (G) choppin’ wood, and I (Em) don’t care if the (C) money’s no good. You (Em) take what you need and (C) leave the rest, but they should (G) never have (Em) taken the very (A) best.
The (G) night they (Em) drove old Dix (C) ie (G) down, and all the (Em) bells were ringin’. The (G) night they (Em) drove old Dix (C) ie (G) down, and all the (Em) people were singin’, they (G) went: “Naa na-na (Em) na na na, (A) na-na na-naa na (C) na na na-na.” (G) (D) (C) (D)
(Em) Like my father be (G) fore me, (C) I’m a workin’ (Em) man. (G) And like my brother a (Em) bove me, (C) I took a rebel (Em) stand. He was (C) just eighteen, (G) proud and brave. But a (Em) Yankee laid him (C) in his grave. (Em) I swear by the mud be (C) low my feet, you can’t (G) raise a Cain back (Em) up when he’s in de (A) feat.
The (G) night they (Em) drove old Dix (C) ie (G) down, and all the (Em) bells were ringin’. The (G) night they (Em) drove old Dix (C) ie (G) down, and all the (Em) people were singin’, they (G) went: “Naa na-na (Em) na na na, (A) na-na na-naa na (C) na na na-na.” (Em)
(Joan Baez)(The Band) (Artist Index) - (Main Index) - (Song Index) (This Song)
NIGHTS IN WHITE SATIN – (Hayward) – The Moody Blues (C3 or 5)
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Intro: (Em) (D) (Em) (D)
(Em) Nights in white (D) satin, (Em) never reaching the (D) end. (C) Letters I've (G) written, (F) never meaning to (Em) send. Beauty I'd (D) always missed, (Em) with these eyes be (D) fore. (C) Just what the (G) truth is (F) I can't say any (Em) more.
'Cause I (A) love you. Yes, I (C) love you. Oh, how I (Em) love you (D) (Em) (D).
(Em) Gazing at (D) people, (Em) some hand in (D) hand. (C) Just what I'm (G) going through, (F) they can’t under (Em) stand. Some try to (D) tell me (Em) thoughts they cannot de (D) fend. (C) Just what you (G) want to be, (F) you will be in the (Em) end.
Cause I (A) love you. Yes, I (C) love you. Oh, how I (Em) love you (D) (Em) (D).
(Em) Nights in white (D) satin, (Em) Never reaching the (D) end. (C) Letters I've (G) written, (F) never meaning to (Em) send. Beauty I'd (D) always missed, (Em) with these eyes be (D) fore. (C) Just what the (G) truth is (F) I can't say any (Em) more.
'Cause I (A) love you. Yes, I (C) love you. Oh, how I (Em) love you (D) (Em) (D) (E)
(The Moody Blues) (Artist Index) - (Main Index) - (Song Index) (This Song)
1982 - (Blackmon/Vipperman) - Randy Travis (C0)
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Oper (A) ator please connect me with (D) nineteen eighty-two. I (E) need to make apolo (E7) gies
for (D) what I didn't (A) do (E). I (A) sure do need to tell her that I've (D) thought the whole thing (D/A) through, and (E) now it's clear that she is what I (E7) should have held on (A) to.
They say (E) hindsight's 20/20, but I'm (A) nearly (D) going (A) blind, from (B7) staring at her photograph and (E) wishing she was mine. It's that (A) same old lost love story. It's (D) sad but it's (D/A) true. There (E) was a time when she was mine in (E7) nineteen eighty (A) two.
Postman can you sell me a (D) special kind of stamp? (E) One to send a letter (E7) from this
(D) crazy lonely (A) man (E). (A) Back into the wasted years (D) of my living (D/A) past. I
(E) need to tell her now I know how (E7) long my love will (A) last.
They say (E) hindsight's 20/20, but I'm (A) nearly (D) going (A) blind, from (B7) staring at her photograph and (E) wishing she was mine. It's that (A) same old lost love story. It's (D) sad but it's (D/A) true. There (E) was a time when she was mine in (E7) nineteen eighty (A) two.
(E) Losing my mind going back in time to (E7) nineteen eighty (A) two.
(Randy Travis) (Artist Index) - (Main Index) - (Song Index) (This Song)
19TH NERVOUS BREAKDOWN - (Jagger/Richards) - The Rolling Stones
TIP: The refrain that goes "Here comes your nineteenth . . ." can be played using just (E) throughout. But . . . to make it sound snazzier try the chords as indicated. For the (EC#) just slide down your pinky one fret, from 3rd to 2nd, from the (E7full).
TIP: Play the (A) with your bottom three fingers; it will make the transition to the (B) much easier.
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Intro: (E)(A)(A)-(E); (E)(A)(A)-(E); (E)(A)(A)-(E); (E)(A)(A)-(E)
You're the (E) kind of person, you meet at certain, dismal dull affairs. Center of a crowd, talking much too loud, running up and down the stairs. Well it (A) seems to me, that you have seen too much in too few years. And (E) though you've tried, you just can't hide, your eyes are edged with tears.
You better (B) stop, look a (A) round. Here it (E) comes, here it comes. Here it (A) comes, here it comes. Here (E) comes (E7full) your nine (EC#) teenth ner (E) vous breakdown.
When (E) you were a child, you were a treated kind, but you were never brought up right. You were always spoiled, with a thousand toys, but still you cried all night. Your (A) mother who, neglected you, owes a million dollars tax. And your (E) father's still perfecting ways of making sealing wax.
You better (B) stop, look a (A) round. Here it (E) comes, here it comes. Here it (A) comes, here it comes. Here (E) comes (E7full) your nine (EC#) teenth ner (E) vous breakdown.
(B) Oh, who's to blame, that (E) girl's, just insane. Well (A) nothing I do don't seem to work it,
(B) only seems to make the matters worse. Oh (E) please.
You were (E) still in school, when you had that fool, who really messed your mind. And after that, you turned your back, on treating people kind. On (A) our first trip, I tried so hard, to rearrange your mind. But (E) after awhile, I realized, you were disarranging mine.
You better (B) stop, look a (A) round. Here it (E) comes, here it comes. Here it (A) comes, here it comes. Here (E) comes (E7full) your nine (EC#) teenth ner (E) vous breakdown.
(E)(A)(A)-(E); (E)(A)(A)-(E); (E)(A)(A)-(E); (E)(A)(A)-(E)
(B) Oh, who's to blame, that (E) girl's, just insane. Well (A) nothing I do don't seem to work it,
(B) only seems to make the matters worse. Oh (E) please.
When (E) you were a child, you were a treated kind, but you were never brought up right. You were always spoiled, with a thousand toys, but still you cried all night. Your (A) mother who, neglected you, owes a million dollars tax. And your (E) father's still perfecting ways of making sealing wax.
You better (B) stop, look a (A) round. Here it (E) comes, here it comes. Here it (A) comes, here it comes. Here (E) comes (E7full) your nine (EC#) teenth ner (E) vous breakdown.
You better (B) stop, look a (A) round.
(E)(A)(A)-(E); (E)(A)(A)-(E);
Here (E) comes (E7full) your nine (EC#) teenth ner (E) vous breakdown. Here (E) comes (E7full) your nine (EC#) teenth ner (E) vous breakdown. Here (E) comes (E7full) your nine (EC#) teenth ner (E) vous breakdown. Here (E) comes (E7full) your nine (EC#) teenth ner (E) vous breakdown.
(The Rolling Stones) (Artist Index) - (Main Index) - (Song Index) (This Song)
NOBODY HOME – (Waters) - Pink Floyd
TIP: You’ll play the (Ab+) from (Am), so to get there from (Am) you want to keep the index finger where it is in the 1st fret, and then rotate the wrist, picking up the middle finger and placing it above the index finger in the 1st fret, and moving the ring finger up one string, still in the 2nd fret. Kind of like a scrunched up (C).
TIP: For the (C7) you’ll already be playing (C) so just add pinky.
TIP: Play this song slowly.
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Intro (slowly): (Am) (Ab+) (C) (D7); (F) (Fm6)
(Fm6) I've got a (C) little black book with my poems in. I've got a (E) bag, with a toothbrush, and a comb. When (F) I'm a good dog they sometimes throw me a (C) bone. (F) I got e (C) lastic bands keeping my shoes on. Got those (E) swollen hand (E7) blues. Got (F) thirteen channels of shit on the TV to (C) choose from. I've got electric light; (C7) and I've got second sight. I've got (F) amazing (Fm6) powers of observ (C) ation (E7).
(No chord) And that is how I know.
(Am) When I try to get through (Ab+), on the telephone to you, (Fm6) there'll be nobody (C) home (F).
(F) I've got the (C) obligatory Hendrix perm. And the (E) inevitable pinhole (E7) burns (F) all down the front of my favorite satin (C) shirt. (F) I've got (C) nicotine stains on my fingers, I've got a (E) silver spoon on a chain. I've got a (F) grand piano to prop up my mortal re (C) mains. I've got wild staring eyes, (C7) and I've got a strong urge to fly. (F) But (Fm6) I've got nowhere to (C) fly to (E) (Am).
(Am) Ooooh Babe, (C) when I pick up the phone, (Fm6) there's still nobody (C) home (F) (C). (F) I've got a (C) pair of Gohills boots, and I've got (E) fading (E7) roots.
(Pink Floyd) (Artist Index) - (Main Index) - (Song Index) (This Song)
NOWHERE MAN – (Lennon/McCartney) – The Beatles [C1]
TIP: (Em7) is just (Em) with the pinky added to the 3rd fret/2nd string, and to get to (Em(sus4)) simply remove all but the middle finger).
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(D) He's a real (A) nowhere man, (G) sitting in his (D) Nowhere Land, (Em) making all his (Gm) nowhere plans for (D) nobody (A7). (D) Doesn't have a (A) point of view, (G) knows not where he's (D) going to. (Em) Isn't he a (Gm) bit like you and (D) me?
Nowhere (F#m) Man please (G) listen. You don't (F#m) know what you're (G) missing. Nowhere
(F#m) Man, the (Em7) world is (Em(sus4) at your com (A7) mand.
(D) (A) (G) (D) (Em) (Gm) (D)
(D) He's as blind as (A) he can be, (G) just sees what he (D) wants to see. (Em) Nowhere Man can (Gm) you see me at (D) all?
Nowhere (F#m) Man, don't (G) worry. Take your (F#m) time, don't (G) hurry. Leave it (F#m) all till (Em7) somebody else (Em(sus4) lends you a (A7) hand.
(D) Doesn't have a (A) point of view, (G) knows not where he's (D) going to. (Em) Isn't he a (Gm) bit like you and (D) me?
Nowhere (F#m) Man please (G) listen. (G) You don't (F#m) know what you're (G) missing. Nowhere (F#m) Man, the (Em7) world is (Em(sus4) at your com (A7) mand.
(D) He's a real (A) nowhere man, (G) sitting in his (D) Nowhere Land, (Em) making all his (Gm) nowhere plans for (D) nobody.
(Em) Making all his (Gm) nowhere plans for (D) nobody. (Em) Making all his (Gm) nowhere plans for (D) nobody.
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
OB-LA-DI, OB-LA-DA – (Lennon/McCartney) - The Beatles [C2]
TIP: The intro is a rhythmic three-note cadence of --, which are the top three strings, one at a time, while playing (G). And the tempo is: (1, 2-3); (1, 2-3), etc. And you want to try to hit just the top three of four strings. Try playing the first two notes with a downstroke and then the third with an upstroke. So it’s down, down-up; down, down-up, etc. If this is too cumbersome, just skip the intro altogether.
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Intro: (G)(G)-(G); (G)(G)-(G); (G)(G)-(G); (G)(G)-(G); repeat
(G) Desmond had a barrow in the (D7) market place. Molly is the singer in a (G) band. (G7) Desmond says to Molly, "Girl, I (C) like your face." And Molly (G) says this as she (D7) takes him by the (G) hand:
(G) Ob-la-di, ob-la-da, life goes (D) on, (Em) brah. (G) La la how the (D) life goes (G) on. (G) Ob-la-di, ob-la-da, life goes (D) on, (Em) brah. (G) La la how the (D) life goes (G) on.
(G) Desmond takes a trolley to the (D7) jeweler’s store. Buys a twenty carat golden (G) ring. (G7) Takes it back to Molly waiting (C) at the door, and as he (G) gives it to her (D7) she begins to (G) sing.
(G) Ob-la-di, ob-la-da, life goes (D) on, (Em) brah. (G) La la how the (D) life goes (G) on. (G) Ob-la-di, ob-la-da, life goes (D) on, (Em) brah. (G) La la how the (D) life goes (G) on.
In a couple of (C) years they have built a home sweet (G) home. (G)-(D7)-(Em) With a couple of (C) kids running in the yard, of (G) Desmond and Molly (D) Jones. (Ha ha ha ha ha)
(G) Happy ever after in the (D7) market place, Desmond lets the children lend a (G) hand. (G7) Molly stays at home and does her (C) pretty face, and in the (G) evening she still (D7) sings it with the (G) band.
(G) Ob-la-di, ob-la-da, life goes (D) on, (Em) brah. (G) La la how the (D) life goes (G) on. (G) Ob-la-di, ob-la-da, life goes (D) on, (Em) brah. (G) La la how the (D) life goes (G) on.
In a couple of (C) years they have built a home sweet (G) home. (G)-(D7)-(Em) With a couple of (C) kids running in the yard, of (G) Desmond and Molly (D) Jones. (Ha ha ha ha ha)
(G) Happy ever after in the (D7) market place, Molly lets the children lend a (G) hand. (G7) Desmond stays at home and does his (C) pretty face, and in the (G) evening she still (D7) sings it with the (G) band.
(G) Ob-la-di, ob-la-da, life goes (D) on, (Em) brah. (G) La la how the (D) life goes (G) on. (G) Ob-la-di, ob-la-da, life goes (D) on, (Em) brah. (G) La la how the (D) life goes (G) on.
And if you (C) want some fun...take (G) Ob-la-di (D) bla (G) da. (Ahh, thank you)
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
OCEAN FRONT PROPERTY – (Cochran) – George Strait
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If you (D) leave me, (G) I won't (D) miss you. (G) And I won't (D) ever take you (A) back. (D) Girl your mem’ry, (G) won't ever (D) haunt me, (G) 'cause I don't (D) love you, and now if (G) you'll (A) buy (D) that.
I got some ocean front (Dmaj7) property in (G) Ar (A) i (G) zon (A) a. (D) From my (Dmaj7) front porch you can (G) see the (A) sea. I got some (D) ocean front (Dmaj7) property in (G) Ar (A) i (G) zon (A) a. If (D) you’ll buy that I’ll (G) throw the Golden Gate (A) in (D) free.
I don't worship, (G) the ground you (D) walk on. (G) I never (D) have and that's a (A) fact. (D) I won't follow, (G) or try to (D) find you, (G) 'cause I don't (D) love you, now if (G) you'll (A) buy (D) that.
I got some ocean front (Dmaj7) property in (G) Ar (A) i (G) zon (A) a. (D) From my (Dmaj7) front porch you can (G) see the (A) sea. I got some (D) ocean front (Dmaj7) property in (G) Ar (A) i (G) zon (A) a. If (D) you’ll buy that I’ll (G) throw the Golden Gate (A) in (D) free.
I got some ocean front (Dmaj7) property in (G) Ar (A) i (G) zon (A) a. (D) From my (Dmaj7) front porch you can (G) see the (A) sea. I got some (D) ocean front (Dmaj7) property in (G) Ar (A) i (G) zon (A) a. If (D) you’ll buy that I’ll (G) throw the Golden Gate (A) in (D) free.
Yeah, if (D) you’ll buy that I’ll (G) throw the Golden Gate (A) in (D) free. (D) (A) (G) (A) (D)
(George Strait) (Artist Index) - (Main Index) - (Song Index) (This Song)
OH BOY – (West/Tilghman/Petty) - Buddy Holly
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(A) All of my love, all of my kissin'. You don't know what you been a missin'. Oh (D) boy, (oh boy) when you're with me, oh (A) boy, (oh boy). The world can see that (E7) you, were meant, for (A) me (D)-(A).
(A) All of my life, I been a waitin'. Tonight there'll be no hesitatin'. Oh (D) boy, (oh boy) when you're with me, oh (A) boy, (oh boy). The world can see that (E7) you, were meant, for (A) me (D)-(A).
(E7) Stars appear and the shadows are fallin'. (A) You can hear my heart a callin'. A (D) little bit of lovin' makes everything right. And (E7) I'm gonna see my baby tonight.
(A) All of my love, all of my kissin'. You don't know what you been a missin'. Oh (D) boy, (oh boy) when you're with me, oh (A) boy, (oh boy). The world can see that (E7) you, were meant, for (A) me (D)-(A).
(A) Dum de-dum-dum, oh boy. Dum de-dum-dum, oh (A7) boy.
(D) Ah... (A) Ah... (E7) Ah... (A) Ah...
(A) All of my love, all of my kissin'. You don't know what you been a missin'. Oh (D) boy, (oh boy) when you're with me, oh (A) boy, (oh boy). The world can see that (E7) you, were meant, for (A) me (D)-(A).
(A) All of my life, I been a waitin'. Tonight there'll be no hesitatin'. Oh (D) boy, (oh boy) when you're with me, oh (A) boy, (oh boy). The world can see that (E7) you, were meant, for (A) me (D)-(A).
(E7) Stars appear and the shadows are fallin'. (A) You can hear my heart a callin'. A (D) little bit of lovin' makes everything right. And (E7) I'm gonna see my baby tonight.
(A) All of my love, all of my kissin'. You don't know what you been a missin'. Oh (D) boy, (oh boy) when you're with me, oh (A) boy, (oh boy). The world can see that (E7) you, were meant, for (A) me (D)-(A).
(Buddy Holly) (Artist Index) - (Main Index) - (Song Index) (This Song)
OH, LONESOME ME – (Gibson) – Don Gibson/Kentucky Headhunters
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(C) Everybody's going out and (G7) havin’ fun. I'm (Dm7) just a fool for staying home and (C) having none. I can't get over (C7) how she set set me (F) free. (G) Oh, (G7) lonesome (C) me.
A bad mistake I'm making by just (G7) hanging round. I (Dm7) know that I should have some fun and (C) paint the town. A lovesick fool is (C7) blind and just can't (F) see. (G) Oh, (G7) lonesome (C) me.
I'll (G) bet she's not like me. She's (D) out and fancy free. She’s (D7) flirtin' with the boys with all her (G) charms. I still love her so, and (D) brother don't you know, I'd welcome her right (D7) back here in my (G) arms.
There (C) must be some way I can lose these (G7) lonesome blues. For (Dm7) get about the past and find some (C) body new. I've (C) thought of every (C7) thing from A to (F) Z. G) Oh, (G7) lonesome (C) me
I'll (G) bet she's not like me. She's (D) out and fancy free. She’s (D7) flirtin' with the boys with all her (G) charms. I still love her so, and (D) brother don't you know, I'd welcome her right (D7) back here in my (G) arms.
There (C) must be some way I can lose these (G7) lonesome blues. For (Dm7) get about the past and find some (C) body new. I've (C) thought of every (C7) thing from A to (F) Z. (G) Oh, (G7) lonesome (C) me. Oh, (G7) lonesome (C) me. Oh, (G7) lonesome (C) me.
(Don Gibson) (Artist Index) - (Main Index) - (Song Index) (This Song)
OH, MY DARLING CLEMENTINE – (Montrose) - Traditional
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In a (G) cavern, in a canyon, excavating for a (D7) mine, dwelt a miner, forty-(G) niner, and his (D7) daughter, Clemen (G) tine. Oh my Darling, oh my darling, oh my darling Clemen (D7) tine. You are lost and gone for (G) ever, dreadful (D7) sorry, Clemen (G) tine.
Light she was, and like a fairy, and her shoes were number (D7) nine. Herring boxes, without (G) topses. Sandals (D7) were for Clemen (G) tine. Drove she ducklings to the water, every morning just at (D7) nine. Hit her foot against a (G) splinter, fell in (D7) to the foaming (G) brine. Oh my Darling, oh my darling, oh my darling Clemen (D7) tine. You are lost and gone for (G) ever, dreadful (D7) sorry, Clemen (G) tine.
Ruby lips above the water, blowing bubbles soft and (D7) fine. But alas, I was no (G) swimmer, so I (D7) lost my Clemen (G) tine. How I missed her! How I missed her! How I missed my Clemen (D7) tine. But I kissed her little (G) sister, and for (D7) got my Clemen (G) tine. Oh my Darling, oh my darling, oh my darling Clemen (D7) tine. You are lost and gone for (G) ever, dreadful (D7) sorry, Clemen (G) tine.
Then the miner, forty-niner, soon began to peak and (D7) pine. Thought he oughter join his (G) daughter, now he's (D7) with his Clemen (G) tine. In a churchyard, near the canyon, where the myrtle does en (D7) twine. There grow roses and the (G) posies, fertil (D7) ized by Clemen (G) tine. Oh my Darling, oh my darling, oh my darling Clemen (D7) tine. You are lost and gone for (G) ever, dreadful (D7) sorry, Clemen (G) tine.
In my dreams she, still does haunt me, robed in garments, soaked in (D7) brine. Then she rises from the (G) water and I (D7) kiss my Clemen (G) tine. Oh my Darling, oh my darling, oh my darling Clemen (D7) tine. You are lost and gone for (G) ever, dreadful (D7) sorry, Clemen (G) tine.
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
OH PRETTY WOMAN - Roy Orbison
TIP: There are two riffs played in the song, a shorter 5-note one and a longer 8-note one. Both are in the key of . But you can play either as a bass run or an octave higher. Roy always plays the bass run but you may find it easier to open the song with the bass run and then use the middle run for the rest of the song. Whatever works for you.
Bass run: Place your index (or middle if you can make the stretch) finger on the note (5th string/2nd fret) which never leaves position through the entire riff. Then it's two plucks of the open top string , and then with your pinky. The next note, is already covered so pluck the 5th string and then the 4th string open, which is . That's the shorter 5-note riff". The longer 8-note riff is just an extension of the first one. You play the same 5 notes but when you reach the you then lay your index finger down on the fretboard to cover the 4th string - that's - then lift off to get back to , and then pluck the 5th string (still covered by the index finger on 5th string/2nd fret). That's it. Repeat as necessary.
Middle run: It's actually easier to play the riffs from the middle. Form the (E) and hold it. Then it's all a matter of using the pinky to form (E7full) to cover note . The notes are the same but since it's an octave higher they're in a different position. Again, holding (E): 4th string twice, 3rd string; 2nd string, add pinky to 2nd string/3rd fret (now playing E7full). That's the short riff. Continuing (still holding E7full position): bottom string open, back to 2nd string, now lift off pinky (back to playing (E)). That's it. Repeat. You may also be able to just fake the riff by striking the middle strings while playing the (E) and (E7full).
TIP: There are three of variations of (E7) played. (E7) is the chord with two notes - 5th diagram. (E7full) is the chord with 4 notes - second diagram from the end. (E7 "normal) is only played once at the end and is the 3 note diagram found last.
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INTRO: ; ;
; ;
; ;
Pretty (A) woman, walking (F#m) down the street. Pretty (A) woman, the kind I'd (F#m) like to meet. Pretty (D) woman. I don't be (E) lieve you, (E7) you're not the (E) truth. No one could look as (E7) good as (E) you.
; Mercy! ;
; ;
Pretty (A) woman, won't you (F#m) pardon me. Pretty (A) woman, I couldn't (F#m) help but see.
Pretty (D) woman. That you look (E) lovely (E7) as can (E) be. Are you lonely (E7) just like (E) me?
; Growl ;
; ;
(E)-(E)(Dm) Pretty woman, (G7) stop a while. (C) Pretty woman, (Am) talk a while. (Dm) Pretty woman, (G7) give your smile to (C) me. (Dm) Pretty woman, (G7) yeah yeah yeah. (C) Pretty woman, (Am) look my way. (Dm) Pretty woman, (G7) say you'll stay with (C) me. (A7)
'Cause I (F#m) need you, (Dm) I'll treat you (E) right. (A) Come with me (F#m) baby, (Dm) be mine to (E7) night.
; ;
; ;
Pretty (A) woman, don't (F#m) walk on by. Pretty (A) woman, don't (F#m) make me cry. Pretty (D) woman, don't (E) walk away . . .
Hey. O (E7) kay. If that's the (E) way it (E7) must be, o (E) kay. I guess I'll (Esus) go (E) on (Esus) home, it's (E) late. There'll be tomor (E7full) row (E) night, but wait.
What do I see?
;
; ;
; ;
(E) Is she walking back to me? Yeah, she's (E7full) walking back to (E) me.
Oh, (E7 normal) oh, pretty (A) woman.
(Roy Orbison) (Artist Index) - (Main Index) - (Song Index) (This Song)
OKIE FROM MUSKOGEE – Merle Haggard
TIP: The full B7 chord is displayed here as well. There are only two chords in this song and the (B7) follows the (E). It is easy to play the full (B7) from the (E) as you just kind of scissor your ring and middle fingers and then add the pinky to the bottom string. Try it.
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(E) We don't smoke marijuana in Muskogee. We don't take our trips on L.S. (B7) D. We don't burn our draft cards down on Main Street. We like livin' right, and bein' (E) free.
I'm proud to be an Okie from Muskogee. A place where even squares can have a (B7) ball. We still wave Old Glory down at the courthouse, and white lightnin's still the biggest thrill of (E) all.
We don't make a party out of lovin'. We like holdin' hands and pitchin' (B7) woo. We don't let our hair grow long and shaggy, like the hippies out in San Francisco (E) do.
And I'm proud to be an Okie from Muskogee. A place where even squares can have a (B7) ball. We still wave Old Glory down at the courthouse, and white lightnin's still the biggest thrill of (E) all.
Leather boots are still in style for manly footwear. Beads and Roman sandals won't be (B7) seen.
Football's still the roughest thing on campus, and the kids here still respect the college (E) dean.
And I'm proud to be an Okie from Muskogee. A place where even squares can have a (B7) ball. We still wave Old Glory down at the courthouse, and white lightnin's still the biggest thrill of (E) all.
(B7) We still wave Old Glory down at the courthouse, in Muskogee, Oklahoma, U. S. (E) A.
(Merle Haggard) (Artist Index) - (Main Index) - (Song Index) (This Song)
OLD FRIENDS (Simon) - Simon and Garfunkel
TIP: There's a few uncommon chords here, particularly the (Fmaj7), (Cmaj7) and (C6). (Fmaj7) is just (F) without the bottom string (and the pinky on top is optional, too). The (Cmaj7) is just (C) without the index finger on the 1st fret. To play the (Fmaj7)-(Cmaj7)sequence all you do is lift up one sting set and don't play the index finger. And (C6) is just (Am) with your pinky above the ring finger on the 5th string/3rd fret.
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Intro: (Fmaj7) (Cmaj7) (Fmaj7) (Cmaj7)
(Fmaj7) Old (Cmaj7) friends. (Fmaj7) Old (Cmaj7) friends. (Dm) Sat on their (G7) park bench like (C) bookends (Am). A (Dm) newspaper blown through the (Gadd) grass, falls on the (Am) round toes, of the (Gadd) high (Cmaj7) shoes, of the (F) old (Am) friends.
(Fmaj7) Old (Cmaj7) friends. (Dm) Winter com (G7) panions, the (C) old (Am) men. (Dm) Lost in their (G7) overcoats, (C) waiting for the (Am) sun. The (Dm) sounds of the (G7) city (Em7) sifting through (Am) trees, settles like (G) dust on the (F) shoulders, of the (C6) old (Am) friends.
(Dm) Can you i (G7) magine us (Cmaj7) years from today, (F) sharing a (Fm) park bench (C) quietly?
How (Dm) terribly (G7) strange to be (Am) seventy.
(Fmaj7) Old (Cmaj7) friends. (Dm) Memory (G7) brushes the (C) same (Am) years. (Dm) Silently (G7) sharing the (C6) same (Am) fears.
(Dm)(C) (Dm)(C)
(Dm) Time it was and what a time it was, it was . . . a time of (C) innocence. A time of (Dm) confi (F) dences. (Dm) Long ago it must be, I have a (C) photograph. Preserve your (Dm) memories, they’re all that’s (C) left you.
(Dm)(C)(Dm)(C)
(Simon and Garfunkel) (Artist Index) - (Main Index) - (Song Index) (This Song)
OLD JOE’S PLACE – (Guest/McKean/Shearer) – The Folksmen
TIP: To play (Cmaj7) just play (C) without the index finger.
TIP: In the bridge (after “Pick it”) the first four chords can be strummed and then the chords between the slashes are meant to each be strummed just once to emulate a picked banjo string. To play the (Cadd9) from (C) keep the (C) and add your pinky to the 2nd string/3rd fret. To play the (Asus) from (Am) do the same thing.
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When (C) ever I'm out a (F) wanderin, (C) chasing a rainbow (F) dream. I (C) often stop (Cmaj7) and (Am) think about, a (D7) place I've never (G) seen. Where (Am) friendly folks can (Em) gather, and (Am) raise the rafters (G) high. With (C) songs and (Am7) tales of (Am) yester (Am7) year, un (F) til they (G) say good (C) bye.
(C) Well- (G) -ell. There's a (F) puppy in the (C) parlor, and (F) skillet on the (C) stove, and a (F) smelly old (C) blanket, that a (G) Navajo (C) wove. There's a (F) chicken on the (C) table, but you (F) gotta say (C) grace. There's (F) always something (C) cooking at (Gadd) Old (G) Joe's (C) Place (F)(C)(G).
Now (C) folks come by round (F) evening time, (C) soon as the sun goes (F) down. (C) Some drop in (Cmaj7) from (Am) right next door, and (D7) some from out of (G) town. Pick it.
(Am) (Em) (Am) (G) - (C)/(Cadd9)/(Am)/(Asus)/(Am)/(Am7)/(F)/(F)/(F)/(G)/(C)
(C) Well- (G) -ell. There's a (F) puppy in the (C) parlor, and (F) skillet on the (C) stove, and a (F) smelly old (C) blanket, that a (G) Navajo (C) wove. There's (F) popcorn in the (C) popper, and a (F) porker in the (C) pot. There's (F) pie in the (C) pantry, and the (G) coffee's always (C) hot. There's a (F) chicken on the (C) table, but you (F) gotta say (C) grace. There's (F) always something (C) cooking at (Gadd) Old (G) Joe's (C) Place (F)(C)(G).
Now (C) they don't allow no (F) frowns inside. (C) Leave those by the (F) door. There's (C) apple brand (Cmaj7) y (Am) by the keg, and (D7) sawdust on the (G) floor. So (Am) if you've got a (Em) hankerin', I'll (Am) tell you where to (G) go. Just (C) look for the bust (Cmaj7) ed (Am) neon (C) sign that (F) flashes . . . Ea, A, O's.
(C) Well- (G) -ell. There's a (F) puppy in the (C) parlor, and (F) skillet on the (C) stove, and a (F) smelly old (C) blanket, that a (G) Navajo (C) wove. There's (F) popcorn in the (C) popper, and a (F) porker in the (C) pot. There's (F) pie in the (C) pantry, and the (G) coffee's always (C) hot. There’s (F) sausage in the (C) morning, and a (F) party every (C) night, There’s a (F) nurse on (C) duty, if you (G) don’t feel (C) right. There's a (F) chicken on the (C) table, but you (F) gotta say (C) grace. (Whew). There's (F) always something (C) cooking at (G) Old Joe's (C) Place (F)(C). (G)-(C)
(The Folksmen) (Artist Index) - (Main Index) - (Song Index) (This Song)
OLD TIME ROCK AND ROLL - Bob Seger
TIP: The intro emulates the piano beginning and is a series of 7 picked/plucked notes and is a piece of cake: is 2nd string/3rd fret. 2nd string/1st fret. is open 2nd string. And is 3rd string/2nd fret. The series is played twice.
TIP: The first line consists of one note for each syllable sung up until "off" which is a (G). They're the same notes from the intro except for which is the open 3rd string. Sounds cool. Try it - cool beans!
TIP: The second refrain is fronted with an * and the chords carry a [NC] for no-chord. This means, beginning with the (G) - noted (G)(NC] - you strum the chord just once and sing acapella until the next chord (C)[NC] and do the same thing, strum just once. Do this for this refrain and then resume normal strumming with the next one.
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Intro: ;
Just take those old rec ords (G) off the shelf. I'll sit and listen to 'em (C) by myself. Today's music ain't (D) got the same soul. I like that old time (G) rock 'n' roll. (D)
Don't try to take me to a (G) disco. You'll never even get me (C) out on the floor. In ten minutes I'll be (D) late for the door. I like that old time (G) rock 'n' roll. (D)
Still like that old time (G) rock 'n' roll. That kind of music just (C) soothes the soul.
I reminisce about the (D) days of old. With that old time (G) rock 'n' roll. (D)
Won't go to hear 'em play a (G) tango. I'd rather hear some blues or (C) funky old soul.
There's only one sure way to (D) get me to go. Start playing old time (G) rock 'n' roll.
Call me a relic, call me what you will. Say I'm old-fashioned, say I'm (C) over the hill.
Today's music ain't (D) got the same soul. I like that old time (G) rock 'n' roll. (D)
Still like that old time (G) rock 'n' roll. That kind of music just (C) soothes the soul.
I reminisce about the (D) days of old. With that old time (G) rock 'n' roll. (D)
*Still like that old time (G)[NC] rock 'n' roll. That kind of music just (C)[NC] soothes the soul.
I reminisce about the (D)[C] days of old. With that old time (G)[NC] rock 'n' roll.
(D) Still like that old time (G) rock 'n' roll. That kind of music just (C) soothes the soul.
I reminisce about the (D) days of old. With that old time (G) rock 'n' roll. (D)
Still like that old time (G) rock 'n' roll. That kind of music just (C) soothes the soul.
I reminisce about the (D) days of old. With that old time (G) rock 'n' roll. (D)
Still like that old time (G) rock 'n' roll.
(Bob Seger) (Artist Index) - (Main Index) - (Song Index) (This Song)
ONE - (Nilsson) - Three Dog Night
TIP: At two points, prior to the first "It's just no . . ." and again at the coda to end the song, you'll see (Em)(G). Strum the (Em), then while still holding the (Em) formation, pick the 5th string and open top string, then release and pick the top string/2nd fret, and finishing with a usual (G). If you play (G) with your middle finger on the top string you can use it to play the and then just slide it over to form the (G).
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(Em) One is the (G) loneliest number that you'll (A) ever do (C)-(B7). (Em) Two can be as (G) bad as one, it's the (A) loneliest number since the number (B7) one- (Em) -un. (G)(A)(C)-(B7)
(Em) No is the (G) saddest experience you'll (A) ever know (C)-(B7). (Em) Yes, it's the
(G) saddest experience you'll (A) ever know (C)-(B7). 'Cause (Em) one is the loneliest (G) number that you'll (A) ever do (C)-(B7).
(Em) One is the loneliest (G) number, whoa-oh (A) worse than two (C)-(B7).
(Em) (G) It's just no (Bm) good anymore since you went a (Em) way. Now I (C) spend my time just (Am) making rhymes of (Em) yesterday. (Em trill)
(Em) One is the (G) loneliest (A) number. (C) One is the loneliest (B7) number. (Em) One is the (G) loneliest number that you'll (A) ever do (C)-(B7). (Em) One is the (G) loneliest. (C) One is the loneli (B7) est. (Em) One is the (G) loneliest number that you'll (A) ever do (C)-(B7).
(G) It's just no (Bm) good anymore since you went a (Em) way. Number.
(Em) One is the (G) loneliest (A) number. (C) One is the loneliest (B7) number. (Em) One is the (G) loneliest number that you'll (A) ever do (C)(B7) number. (Em) One is the (G) loneliest
(A) number. (C) One is the loneliest (B7) number. (Em) One is the (G) loneliest number that you'll (A) ever do (C)(B7) number.
(Em) (G)
(Three Dog Night) (Artist Index) - (Main Index) - (Song Index) (This Song)
ONE TIN SOLDIER (Lambert/Potter) – Coven
TIP: Concerning the (F)-(Fmaj7/A)-(F#3)-(F) string: You’ll already be playing (F) so simply lift off the bottom string to play (Fmaj7/A). (F#3) is simply (F) played up two additional frets. Then slide down the neck to normal (F) and finish with (C) as normal. You’ll also play (F#3)-(F) from (Em) in the chorus. If this is all too complicated, just play (G) instead of (F#3)-(F).
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Intro: (C) (Gadd) (Am) (Em) (F) (C) (F) (Dm7) (C)
(C) Listen children (Gadd) to a story, (Am) that was written (Em) long ago. A (F) bout a kingdom (C) on a mountain, (Am) and the Valley (Gadd) Folk below. (C) On the mountain (Gadd) was a treasure, (Am) buried deep be (Em) neath a stone, (F) and the Valley (C) People swore, they'd (F) have it for (Fmaj7/A) their (F#3) ver (F) y (C) own.
Go ahead and hate your (Em) neighbor. (F) Go ahead and cheat a (C) friend. Do it in the name of (Em) heaven, you can (F) justify it in the (C) end. There won't be any trumpets (Em) blowin,'
(F) come the Judgement (C) Day. On the bloody morning (F) after (Em)(F), one tin (Em) sold (F#3) ier (F) rides a (C) way.
So the people (Gadd) of the valley, (Am) sent a message (Em) up the hill. (F) Asking for the
(C) buried treasure, (F) tons of gold for (Gadd) which they'd kill. (C) Came an answer, (Gadd) from the kingdom: (Am) "With our brothers, (Em) we will share, (F) all the secrets (C) of our mountain, (F) all the rich (Fmaj7/A) es (F#3) bur (F) ied (C) there."
Now the valley (Gadd) cried with anger, (Am) "Mount your horses, draw your sword." (F) And they killed the (C) mountain people, (F) sure they’d won their (Gadd) just reward. (C) Now they stood be (Gadd) side the treasure, (Am) on the mountain (Em) dark and red. (F) Turned the stone and
(C) looked beneath it, (F) "Peace on earth" (Fmaj7/A) was (F#3) all (F) it (C) said.
Go ahead and hate your (Em) neighbor. (F) Go ahead and cheat a (C) friend. Do it in the name of (Em) heaven, you can (F) justify it in the (C) end. There won't be any trumpets (Em) blowin,'
(F) come the Judgement (C) Day. On the bloody morning (F) after (Em)(F), one tin (Em) sold (F#3) ier (F) rides a (C) way.
[Softly] (C) (Gadd) (Am) (Em) (F) (C) (F) (Dm7) (C)
(Coven) (Artist Index) - (Main Index) - (Song Index) (This Song)
ON THE BORDER - Al Stewart
TIP: The (Em)(Emsus2)-(Em) bit is an easy five-beat lick. Just lift and replace your ring finger while playing the (Em). The beat is: (Em) 1-2-3/(Emsus2) 4/(Em) 5. Try it and you'll get the hang right away. Listen to the song if needed.
TIP: The short transition instrumental isn't as hard as it looks and is played quickly. You'll end the verse on a (B) leading in from a (C). Hold your bottom three fingers in place and slide down the fingerboard to play the (A). Play the (G) as normal and the (F#m) as a barre before jumping to the (Em) and continuing with the alternating (Em)(Emsus2)-(Em) as above.
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Intro: [Strum] (Em)(Emsus2)-(Em) . . .
(Em) The fishing boats go out across the evening water. (C) Smuggling guns and arms across the Spanish border. The (Am) wind whips up the waves so loud, the (G) ghost moon sails a (F) mong the clouds and (Em) turns the rifles (D) into silver (Em) on the border. [strum] (Em)(Emsus2)-(Em)
On my wall the colors of the maps are running. (C) From Africa the winds they talk of changes coming. The (Am) torches flare up in the night, the (G) hand that sets the (F) farms alight has (Em) spread the word to (D) those who're waiting (Em) on the border.
(G) In the village where I grew up (Dm) nothing seems the same. Still you (C) never see the change from day to (G) day. No one (C) notices the customs slip (B) away.
(B)(A)(G)(F#m)(Em)(Emsus2)-(Em) [strum . . .]
(Em) Late last night the rain was knocking on my window. I (C) moved across the darkened room and in the lamp-glow. I (Am) thought I saw down in the street, the (G) spirit of the (F) century, (Em) telling us that (D) we're all standing (Em) on the border.
(G) In the islands where I grew up (Dm) nothing seems the same. It's just the (C) patterns that remain an empty (G) shell. But there's a (C) strangeness in the air you feel too (B) well. (B)(A)(G)(F#m)(Em)(Emsus2)-(Em) [strum . . .]
(Em) The fishing boats go out across the evening water. (C) Smuggling guns and arms across the Spanish border. The (Am) wind whips up the waves so loud, the (G) ghost moon sails a (F) mong the clouds and (Em) turns the rifles (D) into silver (Em) on the border. [strum] (Em)(Emsus2)-(Em)
(C) On the border, (Em) on the border. (C) On the border. (Em)
(Al Stewart) (Artist Index) - (Main Index) - (Song Index) (This Song)
ON THE TURNING AWAY – (Gilmour) - Pink Floyd
TIP: Begin singing on the open G string (3rd from bottom)
TIP: As performed by Floyd the first verse is sung acapella and the chords start with the second verse. Actually this is a song that’s better picked than strummed.
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(Em) On the (D) turning (G) away, from the (C) pale and down (G) trodden. And the (D) words that (G) they say which we (C) won’t understand. (Em) Don’t ac (G) cept that what’s (C) happen (G) ing, is just a case of all the suffer (C) ing. (G) All you’ll find is you’re (C) join (G) ing in the (D) turning a (G) way.
(Em) It's a (D) sin that some (G) how, light is (C) changing to (G) shadow. And (D) casting its (G) shroud over (C) all we have known. (Em) Una (G) ware how the (C) ranks (G) have grown, driven on by a heart (C) of stone. (G) We could find that we're (C) all a (G) lone in the (D) dream of the (G) proud.
(Em) On the (D) wings of the (G) night. As the (C) day time is (G) stirring, where the (D) speechless u (G) nite in a (C) silent accord. (Em) Using (G) words you will (C) find as (G) strange, mesmerized as they light (C) the flame. Feel the (G) new wind of (C) change on the (D) wings of the (G) night.
(Em) No more (D) turning (G) away, from the (C) weak and the (G) weary. No more (D) turning a (G) way from the (C) coldness inside. (Em) Just a (G) world that we (C) all must (G) share. It's not enough just to stand (C) and stare. Is it (G) only a (C) dream that there'll (G) be no more (D) turning a (G) way.
(Pink Floyd) (Artist Index) - (Main Index) - (Song Index) (This Song)
ONLY THE LONELY - (Orbison/Melson) - Roy Orbison (C3)
TIP: The "dum, dum dum..." and "Oooh, yay yay..." parts not in parenthesis are generally sung, the ones in parentheses generally are not.
TIP: Note the full (E7) is played.
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Dum, dum, dum, (D) dumdy-do-wah. Oooh, yay, yay, (Em) yay-yeah. Oh, whoa, whoa,
(G) whoa-wah (A7). Only the (D) lonely (A7). Only the (D) lonely.
Only the lonely, (Dum, dum, dum, dumdy-do-wah) know the way I feel to (Em) night. (Oooh, yay, yay, yay-yeah). Only the (A7) lonely, (Dum, dum, dum, dumdy-do-wah) know this (G) feeling ain't
(D) right. (Dum, dum, dum, dumdy-do-wah)
There goes my baby. There goes my (D7) heart. They're gone for (G) ever. So far
a (E7full) part (A7). But only the (D) lonely, know (G) why (A7), I cry. Only the (D) lonely.
Dum, dum, dum, (D) dumdy-do-wah. Oooh, yay, yay, (Em) yay-yeah. Oh, whoa, whoa,
(G) whoa-wah (A7). Only the (D) lonely (A7). Only the (D) lonely.
Only the lonely, (Dum, dum, dum, dumdy-do-wah) know the heartaches I've been (Em) through. (Oooh, yay, yay, yay-yeah). Only the (A7) lonely, (Dum, dum, dum, dumdy-do-wah) know I (G) cry and cry for (D) you. (Dum, dum, dum, dumdy-do-wah)
May be tomorrow, a new ro (D7) mance. No more (G) sorrow. But that's the (E7full) chance (A7).
(NC) You gotta take, is you're (G) lonely heart (A7) break. Only the (D) lonely. Dum, dum, dum, dumdy-do-wah.
(Roy Orbison) (Artist Index) - (Main Index) - (Song Index) (This Song)
OOBY DOOBY - (Moore/Penner) - Roy Orbison (C3)
TIP: Start the song with a single (D) strum. The rest of the verse is then sung acapella until
"want to be near." In the second and third verses the chord is struck only on the words in italics. There's no such restriction for the final verse.
TIP: You can play the (A7) or an (A). Both sound fine.
TIP: If you can't quite get it, wait and visit a camp near Bozeman, Montana on April 4th, 2063. See a man named Zefram Cochrane.
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(D)(NC) Hey baby, jump over here. When you do the ooby-dooby, I (D7) want to be near.
Ooby- (G) dooby. Ooby- (D) dooby. Ooby- (A7) dooby-ooby-dooby. (G7) Ooby. Dooby. Do- (D) wah, do-wah, do-wah.
Well you wiggle to the left, you wiggle to the right. You do the ooby-dooby with (D7) all of your might.
Ooby- (G) dooby. Ooby- (D) dooby. Ooby- (A7) dooby-ooby-dooby. (G7) Ooby. Dooby. Do- (D) wah, do-wah, do-wah.
Well you wriggle and you shake, like a big rattle snake. You do the ooby-dooby 'till you (D7) think you wanna break.
Ooby- (G) dooby. Ooby- (D) dooby. Ooby- (A7) dooby-ooby-dooby. (G7) Ooby. Dooby. Do- (D) wah, do-wah, do-wah.
Well you've been struttin' 'cause now you know, how to (D7) do the ooby-dooby, now baby let's go!
Ooby- (G) dooby. Ooby- (D) dooby. Ooby- (A7) dooby-ooby-dooby. (G7) Ooby. Dooby. Do- (D) wah, do-wah, do-wah.
(Roy Orbison) (Artist Index) - (Main Index) - (Song Index) (This Song)
OVER THE RAINBOW – (Arlen/Harburg) - Judy Garland [In key of C]
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(C) Somewhere (Em) over the rain (Am) bow (F) way up (C) high. (F) There's a (C) land that I (Am) heard (Dm7) of (G7) once in a lulla (C) by. (G)
(C) Somewhere (Em) over the rain (Am) bow (F) skies are (C) blue (F) and the (C) dreams that you (Am) dare (Dm7) to (G7) dream really do come (C) true.
Some (C) day I'll wish upon a star and (G7) wake up where the clouds are far be (F) hind me (G). Where (C) troubles melt like lemon drops a (G7) way above the chimney tops that's (Am) where you'll (F) find (G) me.
(C) Somewhere (Em) over the rain (Am) bow (F) bluebirds (C) fly. (F) Birds fly (C) over the (Am) rain (Dm7) bow (G7) why then, oh why can't (C) I?
(C) If happy little bluebirds fly . . . be (G7) yond the rainbow why, oh (F) why (G7) can't (C) I? (F) (C)
(Judy Garland) (Artist Index) - (Main Index) - (Song Index) (This Song)
- - - - - - - - - - - -
OVER THE RAINBOW – (Arlen/Harburg) - Judy Garland [In key of G]
TIP: This version in the key of is meant for fingerpicking which is much easier than doing so in the key of the (although you can still strum). With a little practice this can become a very easy and pretty song to pick.
TIP: The notes in brackets, , are meant as reminders to fingerpickers that this note should be picked/included at this time.
TIP: (or lift/remove if you prefer) means a finger should be pulled off the chord being played. This occurs while playing the (D). The first means lift the index finger and the following means remove all fingers when transitioning to the (G).
TIP: In the bridge, (addP5) means extend your pinky to the bottom string/5th fret while holding the (D). To finish the sequence and move from (D) to (Asus), keep/hold your ring finger in position on the fret and shift your other two fingers up one string each.
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(G) Some where (D) over the rain (Dsus) bow (G) way (C) up (Gadd) high. (C) There's a (G) land that I heard (C) of (D) once in a lull a (G) by.
(G) Some where (D) over the rain (Dsus) bow (G) skies (C) are (Gadd) blue. (C) And the
(G) dreams that you dare (C) to (D) dream really do come (G) true.
(Gadd) Some (G) day (Gadd) I'll (G) wish (Gadd) up (G) on (Gadd) a (G) star and (C) wake (CaddD) up (C) where (CaddD) the (C) clouds (CaddD) are (C) far (CaddD) be (C) hind me (D). Where (G) trou (Gadd) bles (G) melt (Gadd) like (G) lem (Gadd) on (G) drops a (C#m) way above the chimney tops that's (D) where you'll (addP5) find (Asus) me.
(G) Some where (D) over the rain (Dsus) bow (G) blue (C) birds (Gadd) fly. (C) Birds fly
(G) over the rain (C) bow (D) why then, oh why can't (G) I?
(Gadd) If (G) hap (Gadd) py (G) lit (Gadd) tle (G) blue (Gadd) birds (G) fly . . . (Gadd) be (C) yond (CaddD) the (C) rain (CaddD) bow (C) why, (Cadd) oh (C) why (D) can't (Gadd) I (CaddG) (Gadd) ?
(Judy Garland) (Artist Index) - (Main Index) - (Song Index) (This Song)
PAINT IT BLACK - (Richards/Jagger) - The Rolling Stones
TIP: Alright, this all may look a bit messy but it's surprisingly easy to play and I'm gonna walk you through it. (If you don't want to bother you can play just (Dm) at the beginning and (A) at the end of each verse. The chorus is played as indicated but it too is easy.) Really though, just give it a try and you'll see what I mean.
TIP: First the verse: There are two primary voicings, one surrounding the (Dm) and the other with the (A). Starting with the (Dm), your middle and ring fingers stay achored in place and the pinky and index finger do all the work, adding and lifting. From the (Dm), to get to (Dsus2) all you do is lift off the index finger. To go from (Dsus2) back to (Dm) you replace the index finger. To go from (Dm) to (D4) you keep the (Dm) form and simply add your pinky to the bottom string/3rd fret. Lift off and you're back to (Dm). Easy, no? In a similar style, to go from (A) to (Asus) hold (A) and add your pinky to the 2nd string/3rd fret. To get back to (A) from (Asus) just lift. Tap/lift, tap lift. (Asus)(A), (Asus)(A). Piece of cake.
TIP: Next, the chorus: The only bugaboo is going from (F) to (Dm/F) but it's easy peasy! Just keep the (F) form and add your pinky to the 2nd string/3rd fret.
TIP: The INTRO is actually individual notes but you'll want to be in the chord formations as shown to pluck them.
TIP: Since each syllable in the verse pretty much gets it's own chord use downstroke strums for each.
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INTRO: (Dm)(Dsus2)(Dm)(D4)(Dm)(Dsus2)(Dm)(Dm)(A)(Asus)(A)(Asus)(A); strum (Dm). . .
(Dm) I (Dsus2) see (Dm) your (D4) red (Dm) door (Dsus2) and (Dm) I want (A) it (Asus) paint (A) ed (Asus) bla- (A) -ack. (Dm) No (Dsus2) col (Dm) ors (D4) an (Dm) y (Dsus2) more (Dm) I want
(A) them (Asus) to (A) turn (Asus) bla- (A) -ack.
(Dm) I (C) see the (F) girls walk (Dm/F) by dressed (C) in their summer (A) clothes (A7).
(Dm) I (C) have to (F) turn my (Dm/F) head un (C) til my darkness (A) goes.
(Dm) I (Dsus2) see (Dm) the (D4) line (Dm) of (Dsus2) cars (Dm) and they're (A) all (Asus) paint (A) ed (Asus) bla- (A) -ack. (Dm) With (Dsus2) flow (Dm) ers (D4) and (Dm) my (Dsus2) love
(Dm) both nev (A) er (Asus) to (A) come (Asus) ba- (A) -ck.
(Dm) I (C) see people (F) turn their (Dm/F) heads and (C) quickly looked a (A) way (A7).
(Dm) Like a (C) newborn (F) baby (Dm/F) it just (C) happens every (A) day.
(Dm) I (Dsus2) look (Dm) in (D4) side (Dm) my (Dsus2) self (Dm) and see (A) my (Asus) heart (A) is (Asus) bla - (A) ack. (Dm) I (Dsus2) see (Dm) my (D4) red (Dm) door, (Dsus2) I (Dm) must have
(A) it (Asus) paint (A) ed (Asus) bla- (A) -ck.
(Dm) Maybe (C) then I'll (F) fade a (Dm/F) way and (C) not have to face the (A) facts (A7).
(Dm) It's-not (C) easy (F) facing (Dm/F) up when (C) your whole world is (A) black.
(Dm) No (Dsus2) more (Dm) will (D4) my (Dm) green (Dsus2) sea (Dm) go turn (A) a (Asus) deeper
(A) blue. (Dm) I (Dsus2) could (Dm) not (D4) fore (Dm) see (Dsus2) this thing (Dm) happen (A) ing to (Asus) you - (A) ou.
(Dm) If (C) I look (F) hard e (Dm/F) nough in (C) to the setting (A) sun (A7).
(Dm) My (C) love will (F) laugh with (Dm/F) me be (C) fore the morning (A) comes.
(Dm) I (Dsus2) see (Dm) your (D4) red (Dm) door (Dsus2) and (Dm) I want (A) it (Asus) paint (A) ed (Asus) bla- (A) -ack. (Dm) No (Dsus2) col (Dm) ors (D4) an (Dm) y (Dsus2) more (Dm) I want
(A) them (Asus) to (A) turn (Asus) bla- (A) -ack.
(Dm) I (C) see the (F) girls walk (Dm/F) by dressed (C) in their summer (A) clothes (A7).
(Dm) I (C) have to (F) turn my (Dm/F) head un (C) til my darkness (A) goes.
(Dm)(Dsus2)(Dm)(D4)(Dm)(Dsus2)(Dm)(Dm)(A)(Asus)(A)(Asus)(A)
(Dm)(Dsus2)(Dm)(D4)(Dm)(Dsus2)(Dm)(Dm)(A)(Asus)(A)(Asus)(A)
I want to see your (Dm) face, painted black, (A) black as night. Black as (Dm) coal. I want to see the sun blotted (A) out from the sky. I want to see it (Dm) painted, painted, painted, painted (A) black.
(Dm)(Dsus2)(Dm)(D4)(Dm)(Dsus2)(Dm)(Dm)(A)(Asus)(A)(Asus)(A)
(Dm)(Dsus2)(Dm)(D4)(Dm)(Dsus2)(Dm)(Dm)(A)(Asus)(A)(Asus)(A)
(The Rolling Stones) (Artist Index) - (Main Index) - (Song Index) (This Song)
PANCHO AND LEFTY (Van Zandt) – Willie Nelson & Merle Haggard
TIP: In the three chord sequence between verses, stike the middle (G) just once.
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(C) Living on the road my friend, is (G) gonna keep you free and clean. (F) Now you wear your skin like iron, your (C) breath as hard as (G) kerosene. (F) You weren't your mama's only boy, but her (C) favorite one it (F) seems. (C) She began to cry when you (F) said (C) good (G) bye, and (F) sank into your (Am) dreams. (Am)(G)(C)
Pancho was a bandit boys, (G) his horse was fast as polished steel. He (F) wore his gun outside his pants, for (C) all the honest (G) world to feel. (F) Pancho met his match you know, on the (C) deserts down in Mex (F) ico. (C) Nobody heard his (F) dy (C) ing (G) words, ah but (F) that's the way it (Am) goes. (Am)(G)(F)
(F) All the Federales say, (C) they could have had him (F) any day. (C) They only let him (F) slip (C) a (G) way out of (F) kindness, I (Am) suppose. (Am)(G)(C)
Lefty, he can't sing the blues, (G) all night long like he used to. (F) The dust that Pancho bit down south, (C) ended up in (G) Lefty's mouth. (F) The day they laid poor Pancho low, (C) Lefty split for Oh (F) hio. (C) Where he got the (F) bread (C) to (G) go, there (F) ain't nobody
(Am) knows.
(F) All the Federales say, (C) they could have had him (F) any day. (C) They only let him (F) slip (C) a (G) way out of (F) kindness, I (Am) suppose. (Am)(G)(C)
Poets tell how Pancho fell, (G) and Lefty's living in a cheap hotel. (F) The desert's quiet and Cleveland's cold, and (C) so the story (G) ends we're told. (F) Pancho needs your prayers it's true, but (C) save a few for (F) Lefty too. (C) He only did what he (F) had (C) to (G) do, and (F) now he's growing (Am) old. (Am)(G)(F)
All the Federales say, (C) they could have had him (F) any day. (C) They only let him (F) go (C) so (G) long, out of of (F) kindness, I (Am) suppose.
(F) A few gray Federales say, (C) they could have had him (F) any day. (C) They only let him (F) go (C) so (G) long, out of of (F) kindness, I (Am) suppose. (Am) (G) (C)
(Willie Nelson) (Merle Haggard) (Artist Index) - (Main Index) - (Song Index) (This Song)
PEACEFUL EASY FEELING – (Tempchin) – The Eagles (C3)
TIP: For the (D7sus) in the intro just keep the (G) and alternate moving your finger from the 5th string to the 2nd string as indicated.
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INTRO: (G) (D7sus), repeat . . .
(G) I like the (C) way your sparkling (G) earrings (C) lay, a (G) gainst your (C) skin so (D7) brown. (G) And I wanna (C) sleep with you in the (G) desert to (C) night, (G) with a billion (C) stars all a (D) round (D7).
'Cause I got a (C) peaceful easy (G) feeling, (C) and I know you won't let me (Am) down (D7). 'Cause I'm (G) all (Am) ready (C) standing (D7) on the (G) ground.
And I found (C) out a long (G) time a (C) go, (G) what a woman can (C) do to your (D7) soul. (G) Ah, but (C) she can't take you (G) any (C) way, (G) you don't already (C) know how to
(D) go (D7).
And I got a (C) peaceful easy (G) feeling, (C) and I know you won't let me (Am) down (D7). 'Cause I'm (G) all (Am) ready (C) standing (D7) on the (G) ground.
I get this (C) feeling I may (G) know (C) you, (G) as a (C) lover and a (D7) friend. (G) But this (C) voice keeps whispering (G) in my other (C) ear, tells me, (G) I may never (C) see you a (D) gain (D7).
'Cause I got a (C) peaceful easy (G) feeling, (C) and I know you won't let me (Am) down (D7). 'Cause I'm (G) all (Am) ready (C) standing (D7) on the (G) ground.
'Cause I'm all (Am) ready (C) standing (D) on the (G) ground.
(The Eagles) (Artist Index) - (Main Index) - (Song Index) (This Song)
PEGGY SUE – (Holly/Allison/Petty) – Buddy Holly
TIP: The instrumental is a bit tricky. Either you know it or you don’t.
TIP: The end of the outro verse ( . . . “want you Peggy Sue”) is sung “down-voice.”
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INTO: (A) (D) (A) (E); (A) (D) (A) (E)
(A) If you knew, (D) Peggy Sue, (A) then you’d (D) know why (A) I feel blue without (D) Peggy. My Peggy (A) Sue (D) (A). Oh well, I (E) love you gal. Yes, I (D) love you Peggy (A) Sue (D)(A)(E).
(A) Peggy Sue, (D) Peggy Sue. (A) Oh how (D) my heart (A) yearns for you. Oh (D) Peggy, my Peggy (A) Sue (D) (A). Oh well, I (E) love you gal. Yes, I (D) love you Peggy (A) Sue (D) (A) (E).
(A) Peggy Sue, Peggy Sue. (D) Pretty pretty pretty pretty (A) Peggy Sue. Oh (D) Peggy, my Peggy (A) Sue (D)(A). Oh well, I (E) love you gal and I (D) need you Peggy (A) Sue (D)(A)(E).
(A) I love you, (D) Peggy Sue, (A) with a (D) love so (A) rare and true. Oh (D) Peggy, my Peggy (A) Sue (D) ooh, ooh, (A) hoo, hoo. Well I (E) love you gal - I (D) want you Peggy (A) Sue (D) (A).
(Instrumental)
(A) (D) A/D/A/D/A/D/A (D)(D)(D) (A) (D)-(A) (E) (D) (A)-(D)-(A)-(D)-(A) (E)
(A) Peggy Sue, Peggy Sue. (D) Pretty pretty pretty pretty (A) Peggy Sue. oh (D) Peggy, my Peggy (A) Sue (D)(A). Oh well, I (E) love you gal, yes I (D) need you Peggy (A) Sue (D)(A)(E).
(A) I love you, (D) Peggy Sue, (A) with a (D) love so (A) rare and true. Oh (D) Peggy, my Peggy (A) Sue (D)(A). Well I (E) love you gal and I (D) want you Peggy (A) Sue (D) (A).
(Outro): Oh well, I (E) love you gal and I (D) want you Peggy (A) Sue (D)(A).
(Buddy Holly) (Artist Index) - (Main Index) - (Song Index) (This Song)
PEOPLE ARE CRAZY – (Braddock/Jones) - Billy Currington (C5)
TIP: The intro and outro are the same. The (D6) is just (D) with ring finger lifted.
Tip: In the bridge there's a transition from (C) to (Bm). Piece of cake as the finger positioning is (nearly) identical. Just move down one string-set and forward one fret.
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Intro: (G), (D), (D6)-(D)-(G); (G), (D), (D6)-(D)-(G)
This old man and me, (D) were at the bar and we, (Em) were having us some beers and, (C) swapping I don’t cares. (G) Talking politics, (D) blonde and red-head chicks, (Em) old dogs and new tricks and, (C) habits we ain't kicked.
(G) We talked about Gods grace, (D) and all the hell we raised. (Em) Then I heard the ol' man
(C) say: (G) "God is great, beer is (D) good, and people are (G) crazy. (D)
(G) He said "I fought two wars, (D) been married and divorced." (Em) What brings you to Ohio?
(C) He said "Damned if I know." (G) We talked an hour or two, (D) ‘bout every girl we knew.
(Em) What all we put ‘em through, (C) like two old boys will do.
(G) We pondered life and death. (D) He lit a cigarette. (Em) He said "These damn things will kill me (C) yet.” (G) But God is great, beer is (D) good, and people are (G) crazy.
(C) Last call, it's 2am. I (Bm) said goodbye to him. (Am) I never talked, to him a (D) gain.
(G) Then one sunny day, (D) I saw the old man's face. (Em) Front page obituary, (C) he was a millionaire. (G) He left his fortune to, (D) some guy he barely knew. (Em) His kids were mad as hell. (C) But me, I’m doing well.
(G) And I dropped by today, (D) to just say thanks and pray. (Em) And I left a six-pack right there on his (C) grave and I said: (G) "God is great, beer is (D) good, and people are
(G) crazy." (D)
(G) God is great, beer is (D) good and people are (Em) crazy. (C)
(G) God is great, beer is (D) good and people are (G) crazy.
Outro: (G), (D)-(D6)-(D)-(G); (G), (D)-(D6)-(D)-(G)
(Billy Currington) (Artist Index) - (Main Index) - (Song Index) (This Song)
PEOPLE ARE STRANGE – (Morrison/Krieger) - The Doors
TIP: The intro consists of three opening notes: Form your fingers for (Em). The top finger (5th string/2nd fret) is note . Then play open 5th string, that’s note . Then play top string/3rd fret and that’s note and open the song with (Em) remembering to hit the top string.
TIP: If the (B) is too much to handle, you can substitue with (B7).
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Intro: Notes
(Em) People are strange, (Am) when you're a (Em) stranger, (Am) faces look (Em) ugly, (B) when you're a (Em) lone. Women seem wicked, (Am) when you're un (Em) wanted, (Am) streets are un (Em) even, (B) when you're (Em) down.
When you're (B) strange, (G) faces come out of the (B) rain. When you're strange. (G) No one remembers your (B) name, when you're strange. When you're strange. When you're strange. (Em)-(D)-(C)-(D)
(Em) People are strange, (Am) when you're a (Em) stranger, (Am) faces look (Em) ugly, (B) when you're a (Em) lone. (Em) Women seem wicked, (Am) when you're un (Em) wanted, (Am) streets are un (Em) even, (B) when you're (Em) down.
When you're (B) strange, (G) faces come out of the (B) rain. When you're strange. (G) No one remembers your (B) name, when you're strange. When you're strange. When you're strange.
(G) faces come out of the (B) rain. When you're strange. (G) No one remembers your (B) name, when you're strange. When you're strange. When you're strange. (Em)-(D)-(G)-(D)-(Em)
(The Doors) (Artist Index) - (Main Index) - (Song Index) (This Song)
PIANO MAN – Billy Joel
TIP: This is a hard song to translate to guitar since no guitar is actually used in the song. It’s all harmonica and piano. As such you’ll use your pinky to augment the (C) and (G) chords occasionally to emulate the upper register of the harmonica parts.
TIP: Some of the piano parts consist of a three-note bum-bum-bum emulated here by the (G)-(Dm-)-(C) chord patter. It’s an easy progression to play as the (Dm-) is just one string/fret similar to a (G7) but with only the bottom string played before jumping up to play the next (C). Strum each chord just once.
TIP: There are a few places (including the intro and the chorus) where there’s a (CaddG) followed by (EmG). The key here during the transition between these chords is to keep your pinky glued to the bottom string/third fret, then lift your ring finger and use your index and middle finger to form the (Em) portion of (EmG), rather than your middle and ring fingers.
TIP: (Dsus2) follows (Am) and is (Am) but without the middle finger so just lift.
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Intro: (CaddG)(EmG)(Am); (F)(C)(Gadd); (CaddG)(Em)(Am);
(F)(G7)(C) – (F)(G); (G)-(Dm-)-(C); (C)(F)(G)
It's (C) nine o' (Em) clock on a (Am) Saturday (Am7)(F). The regular (C) crowd shuffles (Gadd) in.
There's an (C) old man (Em), sittin' (Am) next to me (Am7), makin' (F) love to his (G7) tonic and (C) gin.
(C)(Em)(Am); (F)(G7)(C), (F)(Gadd)-(Gadd)
He says, "(C) Son can you (Em) play me a (Am) memory (Am7). I'm (F) not really (C) sure how it (Gadd) goes. But it's (C) sad and it's (Em) sweet and I (Am) knew it complete, when (F) I wore a (G7) younger man's (C) clothes"
(Am) La la (D7sus2) la, la de (F) la. (Am) La la le de (G) da, (F) da (G) dum, (Gadd)(Em)(G7)
(CaddG) Sing us a (EmG) song, you're the (Am) piano man (Am7). (F) Sing us a (C) song to (Gadd) night. Well, we're (C) all in the (Em) mood for a (Am) melody (Am7), and (F) you've got us (G7) feelin' al (C) right.
(C) (Em) (Am); (F)(G7)(C); (C)(F)(G); (G)-(Dm-)-(C); (C)(F)(G)
Now (C) John at the (Em) bar is a (Am) friend of mine (Am7). He (F) gets me my (C) drinks for (Gadd) free. And he's (C) quick with a (Em) joke, or to (Am) light up your (Am7) smoke, but there's (F) someplace that (G7) he'd rather (C) be (F).
He says (C) "Bill, I be (Em) lieve this is (Am) killing me" (Am7), as the (F) smile ran (C) away from his (Gadd) face. "Well I'm (C) sure that I (Em) could be a (Am) movie star, if (F) I could get (G7) out of this (C) place."
(Am) La la (D7sus2) la, la de (F) la. (Am) La la le de (G) da, (F) da (G) da.
Now (C) Paul is a (Em) real estate (Am) novelist (Am7), who (F) never had (C) time for a (Gadd) wife. And he's (C) talkin' with (Em) Davy, who's (Am) still in the (Am7 navy, and
(F) probably (G7) will be for (C) life.
(C) (Em) (Am); (F)(G7)(C): (C)(F)(Gadd)
And the (CaddG) waitress is (EmG) practicing (Am) politics, as the (F) businessmen (C) slowly get (Gadd) stoned. Yes, they're (CaddG) sharing a (EmG) drink they call (Am) loneliness, but it's (F) better than (G7) drinkin' (C) alone.
(C)(F)(Gadd); (C)(F)(Gadd)-(Gadd)
(CaddG) Sing us a (EmG) song, you're the (Am) piano man (Am7). (F) Sing us a (C) song to (Gadd) night. Well, we're (C) all in the (Em) mood for a (Am) melody (Am7), and (F) you've got us (G7) feelin' al (C) right.
(C) (Em) (Am); (F)(G7)(C); (C)(F)(G); (G)-(Dm-)-(C); (C)(F)(G)
It's a (C) pretty good (Em) crowd for a (Am) Saturday (Am7), and the (F) manager (C) gives me a (Gadd) smile. 'Cause he (C) knows that it's (Em) me they've been (Am) coming to (Am7) see, to for (F) get about (G7) life for a (C) while.
And the (CaddG) piano, it (EmG) sounds like a (Am) carnival, and the (F) microphone (C) smells like a (Gadd) beer. And they (CaddG) sit at the (EmG) bar and put (Am) bread in my jar and say (F) "Man, what are (G7) you doin' (C) here?"
Oh (Am) la la (D7sus2) la, la de (F) la. (Am) La la le de (G) da, (F) da (G) dum. (Gadd)(Em)(G7)
(CaddG) Sing us a (EmG) song, you're the (Am) piano man (Am7). (F) Sing us a (C) song to (Gadd) night. Well, we're (C) all in the (Em) mood for a (Am) melody (Am7), and (F) you've got us (G7) feelin' al (C) right.
(CaddG)(EmG)(Am); (F)(Dm7)(C) - (C)(F)(Gadd); (G)-(Dm-)-(C) - (C)(F)(G);
(Slow down and one strum each): (F)(C)(G)(C)
(Billy Joel) (Artist Index) - (Main Index) - (Song Index) (This Song)
PICASSO'S LAST WORDS - (McCartney) - Paul McCartney & Wings
RICHARD CORY - (Simon) - Simon & Garfunkel/Paul McCartney & Wings
TIP: These are two separate songs, written by two different composers. What's presented here is the combined version performed by McCartney & Wings from their live double album "Wings Over America."
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The (G) grand old (D) painter (F) died last night, his (G) paint (Gadd) ings on the (D) wall. Be (Am) fore he went, he bade us well, and (D) said goodnight to us (G) all.
Drink to (Bm) me, (Em) drink to my (Am7) health. You (G) know I can't (D) drink any (G) more (D).
(G) Drink to (Bm) me, (Em) drink to my (Am7) health. You (G) know I can't (D) drink any (C) more (G).
(Bm) Three o'clock in the (Em) morning. (Bm) I'm getting ready for (Em) bed. (Am) It came without a (G) warning, but I'll be (Bm) waiting for you babe. I'll be (Am) waiting for you (D) there.
(G) So Drink to (Bm) me, (Em) drink to my (Am7) health. You (G) know I can't (D) drink any (G) more (D). (G) Drink to (Bm) me, (Em) drink to my (Am7) health. You (G) know I can't (D) drink any (C) more (G).
(D) (Am) (D) (Bm) (B7) ... [transition to Richard Cory] ... (B7)(B7)(B7)-(Em); (B7)(B7)(B7)(Em)
[RICHARD CORY]
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(Em) They say that Richard Cory owns one (D) half of this whole town. With (Em) political connections, he (B7) spread his wealth around. (A7) Born into society, a banker's only child.
He had (Em) every (D) thing a (G) man could (A) want: (B7) money, praise, and style.
(B7)(B7)(B7)-(Em); (B7)(B7)(B7)(Em)
The papers print his picture almost (D) everywhere he goes: 'Richard (Em) Cory at the opera, Richard (B7) Cory at the shows.' And the (A7) rumor of his parties and the orgies on his yacht!
He (Em) really (D) must be (G) happy with (A) everything he's (B7) got.
But (G) I, work in his (Em) factory. And I (Am) curse the life I'm (Em) living. I (Am) curse my pover (Em) ty. I (Am) wish that I could (Em) be, I (Am) wish that I could (Em) be, oh I (Am) wish that I could (B7) be . . . John (Em) Denver. (Oh no, I can't wait!)
He really gave to charity - (D) had the common touch. And they were (Em) thankful for his patronage so they, (B7) "Thank you very much." So my (A7) mind was filled with wonder when the evening headlines read: (Em) "Richard (D) Cory went (G) home last night . . . and put a (Em) bullet through his head."
But (G) I, work in his (Em) factory. And I (Am) curse the life I'm (Em) living. I (Am) curse my pover (Em) ty. I (Am) wish that I could (Em) be, I (Am) wish that I could (Em) be, oh I (Am) wish that I could (B7) be Richard (Em) Cory.
(Paul McCartney & Wings)(Simon & Garfunkel)(Artist Index) - (Main Index) - (Song Index) (This Song)
PLAY WITH FIRE - (Jagger/Richards) - The Rolling Stones
TIP: There's a few variations on (A) but you can ignore them all and just play (Am) throughout until the final line in each verse if you wish. But the variations are accurate and easy to play. Start with (Am). Next is a "lift and replace" with the (A4) - lifting the index finger to get to (A4) and replacing it to get back to (Am). Then you do it again but this time lifting the middle finger from (Am) to get to (Am7), replacing it to return to (Am). This pattern repeats.
TIP: This is a rather easy song to fingerpick.
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Intro: (Am)(C)(G)(Am)
(Am) Well (A4) you've (Am) got your (Am7) dia (Am) monds and you've got (A4) your (Am) pretty clothes, and the chau (A4) ffeur (Am) drives your (Am7) car- (Am) -ar. You let eve (A4) ry
(Am) body know. But don't (C) play (G) with (C) me cause you're (F) playing with (Am) fire.
Your moth (A4) er (Am) she's an (Am7) heir (Am) ess, owns a block (A4) in (Am) Saint Johns Wood. And your fath (A4) er'd (Am) be there (Am7) with (Am) her, if (A4) he (Am) only could. But don't (C) play (G) with (C) me cause you're (F) playing with (Am) fire.
(C)(G)(C)(Am)
Your old (A4) man (Am) took her (Am7) dia (Am) monds, and tiar (A4) as (Am) by the score. Now she gets (A4) her (Am) kicks in (Am7) Step (Am) ney, not in Knights (A4) bridge (Am) anymore. So don't (C) play (G) with (C) me, cause you're (F) playing with (Am) fire.
Now (A4) you've (Am) got some (Am7) dia (Am) monds, and-you- (A4) will (Am) have some
(Am7) oth (Am) ers. But you'd bet (A4) ter (Am) watch your (Am7) step (Am) girl, or start
liv (A4) ing (Am) with your mother. So don't (C) play (G) with (C) me cause you're (F) playing with (Am) fire. So don't (C) play (G) with (C) me, cause you're (F) playing with (Am) fire.
(The Rolling Stones) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE PONY MAN – Gordon Lightfoot
TIP: A great bedtime song for youngsters. Because I like it so much I’m presenting it here in two different keys. The first is Lightfoot’s original composition and may be slightly easier to play.
Going from (A) to (D4) may be a little tricky. Simply play (D) and add your pinky to the bottom string/3rd fret. The (E)(Esus)(E) trill is easier; just play (E) and add your pinky to the third string from the bottom, 2nd fret. Remove the pinky to get back to (E). And to make the song even easier you can skip the (D4) and (Esus) altogether and just play (D) and (E).
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When it's (A) midnight on the meadow, and the (D4) cats are (D) in the (A) shed. And the river tells a (D) story at the (E) window by (Esus) my (E) bed. If you (A) listen very closely, be as (D4) quiet (D) as you (A) can. In the yard you'll (D) hear him, it (E) is the Pony (A) Man.
(A) We're always there to greet him, when he (D4) tumbles (D) into (A) town. He leads a string of (D) ponies, some are (E) white and some (Esus) are (E) brown. And they (A) never seem to kick or bite, they (D4) only (D) want to (A) play. They live on candy (D) apples in (E) stead of oats and (A) hay.
(A) And when we are assembled, he (D4) gives a (D) soft com (A) mand. And we climb aboard our (D) ponies as (E) in a row (Esus) they (E) stand. Then (A) down the road we gallop and, a (D4) cross the (D) field we (A) fly. And soon we all go (D) sailing off in (E) to the midnight (A) sky.
(A) And as we gaily rock along, be (D4) side a (D) ripplin' (A) sea. There's Tom and Dick and (D) Sally, and (E) Mary Jo (Esus) and (E) me. The (A) Pony Man is leading, 'cause he's (D4) traveled (D) here be (A) fore. And he gives a whoop and a (D) holler at (E) Mister Moon's front (A) door.
(A) And then we stop to rest awhile where, the (D4) Soda (D) River (A) glides. Up to the slip comes a (D) pirate ship to (E) take us for (Esus) a (E) ride. And the (A) Pony Man's the captain and the (D4) children (D) are the (A) crew. And we go in search of (D) treasure and (E) laugh the whole night (A) through.
(A) And when the hold is filled with gold, and the (D4) sails be (D) gin to (A) strain. And the deck's piled high with (D) apple pie we (E) head for port (Esus) a (E) gain. Then (A) down the whirling stair case, so (D4) swift our (D) ponies (A) fly. And we're safely in our (D) beds again when the (E) sunbeams kiss the (A) sky.
Instrumental bridge (A) (D) (A) (D) (E) (A)
(A) When it's midnight on the meadow, and the (D4) cats are (D) in the (A) shed. And the river tells a (D) story at the (E) window by (Esus) my (E) bed. If you (A) listen very closely, be as (D4) quiet (D) as you (A) can. In the yard you'll (D) hear him, it (E) is the Pony (A) Man.
(Gordon Lightfoot) (Artist Index) - (Main Index) - (Song Index) (This Song)
-----------------------------------------------------
THE PONY MAN - Gordon Lightfoot
This second version is in the key of G. The (D) to (G-add) to (G) transition is a little tricky at first. The tricky part isn’t getting to (G-add), it’s getting back and forth to it from (D). Instead of playing (G-add) as usual, with the top two bass strings, try this: You’ll already be playing (D) so, simultaneously, lift your index finger while placing your pinky on the bottom string, 3rd fret. The middle and ring fingers stay in place. Then reverse the process to go back to (D). Kind of like a pivot. Just ignore (and don’t hit) the top two strings.
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When it's (G) midnight on the meadow, and the (F) cats are (C) in the (G) shed. And the river tells a (C) story at the (D) window by (G-add) my (D) bed. If you (G) listen very closely, be as (F) quiet (C) as you (G) can. In the yard you'll (C) hear him, it (D) is the Pony (G) Man.
(G) We're always there to greet him, when he (F) tumbles (C) into (G) town. He leads a string of (C) ponies, some are (D) white and some (G-add) are (D) brown. And they (G) never seem to kick or bite, they (F) only (C) want to (G) play. They live on candy (C) apples in (D) stead of oats and (G) hay.
(G) And when we are assembled, he (F) gives a (C) soft com (G) mand. And we climb aboard our (C) ponies as (D) in a row (G-add) they (D) stand. Then (G) down the road we gallop and, a (F) cross the (C) field we (G) fly. And soon we all go (C) sailing off in (D) to the midnight (G) sky.
(G) And as we gaily rock along, be (F) side a (C) ripplin' (G) sea. There's Tom and Dick and (C) Sally, and (D) Mary Jo (G-add) and (D) me. The (G) Pony Man is leading, 'cause he's (F) traveled (C) here be (G) fore. And he gives a whoop and a (C) holler at (D) Mister Moon's front (G) door.
(G) And then we stop to rest awhile where, the (F) Soda (C) River (G) glides. Up to the slip comes a (C) pirate ship to (D) take us for (G-add) a (D) ride. And the (G) Pony Man's the captain and the (F) children (C) are the (G) crew. And we go in search of (C) treasure and (D) laugh the whole night (G) through.
(G) And when the hold is filled with gold, and the (F) sails be (C) gin to (G) strain. And the deck's piled high with (C) apple pie we (D) head for port (G-add) a (D) gain. Then (G) down the whirling stair case, so (F) swift our (C) ponies (G) fly. And we're safely in our (C) beds again when the (D) sunbeams kiss the (G) sky.
Instrumental bridge (G)(G) (C)(G) (G)(C)(D)(G)
(G) When it's midnight on the meadow, and the (F) cats are (C) in the (G) shed. And the river tells a (C) story at the (D) window by (G-add) my (D) bed. If you (G) listen very closely, be as (F) quiet (C) as you (G) can. In the yard you'll (C) hear him, it (D) is the Pony (G) Man.
(Gordon Lightfoot) (Artist Index) - (Main Index) - (Song Index) (This Song)
PROUD MARY – (Fogerty) - Creedence Clearwater Revival/Ike and Tina Turner [C1]
TIP: In the intro (and again after the second chorus) there’s a sequence of (F) chords with a (Gsus4) sandwiched in between. What you do here is basically play the (F) five times but for the 4th one you lift all but the small bar on the bottom two strings at the first fret and then play one more (F) before hitting the (D). It’s easy, just try it.
TIP: You can forget this tip altogether and just play the (D) throughout but Fogerty wanted to tickle the note. You’ll see some words in (parenthesis). This means that when you come to this word, lift on the bottom string of the (D) to play the (word) and then replace it again immediately following the (word). Technically this is a (Dsus2) chord but I didn’t want to put it in and then out again on either side of the word.
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INTRO: (C) (A); (C) (A); (C) (A) (F)-(F)-(F)-(Gsus4)-(F) (D)
Left a good job (in) the city. Workin' for The (Man) every (night) and day. But I never (lost) a minute of (sleep) in,' worryin' 'bout the (way) things (might) have been.
(A) Big wheel keep on turnin'. (Bm) Proud Mary keep on burnin'. (D) Rollin', rollin', rollin' (on) the (riv) er.
Cleaned a lot of plates (in) Memphis. Pumped a lot of (‘tane) down in (New) Orleans. But I never (saw) the good side of a (ci) ty, 'til I hitched a (ride) on the (river) boat queen.
(A) Big wheel keep on turnin'. (Bm) Proud Mary keep on burnin'. (D) Rollin', rollin', rollin' (on) the (riv) er.
(C) (A); (C) (A); (C) (A) (F)-(F)-(F)-(Gsus4)-(F) (D)
If you come down (to) the river. Bet you're gonna (find) some (people) who live. You don't have to (wor) ry, 'cause you have no (mon) ey. People on the (riv) er are (hap) py to give.
(A) Big wheel keep on turnin'. (Bm) Proud Mary keep on burnin'. (D) Rollin', rollin', rollin' (on) the (riv) er.
(C) (A); (C) (A); (C) (A) (F)-(F)-(F)-(Gsus4)-(F) (D)
(CCR) (Artist Index) - (Main Index) - (Song Index) (This Song)
P.S. I LOVE YOU – (Lennon/McCartney) – The Beatles [C1]
TIP: For this song, play the (A) with your bottom three fingers. It will make the transition to the (Bb) that follows in the chorus easier - just slide them all up one fret and apply the pinky to 1st fret/1st string.
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(G) As I write this (D) letter, (G) send my love to (D) you. Re (G) member that I'll (D) always, be in (A) love with (D) you.
Treasure these few (Em) words 'till we're to (D) gether. Keep (A) all my love for (Bm) ever. (A) P.S., I love (Bb) you. You, (C) you, (D) you. I'll be coming (Em) home again to (D) you, love. And (A) 'till the day I (Bm) do, love. (A) P.S., I love (Bb) you. You - (C) - (D) ou.
(G) As I write this (D) letter, (G) send my love to (D) you. Re (G) member that I'll (D) always, be in (A) love with (D) you.
Treasure these few (Em) words 'till we're to (D) gether. Keep (A) all my love for (Bm) ever. (A) P.S., I love (Bb) you. You - (C) - (D) ou.
(G) As I write this (D) letter, (oh) (G) send my love to (D) you (you know I want you to). Re (G) member that I'll (D) always (yeah) be in (A) love with (D) you.
I'll be coming (Em) home again to (D) you, love. And (A) 'till the day I (Bm) do, love. (A) P.S., I love (Bb) you. You - (C) - (D) ou.
(Bb) You - (C) - (D) ou. I (A) love (D) you. (D)(D)(D)
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
PUFF, THE MAGIC DRAGON – (Yarrow/Lipton) - Peter, Paul & Mary
TIP: The (CaddG) is optional and merely adds a high note.
TIP: One of the great children’s songs, the next to last stanza is played softly denoting Puff’s sadness, while the final stanza is played up-tempo in recognition that Puff still lives and awaits the next child to love.
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Intro: (G) (D) (C) (CaddG) (G) (C) (G) (C) (D) (G) (D)
(G) Puff, the magic (D) dragon (C) lived (CaddG) by the (G) sea, and (C) frolicked in the (G) autumn mist in a land (C) called Honah (D) Lee. (G) Little Jackie (D) Paper (C) loved that (CaddG) rascal (G) Puff, and (C) brought him strings and (G) sealing wax and (C) other (D) fancy (G) stuff. (D) Oh
(G) Puff, the magic (D) dragon (C) lived (CaddG) by the (G) sea, and (C) frolicked in the (G) autumn mist in a land (C) called Honah (D) Lee. (G) Puff, the magic (D) dragon (C) lived (CaddG) by the (G) sea, and (C) frolicked in the (G) autumn mist in a (C) land called (D) Honah (G) Lee.
(G) Together they would (D) travel on a (C) boat with (CaddG) billowed (G) sail. (C) Jackie kept a (G) lookout perched on Puff's (C) gigantic (D) tail. (G) Noble kings and (D) princes would (C) bow when (CaddG) e'er they (G) came. (C) Pirate ships would (G) lower their flags when (C) Puff roared (D) out his (G) name. (D) Oh!
(G) Puff, the magic (D) dragon (C) lived (CaddG) by the (G) sea, and (C) frolicked in the (G) autumn mist in a land (C) called Honah (D) Lee. (G) Puff, the magic (D) dragon (C) lived (CaddG) by the (G) sea, and (C) frolicked in the (G) autumn mist in a (C) land called (D) Honah (G) Lee. (D)
A (G) dragon lives for (D) ever but (C) not so (CaddG) little (G) boys. (C) Painted wings and (G) giants' rings make (C) way for other (D) toys. (G) One gray night it (D) happened, Jackie (C) Paper (CaddG) came no (G) more, and (C) Puff that mighty (G) dragon, he (C) ceased his (D) fearless (G) roar. (D)
His (G) head was bent in (D) sorrow, (C) green scales (CaddG) fell like (G) rain. (C) Puff no longer (G) went to play a (C) long the cherry (D) lane. With (G) out his lifelong (D) friend, (C) Puff could (CaddG) not be (G) brave. So (C) Puff that mighty (G) dragon sadly (C) slipped in (D) to his (G) cave. (D) Oh!
[Softly] (G) Puff, the magic (D) dragon (C) lived (CaddG) by the (G) sea, and (C) frolicked in the (G) autumn mist in a land (C) called Honah (D) Lee.
[Upbeat] (G) Puff, the magic (D) dragon (C) lives(!) (CaddG) by the (G) sea, and (C) frolicked in the (G) autumn mist in a (C) land called (D) Honah (G) Lee.
(Peter, Paul & Mary) (Artist Index) - (Main Index) - (Song Index) (This Song)
PUT A LITTLE LOVE IN YOUR HEART – (Holiday/Myers/DeShannon) – Jackie DeShannon
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(D) Think of your fellow man, lend him a helping hand. (G) Put a little love in your (D) heart.
You see it's getting late, oh please don't hesitate. (G) Put a little love in your (D) heart.
And the world will be a (Em) better (A) place. And the (D) world will be a (Em) better (A) place, for you and me. You just wait and see.
(D) Another day goes by, and still the children cry. (G) Put a little love in your (D) heart.
If you want the world to know, we won't let hatred grow. (G) Put a little love in your (D) heart.
And the world will be a (Em) better (A) place. And the (D) world will be a (Em) better (A) place, for you and me. You just wait and see. Wait and (B) see.
(E) Take a good look around, and if you're lookin' down. (A) Put a little love in your (E) heart.
I hope when you decide, kindness will be your guide. (A) Put a little love in your (E) heart.
And the world will be a (B) better place. And the (E) world will be a (B) better place, for you, and me. You just wait and see.
(A) Put a little love in your (E) heart, each and every day. (A) Put a little love in your (E) heart, there's no other way. (A) Put a lttle love in your (E) heart, it's up to you. (A) Put a little love in your (E) heart.
(Jackie DeShannon) (Artist Index) - (Main Index) - (Song Index) (This Song)
QUE SERA SERA – (Livingston/Evans) – Doris Day
TIP: All the changes from (E7) to (E) is all puffery. If you want, just play the (E7).
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When I was (A) just a little girl, I asked my mother, what will I (E7) be? Will I be pretty, will I be (E) rich? (E7) Here's (E) what she said to (A) me.
Que Se (D) ra, Sera. Whatever will (A) be, will be. The future's not (E7) ours to (E) see. Que Sera, Se (A) ra. (E7) What will (E) be, will (A) be.
When I was young, I fell in love. I asked my sweetheart, what lies a (E7) head? Will we have rainbows, day after (E) day? (E7) Here's (E) what my sweetheart (A) said.
Que Se (D) ra, Sera. Whatever will (A) be, will be. The future's not (E7) ours to (E) see. Que Sera, Se (A) ra. (E7) What will (E) be, will (A) be.
Now I have children of my own. They ask their mother, what will I (E7) be? Will I be handsome, will I be (E) rich? (E7) I (E) tell them tender (A) ly.
Que Se (D) ra, Sera. Whatever will (A) be, will be. The future's not (E7) ours to (E) see. Que Sera, Se (A) ra. (E7) What will (E) be, will (A) be.
(Doris Day) (Artist Index) - (Main Index) - (Song Index) (This Song)
QUEEN OF MY HEART – Hank Williams Jr.
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I just (A) wanted to tell you, what (D) I think a (A) bout you. And I don't wanna leave out some important (E) part. You (A) know I love you, and I (D) can't live with (A) out you. And you know that, you are, the (E7) queen of my (A) heart.
I've had ladies of passion, and (D) women of (A) beauty. But you're the only girl, I've opened up (E) to. But (A) I closed up tight when you (D) left for a (A) nother. And that's the part I've never, (E7) gotten used (A) to.
And the (G) Queen's still in England, the (D) King's still in Spain. (A) My love for you, (E) is still the same. You (A) know that I want you till (D) death do us (Dm) part. (A) You know that you are the (E7) queen of my (A) heart.
If you get this letter, please (D) let me know (A) somethin.' If you’re comin' back, or is it all (E) through? Hey (A) just tell me yes or no, (D) don't keep me (A) hangin'. Cause that's the part I could nev (E7) er get used (A) to.
And the (G) Queen is in England, and the (D) King is in Spain. And (A) all the King's horses, and (E) all the Queen's men, could (A) never do one thing to (D) keep us a (Dm) part. If (A) you'll just come back to me, (E7) queen of my (A) heart. I'm tellin' you, you are the (E7) queen of my (A) heart.
(Hank Williams Jr.) (Artist Index) - (Main Index) - (Song Index) (This Song)
RAINBOW STEW – Merle Haggard
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There's a (C) big, brown cloud in the city, and the (F) countryside’s a (C) sin. An' the (F) price of life is too (C) high to give up; gotta come down a (G) gain. When the (C) world wide war is (G7) over and (C) done, and the dream of peace comes (F) true, we'll all be drinkin' (C) free bubble-up, (G) eatin' that rainbow (C) stew.
When they find out how to burn water, and the (F) gasoline car is (C) gone. When an (F) airplane flies with (C) out any fuel, and the sunlight heats our (G) home. (C) One of these days when the (G7) air clears (C) up, and the sun comes shinin' (F) through. We'll all be drinkin' (C) free bubble-up, an' (G) eatin' that rainbow (C) stew.
Eatin' rainbow stew in a silver spoon, under (F) neath that sky of (C) blue. (F) All be drinkin' (C) free bubble-up, an' (G7) eatin' that rainbow (C) stew.
You don't have to get high to get happy. Just (F) think about what's in (C) store. When people start (F) doin' what they (C) oughta be doin', then they won't be booin' no (G) more. When a
(C) President goes through the (G) White House (C) door, an' does what he says he'll (F) do, we'll all be drinkin' (C) free bubble-up, (G) eatin' that rainbow (C) stew.
Eatin' rainbow stew in a silver spoon, under (F) neath that sky of (C) blue. (F) All be drinkin' (C) free bubble-up, (G7) eatin' that rainbow (C) stew.
Eatin' rainbow stew in a silver spoon, under (F) neath that sky of (C) blue. (F) All be drinkin' (C) free bubble-up, (G7) eatin' that rainbow (C) stew.
(Merle Haggard) (Artist Index) - (Main Index) - (Song Index) (This Song)
RAINY DAY PEOPLE – Gordon Lightfoot
TIP: In the shortened 3rd verse, sing “down like you” on an up inflection (ending on high ).
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(C) Rainy day people always seem to know when it's (Dm) time to call. (F) Rainy day people don't (G) talk, they just listen till they've (C) heard it all. (F) Rainy day lovers don't (G) lie when they tell 'ya, (F) they've been down like (C) you. (F) Rainy day people don't (G) mind if you're cryin' a (F) tear or (C) two.
(C) If you get lonely, all you really need is that (Dm) rainy day love. (F) Rainy day people all (G) know there's no sorrow they can't (C) rise above. (F) Rainy day lovers don't (G) love any others, (F) that would not be (C) kind. (F) Rainy day people all (G) know how it hangs on a (F) piece of (C) mind.
(F) Rainy day lovers don't (G) lie when they tell 'ya, (F) they've been down like (C) you. (F) Rainy day people don't (G) mind if you're cryin' a (F) tear or (C) two.
(C) Rainy day people always seem to know when you're (Dm) feeling blue. (F) High stepping strutters who (G) land in the gutters sometimes (C) need one too. (F) Take it or leave it, or (G) try to believe it. (F) If you've been down too (C) long. (F) Rainy day lovers don't (G) hide love inside, they just (F) pass it (C) on.
(F) Rainy day lovers don't (G) hide love inside, they just (F) pass it (C) on.
(Gordon Lightfoot) (Artist Index) - (Main Index) - (Song Index) (This Song)
RAVE ON – (West/Tilghman/Petty) – Buddy Holly
TIP: All the (G-add) chords can be ignored without effect.
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A we-a-e-a-ell the (G-add) little things you (G) say and do, (G-add) make me want to-oo (G) be with you-a-hoo.
(C) Rave on, it's a crazy feelin' and (G) I know it's got (G-add) me (G) reelin' when (D) you say, I love you, (G) rave (C) on (G)-(D).
(G-add) The way you dance a-and (G) hold me tight. The (G-add) way you kiss and (G) say goodni-hi-hight. (C) Rave on, it's a crazy feelin' and (G) I know it's got me reelin' when (D) you say, I love you, (G) rave (C) on (G).
A-well (C) rave on, a-it's a crazy feelin' and (G) I know it's got (G-add) me (G) reelin'. I'm (D) so glad, that you're revealin' your (G) love (D) for (G) me. (C) Rave on, rave on and tell me. (G) Tell me, not to (G-add) be (G) lonely. (D) Tell me, you love me only. (G) Rave (C) on to (G) me.
(C) (G) (D) (G) (D) (G)
(C) Rave on, a-it's a crazy feelin' and (G) I know it's got (G-add) me (G) reelin'. I'm (D) so glad, that you're revealin' your (G) love (D) for (G) me. (C) Rave on, rave on and tell me. (G) Tell me, not to (G-add) be (G) lonely. (D) Tell me, you love me only. (G) Rave (C) on to (G) me.
(G) Ah (C) ha (G) ha. (G) Ah (C) ha (G) ha. (G) Ah (C) ha (G) ha. (G) Ah (C) ha (G) ha.
(Buddy Holly) (Artist Index) - (Main Index) - (Song Index) (This Song)
RED RIVER VALLEY – (Kerrigan) – Traditional
TIP: This is a nice, easy song to pick while playing the chords. Can also be played with chords A, E, and D.
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From this (G) valley they say you are going. We will miss your bright eyes and sweet (D) smile. They (G) say you are taking the sun (C) shine. That has (G) brightened our (D) pathway a (G) while.
(G) Come and sit by my side if you love me. Do not hasten to bid me a (D) dieu. But re (G) member the Red River Vall (C) ey, and the (G) cowboy that (D) loved you so (G) true.
(G) I’ve been thinking a long time, my darling. Of the sweet words you never would (D) say. Now (G) alas, must my fond hopes all van (C) ish, for they (G) say you are (D) going (G) away.
(G) Come and sit by my side if you love me. Do not hasten to bid me a (D) dieu. But re (G) member the Red River Vall (C) ey, and the (G) cowboy that (D) loved you so (G) true.
(G) Do you think of the valley you’re leaving, and how lonely and dreary it will (D) be? Do you (G) think of the kind hearts you’re break (C) ing, and the (G) pain you are (D) causing to (G) me?
(G) Come and sit by my side if you love me. Do not hasten to bid me a (D) dieu. But re (G) member the Red River Vall (C) ey, and the (G) cowboy that (D) loved you so (G) true.
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
REMEMBER WHEN – Alan Jackson
TIP: The second part of the intro is a little tricky but it’s all minor variations on (D) with movement of the pinky and middle finger, plus each of those chords are just hit once so give it a try. The (Dsus) is just regular (D) with your pinky on the bottom string in front of the middle finger. Just lift it to get back to (D). And (Dsus2) is just (D) without the middle finger at all.
TIP: The bridge segues to a key shift from (D)-(G)-(Em) to (A)-(F#m)-(D). No big deal. Get there through the (Esus)x6 which means to strum the (Esus) six times quickly and then to the (E).
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Intro: (Dsus) (D) (Gadd) (Em) (CaddG) (C) (D), (Dsus)-(D)-(Dsus2)-(D)-(D)
Remember (G) when (Em), I was (C) young, and so were (D) you. And time stood (G) still (Em), and (C) love was all we (D) knew. You were the (G) first, so was (Em) I. We made (C) love and then you (D) cried. Remember (G) when. (Em)(C)(D)
(Dsus) Remem (D) ber (G) when (Em), we (C) vowed the vows and walked the (D) walk. We gave our (G) hearts (Em), made the (C) start, and it was (D) hard. We lived and (G) learned, life threw (Em) curves. There was (C) joy, there was (D) hurt. Remember (G) when. (Em)(C)(D)
(Dsus) Remem (D) ber (G) when (Em), old ones (C) died, and new were (D) born. Life was (G) changed (Em), disa (C) ssembled, rea (D) rranged. We came to (G) gether, fell a (Em) part, and
(C) broke each other's (D) hearts. Remember (G) when.
Bridge: (C)(G)(C)(G) . . . (Esus)x6 – (E) [Key shift!]
Remember (A) when (F#m), the (D) sound of little (E) feet, was the (A) music (F#m), we (D) danced to week to (E) week. Brought back the (A) love, we found (F#m) trust. Vowed we'd (D) never give it (E) up. Remember (A) when. (F#m)(D)(E)
Remember (A) when (F#m), (D) thirty seemed so (E) old. Now, lookin' (A) back (F#m), it's (D) just a steppin' (E) stone. To where we (A) are, where we've (F#m) been, said we'd (D) do it all a (E) gain. Remember (A) when. (F#m)(D)(E)
Remember (A) when (F#m), we (D) said when we turned (E) gray. When the (A) children (F#m), grow (D) up and move a (E) way. We won't be (A) sad, we'll be (F#m) glad, for (D) all the life we've (E) had. And we'll remember (A) when. (F#m)(D)(E)
Remember (A) when. (F#m)(D)(E) Remember (A) when.
(Alan Jackson) (Artist Index) - (Main Index) - (Song Index) (This Song)
RETURN TO SENDER - (Scott/Blackwell) - Elvis Presley
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(C) Return to (Am) sender. (C) Return to (G) sender.
(C) I gave a letter to the (Am) postman. (Dm) He put it in his (G) sack. (C) Bright and early next (Am) mornin', he (Dm) brought my (G) letter (C) back. (NC) (She wrote upon it.)
(F) Return to (G) sender. (F) Address un (G) known. (F) No such (G) number. (C) No such
(C7) zone. (F) We had a (G) quarrel, a (F) lover's (G) spat. (D7) I write I'm sorry but my letter keeps coming (G) back.
(C) So then I dropped it in the (Am) mailbox, (Dm) and sent it Special (G) D. (C) Bright and early next (Am) morning, it (Dm) came right (G) back to (C) me. (NC) (She wrote upon it.)
(F) Return to (G) sender. (F) Address un (G) known. (F) No such (G) number. (C) No such
(C7) zone. (F) We had a (G) quarrel, a (F) lover's (G) spat. (D7) I write I'm sorry but my letter keeps coming (G) back.
(F) This time I'm gonna take it myself, and put it right in her (C) hand. And (D7) if it comes back, the very next day, (G) then I'll understand (NC) (The writing on it.)
(F) Return to (G) sender. (F) Address un (G) known. (F) No such (G) number. (C) No such
(C7) zone. (F) We had a (G) quarrel, a (F) lover's (G) spat. (D7) I write I'm sorry but my letter keeps coming (G) back.
(F) Return to (G) sender. (F) Return to (G) sender. (F) Return to (G) sender. (C)
(Elvis Presley) (Artist Index) - (Main Index) - (Song Index) (This Song)
RHYMES AND REASONS – John Denver
TIP: The (Cadd9) is simply the (C) chord with your pinky on the 2nd string/3rd fret. It still sounds fine if you play the (C) and then hunt with the pinky. If it’s too cumbersome, just play the (C).
TIP: Play (Bm) with the index, middle, and ring fingers (if you usually play it by playing (D) and adding the pinky). You’ll find it much easier to move to the next (C) since your fingers will already be in the correct position.
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So you (G) speak to me of (D) sadness, and the (Cadd9) coming of the (G) winter. (Em) Fear that is with (Bm) in you now, (C) it seems to never (D) end. And the (G) dreams that have es (D) caped you, and a (C) hope that you've for (G) gotten. You (Em) tell me that you (G) need me now. You (D) want to be my friend.
And you (C) wonder where we're going - where's the (G) rhyme and where's the (D) reason? And it's (Em) you cannot ac (G) cept, it is (D) here we must begin, to seek the (Am) wisdom of the children. And the (G) graceful way of (C) flowers in the (D) wind.
For the (G) children and the (D) flowers, are my (Cadd9) sisters and my (G) brothers. Their (Em) laughter and their (Bm) loveliness could (C) clear a cloudy (D) day. Like the (G) music of the (D) mountains, and the (Cadd9) colours of the (G) rainbow. They're a (Em) promise of the (G) future, and a (D7) blessing for to (G) day.
Though the (G) cities start to (D) crumble, and the (Cadd9) towers fall a (G) round us. The (Em) sun is slowly (Bm) fading, and it's (C) colder than the (D) sea. It is (G) written: From the (D) desert, to the (C) mountains they shall (G) lead us. By the (Em) hand and by the (G) heart, they will (D) comfort you and me. In their (C) innocence and trusting, they will (G) teach us to be (D) free.
For the (G) children and the (D) flowers, are my (Cadd9) sisters and my (G) brothers. (Em) Their laughter and their (Bm) loveliness could (C) clear a cloudy (D) day. And the (G) song that I am (D) singing, is a (Cadd9) prayer to non be (G) lievers. (Em) Come and stand be (G) side us; we can (D7) find a better (C) way (G).
(John Denver) (Artist Index) - (Main Index) - (Song Index) (This Song)
RIGHT FIELD - (Welch) - Peter, Paul and Mary
TIP: (EmG) is usually played from a preceding (G) so just pull your middle finger off the top string and slip in underneath the index finger - like playing an (Em) - while keeping the ring finger in place. And then just lift off the bottom string to play the following (Em).
TIP: You can substitute a regular (D) wherever you run across a (D/A) but (D/A) is just a (D) with the pinky on the 4th string/4th fret. And when the (D/A) comes at the end of a line you have time to play the (D) and then add the pinky.
TIP: Play the (Am7) as indicated, lifting the ring finger off the preceding (C) and then hopping down to the (Am).
TIP: To move from the (F) to the (Dm7) just lift the the ring finger. Also, at the entrance to the second chorus there's a two-note (Dm7) to (Dm) to (Dm7) segue. Play the (Dm) by holding position on the (Dm7) and just use your pinky to cover the 2nd string/3rd fret for one note and then remove it and you're back to the (Dm7) for one more note before moving to the (G).
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INTRO: (C)(D)(C)(D)(G)
(G) Saturday (EmG) summers when (Em) I was a (G) kid, we'd (C) run to the (Am7) school yard and
(Am) here's what we (D) did. We'd (C) pick out the cap (D) tains and we'd (C) choose up the
(D) teams. It was (G) always a (EmG) measure of (Gadd) my self es (Em) teem. Cuz the (C) fastest, the (Am) strongest, played (C) shortstop and (Am) first. The (C) last ones they (Am) picked were the (D/A) worst. (F) I never needed to ask, it was sealed, I just (Dm7) took up my place in right (D/A) field.
Playing (G) right (EmG) field, it's (Em) easy you (Gadd) know. (C) You can be (Am) awkward,
you can be (D) slow. That's why (C) I'm here in (D) right field, just (C) watching the
dande (D) lions (G) grow (C)(G).
Playing right (EmG) field can be (Em) lonely and (G) dull. (C) Little leagues (Am7) never have (Am) lefties that (D) pull. I (C) dream of the (D) day, when they (C) hit one my (D) way.
(G) They never (EmG) did, but (Gadd) still I would (Em) pray, that (C) I'd make a (Am) fantastic
(C) catch on the (Am) run, and (C) not lose the (Am) ball in the (D/A) sun. And (F) then I'd awake from this long reverie, and (Dm7) pray that the ball never came out to me.
(Dm) Here (Dm7) in (G) right (EmG) field, it's (Em) easy you (Gadd) know. (C) You can be
(Am) awkward, you can be (D) slow. That's why (C) I'm here in (D) right field, just
(C) watching the dande (D) lions (G) grow (C)(G).
[whistle opening to Take me out to the ballgame]: (G)(D); (G)(D); (G)
(G) Off in the (EmG) distance, the (Em) game's dragging (G) on. There's (C) strikes on the
(Am7) batter, some (Am) runners are (D) on. I (C) don't know the (D) inning, I've for (C) gotten the (D) score. The (G) whole team is (EmG) yelling and I (Gadd) don't know what (Em) for.
(C) Suddenly (Am) everyone's (C) looking at (Am) me. My (C) mind has been (Am) wandering, what could it (D) be? They (F) point to the sky and I look up above, and the (Dm7) baseball falls into my (D/A) glove.
Here in (G) right (EmG) field, it's im (Em) portant you (Gadd) know. You gotta (C) know how to (Am) catch, you gotta know how to (D) throw. That's why (C) I'm here in (D) right field, just
(C) watching the dande (D) lions (G) grow (C)(G).
(Peter, Paul & Mary) (Artist Index) - (Main Index) - (Song Index) (This Song)
RING OF FIRE – (Carter/Kilgore) - Johnny Cash (C1)
TIP: The (G-add) can be ignored and just play regular (G) if you wish.
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(G-add) Love is a (C) burning (G-add) thing and it (G) makes a (C) firery (G) ring. (G-add) Bound by (C) wild de (G) sire. I fell into a (D) ring of (G) fire.
(D) I fell into a (C) burning ring of (G) fire. I went (D) down, down, down and the (C) flames went (G) higher. And it burns, burns, burns the (C) ring of (G) fire, (D) the ring of (G) fire.
The (G-add) taste of (C) love is (G-add) sweet. When (G) hearts like (C) ours (G) meet. I fell for (G-add) you (C) like a (G-add) child. (G) Oh, but the (D) fire went (G) wild.
(D) I fell into a (C) burning ring of (G) fire. I went (D) down, down, down and the (C) flames went (G) higher. And it burns, burns, burns the (C) ring of (G) fire, (D) the ring of (G) fire. (D) The ring of (G) fire. (D) The ring of (G). (G)
(Johnny Cash) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE RISING - Bruce Springsteen
TIP: The album version has no intro but live versions do. To play the intro, form (C) on the neck. Then pick the notes as indicated: second string = , second string with pinky on third fret = , second string again = , third string open = . Repeat this sequence several times and then play a (C) while thinking about the chorus which is the alternating (F)(C).
TIP: Watch out for the (F3) - (no diagram, it's just (F) played on the 3rd fret) - as it kind of comes out of nowhere in the instrumental bridge. Also, to play (Asus) just play the (Am) and place pinky on 2nd string/3rd fret. Much easier.
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INTRO: [Form (C)]: rpt . . . . (C), (F)(C); (F)(C); (F)(C)
(F) Can't see nothin' in (C) front of me. (F) Can't see nothin' coming (C) up behind. (F) I make my way through this (C) darkness. (F) I can't feel nothing but this (C) chain that binds me.
(F) Lost track of how (C) far I've gone. (F) How far I've gone, how (C) high I've climbed. (F) On my back's a sixty (C) pound stone. (F) On my shoulder a (C) half mile of line.
(F) Come on up for the (C) rising. (F) Come on up, lay your (C) hands in mine.
(F) Come on up for the (C) rising. (F) Come on up for the (C) rising tonight.
(F) Left the house this (C) morning. (F) Bells ringing (C) filled the air.
(F) Wearin' the cross of my (C) calling. (F) On wheels of fire I come (C) rollin' down here.
(F) Come on up for the (C) rising. (F) Come on up, lay your (C) hands in mine.
(F) Come on up for the (C) rising. (F) Come on up for the (C) rising tonight.
(G) Li li li-li-li-li- (F) li-li. Li li (G) li-li-li-li-li-li-li (F) li.
Li li (G) Li li li-li-li-li- (F) li-li. Li li (G) li-li-li-li-li-li-li (Am) li.
(Asus)(C) - (Asus)(F3); (Asus)(C) - (Asus)(Gadd)
Spirits above and be (Am) hind me. (F) Faces gone, black (C) eyes burnin' (G) bright.
May their precious blood (Am) bind me, Lord as I (F) stand before your (C) fiery (G) light.
(G) Li li li-li-li-li- (F) li-li. Li li (G) li-li-li-li-li-li-li (F) li.
Li li (G) Li li li-li-li-li- (F) li-li. Li li (G) li-li-li-li-li-li-li (F) li.
I see you Mary in the (C) garden. In the (F) garden of a (C) thousand sighs. (F) There's holy pictures of our (C) children. (F) Dancin' in a sky (C) filled with light. (F) May I feel your arms a (C) round me. (F) May I feel your blood (C) mix with mine. (F) A dream of life comes (C) to me. Like a (F) catfish dancin' on the (C) end of my line.
(F) Sky of blackness and (C) sorrow (dream of life). (F) Sky of love, (C) sky of tears (dream of life). (F) Sky of glory and (C) sadness (dream of life). (F) Sky of mercy, (C) sky of fear (dream of life). (F) Sky of memory and (C) shadow (dream of life). (F) Your burnin' wind fills my (C) arms tonight. (F) Sky of longing and (C) emptiness (dream of life). (F) Sky of fullness, sky of (C) blessed life.
(F) Come on up for the (C) rising. (F) Come on up, lay your (C) hands in mine.
(F) Come on up for the (C) rising. (F) Come on up for the (C) rising tonight.
(F) Come on up for the (C) rising. (F) Come on up, lay your (C) hands in mine.
(F) Come on up for the (C) rising. (F) Come on up for the (C) rising tonight.
(G) Li li li-li-li-li- (F) li-li. Li li (G) li-li-li-li-li-li-li (F) li.
Li li (G) Li li li-li-li-li- (F) li-li. Li li (G) li-li-li-li-li-li-li (F) li.
Li li (G) Li li li-li-li-li- (F) li-li. Li li (G) li-li-li-li-li-li-li (F) li.
Li li (G) Li li li-li-li-li- (F) li-li. Li li (G) li-li-li-li-li-li-li (Am) li.
(Bruce Springsteen) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE RIVER - Bruce Springsteen
TIP: The intro is the harmonica part. The second portion is strummed once for each chord. For a cool alternative, play the chords as their counterpart up the neck. For (G) play (Bm) on the 7th fret; for (D) play (Fm) on the 5th fret; for Em play (F) on the 3rd fret; for (Am) play another (Fm) on the 5th fret; and play the final (Em) as usual.
TIP: The (G/A) is just (G) with only the top and bottom strings and it's a short transition chord so it's easy to play.
TIP: The harmonica part in the first bridge is just a repeat of the chords from the first verse with a few added treble accents.
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Intro: (Em)(G)(D)(Am7); (G)(D)(Em)(Am)(Em)
I (Em) come from down in the (G) valley, where (D) mister when you're (Am7) young, they (Em) bring you up to (Gadd) do, (C) like your daddy (G) done. Me and (C) Mary we met in high school, when (G) she was just sev (G/A) en (Em) teen. We'd (Am) ride out of that valley, down to (G) where the fields were (C) green.
We'd go (Em) down to the (C) river and (D) into the river we'd (G) dive. Oh (Em) down to the (C) river we'd (D) ride (Em).
Then I got Mary (G) pregnant and (D) man that was all she (Am7) wrote. And (Em) for my nineteenth (Gadd) birthday I got a union (C) card and a wedding (G) coat. We (C) went down to the courthouse, and the (G) judge put it all (G/A) to (Em) rest. No (Am) wedding day smiles, no walk down the aisle, no (G) flowers no wedding (C) dress.
That night we went (Em) down to the (C) river and (D) into the river we'd (G) dive. Oh (Em) down to the (C) river we did (D) ride (Em).
(Em)(G)(D)(Am7)(Em)(Gadd)(C)(Gadd); (C)(CaddG)(G)(G/A)(Em); (Am)(G)(C)
I (Em) got a job working con (G) struction, for the (D) Johnstown Compan (Am7) y. But (Em) lately there ain't been (Gadd) much work on a (C) ccount of the econo (G) my. Now (C) all them things that seemed so im (CaddG) portant, well mister (G) they vanished right into (G/A) the (Em) air. Now I just (Am) act like I don't remember, Mary (G) acts like she don't (C) care.
But I re (Em) member us riding in my (G) brother's car. Her body (D) tan and wet down at the (C) reservoir. At (Em) night on them banks I'd (G) lie awake, and pull her (C) close just to feel each (G) breath she'd take. Now those (C) memories come back to (CaddG) haunt me, they (G) haunt me like (G/A) a (Em) curse. Is a (Am) dream a lie if it don't come true, or (D) is it (Dsus) something (C) worse?
That sends me (Em) down to the (C) river though I (D) know the river is (G) dry. That sends me (Em) down to the (C) river to (D) ni- (Em) -ight. Down to the (C) river my (D) baby and (G) I. Oh (Em) down to the (C) river we (D) ri- (Em) -de. (Em)(C)(D)(Em); (Em)(C)(D)(Em); (Em)(D)(Em)
(Bruce Springsteen) (Artist Index) - (Main Index) - (Song Index) (This Song)
ROCK AROUND THE CLOCK – (Myers/Freedman) – Bill Haley & the Comets
TIP: This is a fun song to play but requires a little work with some slight variations in chords and some (not difficult) pinky movement.
TIP: In the opening verse, strike the (A) chords only where you see them. And notice there are two variations of (E7). To play the (E7-full), play (E) and add the pinky to 3rd fret/2nd string.
TIP: In each verse (after the opening one) there is a run of (A) chords that starts with (A), goes to (A6), then to (A6+), back to (A6) and finishes with (A). This is easy to play. (A6) is just (A) with your pinky added on the bottom string (don’t play it as a barre). Then, from (A6) to (A6+) just slide your pinky up one fret . . . and then back down again to return to (A6). Finish with regular (A). Piece of cake.
TIP: The first intrumental is the “bumble-bee” bridge and is just the use of that same (A) series. The second instrumental is the “saxophone” bridge and uses the full major chords.
TIP: The end bit is just the (F) chord, played three frets up, then two frets up, then normal (F).
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(A) One, two, three o'clock, four o'clock, rock. (A) Five, six, seven o'clock, eight o'clock, rock. (A) Nine, ten, eleven o'clock, twelve o'clock, rock. We're gonna (A) rock a (E7) round the (E7-full) clock tonight.
Put your (A) glad rags on and join me, hon. We'll have some fun (A6) when the (A6+) clock
(A6) strikes (A) one.
We're gonna (D) rock around the clock tonight. We're gonna (A) rock, rock, rock, 'til broad daylight. We're gonna (E7) rock, gonna rock, a (E7 full) round the clock to (A) night.
When the (A) clock strikes two, three and four, if the band slows down (A6) we'll (A6+) yell
(A6) for (A) more,
We're gonna (D) rock around the clock tonight. We're gonna (A) rock, rock, rock, 'til broad daylight. We're gonna (E7) rock, gonna rock, a (E7 full) round the clock to (A) night.
(Instrumental):
(A)-(A6)-(A6+)-(A6), (A)-(A6)-(A6+)-(A6), (A)-(A6)-(A6+)-(A6)-(A); (D) (A) (E7) (A)
When the chimes ring five, six and seven, we'll be right (A6) in (A6+) sev (A6) enth (A) heaven.
We're gonna (D) rock around the clock tonight. We're gonna (A) rock, rock, rock, 'til broad daylight. We're gonna (E7) rock, gonna rock, a (E7 full) round the clock to (A) night.
When it's eight, nine, ten, eleven too, I'll be goin' strong (A6) and (A6+) so (A6) will (A) you.
We're gonna (D) rock around the clock tonight. We're gonna (A) rock, rock, rock, 'til broad daylight. We're gonna (E7) rock, gonna rock, a (E7 full) round the clock to (A) night.
(Instrumental) (A) (D) (A) (E) (A)
When the clock strikes twelve, we'll cool off then. Start a rockin' round (A6) the (A6+) clock (A6) a (A) gain.
We're gonna (D) rock around the clock tonight. We're gonna (A) rock, rock, rock, 'til broad daylight. We're gonna (E7) rock, gonna rock, a (E7 full) round the clock to (A) night.
(A) (F#3) (F#) (F) (E), (E)-(E)-(E) (A)
(Bill Haley & the Comets) (Artist Index) - (Main Index) - (Song Index) (This Song)
R.O.C.K. IN THE U.S.A. – John Mellencamp
TIP: The (B) will be preceded by an (A). If you anticipate the (B) you can play the (A) with your bottom three fingers and then just slide up the neck to the 4th fret to play the (B).
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Intro: (E)(A)(D)(A) x 4 (E)
They (E) come from the (A) cities and they (D) come from the (A) smaller (E) towns. (A)(D)(A)
(E) Beat up (A) cars, with (D) guitars, and (A) drummers (E) goin’ crack, boom, bam.
(E) R.O. (A) C.K. in the (D) U.S. (A) A. (E) R.O. (A) C.K. in the (D) U.S. (A) A. (E) R.O. (A) C.K. in the (D) U.S. (A) A. yeah, (B) yeah. Rockin' in the U.S. (E) A.
(E)(A)(D)(A) x4 (E)
Well they said good (A) bye to their (D) families, said good (A) bye to their (E) friends. (A)(D)(A) With their (E) pipe dreams in their (A) heads, and very (D) little money, in their
(E) hands. (A)(D)(A) Some are (E) black and (D) some are (A) white. (E) Ain't too proud to
(A) sleep on the (D) floor to (A) night, with the (E) blind faith of (A) Jesus you (D) know that (A) they just (B) might, be rockin' in the U.S. (E) A. (A)(D) Hey. (E)(A)(D)
(E)(A) x 4; (B) ; (E)(A)(D)(A)x 4; (E)
Voices from (A) nowhere, and (D) voices from the (A) larger (E) towns. (A)(D)(A) (E) Filled our (A) head full of (D) dreams, (A) turned the world, (E) upside down. There was Frankie Lyman (A) Bobby Fuller (D) Mitch Ryder, (A) (they were rockin'). (E) Jackie Wilson (A) Shangrias (D) Young Rascals (A) (they were rockin'). (E) Spotlight on (A) Martha Reeves, let's (D) don't for (A) get James (B) Brown. Rockin' in the U.S. (E) A.
(E) R.O. (A) C.K. in the (D) U.S. (A) A. x 4 (E)
(John Mellencamp) (Artist Index) - (Main Index) - (Song Index) (This Song)
ROCKIN ALL OVER THE WORLD – John Fogerty
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(D) Well . . . hurry up, hurry up, here we go. (G) Four in the mornin’, justa hittin’ the road. Here we (D) go, (A) rockin’ all over the (D) world.
Well, giddyup, giddyup, get away. We’re (G) goin’ crazy, and we’re goin’ today. Here we (D) go, (A) rockin’ all over the (D) world.
Well I like it, I like it, I like it, I like it, I (G) la-la-like it, la-la-like, here we (D) go, (A) rockin’ all over the (D) world.
(D) (G) (D) (A) (D)
Well, I’m gonna tell your mama what I’m gonna do. We’re (G) comin’ out tonight with our dancin’ shoes. Here we (D) go, (A) rockin’ all over the (D) world.
Well I like it, I like it, I like it, I like it, I (G) la-la-like it, la-la-like, here we (D) go, (A) rockin’ all over the (D) world.
Well I like it, I like it, I like it, I like it, I (G) la-la-like it, la-la-like, here we (D) go, (A) rockin’ all over the (D) world.
Well I like it, I like it, I like it, I like it, I (G) la-la-like it, la-la-like, here we (D) go, (A) rockin’ all over the (D) world.
(John Fogerty) (Artist Index) - (Main Index) - (Song Index) (This Song)
ROCKY MOUNTAIN HIGH – John Denver
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He was (D) born in the summer of his (Em) twenty-seventh (C) year, coming (D) home to a place he'd never (Em) been be (G) fore. He left (D) yesterday behind him, you might (Em) say he was born a (C) gain. You might (D) say he found a key for every (G) door. When he (D) first came to the mountains, his (Em) life was far a (C) way, on the (D) road and hanging by a (G) song. But the (D) strings already broken, and he (Em) doesn't really (C) care. It keeps (D) changin' fast, and it don't last for (G) long.
But the Colorado (A) Rocky Mountain (D) High. I've (G) seen it raining (A) fire in the (D) sky. The (G) shadows from the (A) starlight are (D) softer than a lulla (G) bye. Rocky Mountain (D) High. In Colo (G) rado. Rocky Mountain (D) High.
He climbed cathedral mountains, he saw (Em) silver clouds be (C) low. Saw (D) everything, as far as you can (G) see. And they (D) say that he got crazy once, and that he (Em) tried to touch the (C) sun. And he (D) lost a friend, but kept the memo (G) ry. Now he (D) walks in quiet solitude, the (Em) forest and the (C) stream. Seeking (D) grace, in every step he (G) takes. His (D) sight is turned inside himself, to (Em) try and under (C) stand, the (D) serenity of a clear blue mountain (G) lake.
And the Colorado (A) Rocky Mountain (D) High. I've (G) seen it raining (A) fire in the (D) sky. You can (G) talk to God and (A) listen to the (D) casual re (G) ply. Rocky Mountain (D) High, in Colo (G) rado. Rocky Mountain (D) High.
Now his life is full of wonder, but his (Em) heart still knows some (C) fear, of the (D) simple things he can not compre (G) hend. Why they (D) try to tear the mountains down, to (Em) bring in a couple (C) more. More (D) people, more scars upon the (G) land.
It's the Colorado (A) Rocky Mountain (D) High. I've (G) seen it raining (A) fire in the (D) sky. I (G) know he'd be a (A) poorer man, if he (D) never saw an eagle (G) fly. Rocky mountain (D) high.
It's the (G) Colorado (A) Rocky Mountain (D) High. I've (G) seen it raining (A) fire in the (D) sky. (G) Friends around the (A) camp fire and (D) everybody's (G) high.
Rocky Mountain (D) High, in Colo (G) ra-ha-do. Rocky Mountain (D) High, in Colo (G) ra-ha-do. Rocky Mountain (D) High, in Colo (G) ra-ha-do. (D)
(John Denver) (Artist Index) - (Main Index) - (Song Index) (This Song)
ROCKY TOP – (Bryant) - Traditional
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(G) Wish that I was (C) on ol' (G) Rocky Top, (Em) down in the (D7) Tennessee (G) hills. Aint' no smoggy (C) smoke on (G) Rocky Top, (Em) ain't no (D7) telephone (G) bills. Once I had a (C) girl on (G) Rocky Top, (Em) half bear, the (D7) other half (G) cat. Wild as a mink, but (C) sweet as (G) soda pop. (Em) I still (D7) dream about (G) that.
(Em) Rocky Top, you'll (D) always be, (F) home sweet home to (C) me. Good ol' (G) Rocky Top. Rocky Top (F) Tennes (G) see. Rocky Top (F) Tennes (G) see.
(G) Once two strangers (C) climbed ol' (G) Rocky Top, (Em) lookin' for a (D7) moonshine (G) still. Strangers ain't come (C) down from (G) Rocky Top, (Em) reckon they (D7) never (G) will. Corn won't grow at (C) all on (G) Rocky Top. (Em) Dirt's too (D7) rocky by (G) far. That's why all the (C) folks on (G) Rocky Top, (Em) get their (D7) corn from a (G) jar.
(Em) Rocky Top, you'll (D) always be, (F) home sweet home to (C) me. Good ol' (G) Rocky Top. Rocky Top (F) Tennes (G) see. Rocky Top (F) Tennes (G) see.
(G) I've had years of (C) cramped-up (G) city life, (Em) trapped like a (D7) duck in a (G) pen. All I know is (C) it's a (G) pity life, (Em) can't be (D7) simple a (G) gain.
(Em) Rocky Top, you'll (D) always be, (F) home sweet home to (C) me. Good ol' (G) Rocky Top. Rocky Top (F) Tennes (G) see. Rocky Top (F) Tennes (G) see.
(G) Rocky Top (C) Tenn (D7) es (G) see (F) eee (C) eee (G).
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
ROLL IN MY SWEET BABY’S ARMS – (Flatt) - Traditional
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(G) Roll in my sweet baby's arms. Roll in my sweet baby's (D7) arms. I’m gonna (G) lay around the shack till the (C) mail train comes back, and (D7) roll in my sweet baby's (G) arms.
Well, I ain't gonna work on the railroad. I ain't gonna work on the (D7) farm. I'll (G) lay around the shack, till the (C) mail train comes back, and (D7) roll in my sweet baby's (G) arms.
(G) Roll in my sweet baby's arms. Roll in my sweet baby's (D7) arms. I’m gonna (G) lay around the shack till the (C) mail train comes back, and (D7) roll in my sweet baby's (G) arms.
Now where were you last Friday night, while I was a locked up in (D7) jail? (G) Walkin' round town with (C) another man, (D7) you wouldn't even go my (G) bail.
(G) Roll in my sweet baby's arms. Roll in my sweet baby's (D7) arms. I’m gonna (G) lay around the shack till the (C) mail train comes back, and (D7) roll in my sweet baby's (G) arms.
Momma was gingerbread maker, sister knew how to weave and (D7) spin. (G) Daddy owned an interest in that (C) old cotton gin, (D7) watch that ol' money roll (G) in.
(G) Roll in my sweet baby's arms. Roll in my sweet baby's (D7) arms. I’m gonna (G) lay around the shack till the (C) mail train comes back, and (D7) roll in my sweet baby's (G) arms.
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
ROSE OF ALABAMA – (Steele) - Traditional
TIP: If you can’t recall how this song goes, it was the one sung in “The Outlaw Josey Wales”. Don’t play it too fast.
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(G) Away from Missis (C) sippi's vale, with (G) my ol' hat there (Em) for a sa- (D) il I (G) crossed upon a (C) cotton bale, to (G) Rose of (D) Alabam (G) y.
The (G) river rose, the (C) cricket sang. The (G) lightnin' bug it (Em) flashed its wing (D) then (G) like a rope my (C) arms I fling 'round (G) Rose of (D) Ala (G) bamy.
(C) Oh brown Rosie, (G) Rose of Alabamy. A sweet tobacco (C) posey is the (G) Rose of (D) Ala (G) bamy.
Oh (G) fare thee well, you (C) Belles of Spain. And (G) fare thee well to (Em) Liza Jane (D) your (G) charms will all be (C) put to shame by (G) Rose of (D) Ala (G) bamy.
(C) Oh brown Rosie, (G) Rose of Alabamy. A sweet tobacco (C) posey is the (G) Rose of (D) Ala (G) bamy.
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This song)
RUBY, DON’T TAKE YOUR LOVE TO TOWN – (Tillis) - Kenny Rogers
TIP: The (FAm) is a little unusal. It will follow the (F) and precede the (Dm7) making it easy to play. Just play the (F) and then reposition your middle and ring fingers like you’re playing an (Am). That’s (FAm). Then to play the (Dm7) just lift your middle finger, or, if it’s more comfortable, lift the ring finger and move the middle finger down one string.
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(C) You've painted up your lips and rolled and (F) curled your tinted (G7) hair. (Dm) (C) Ruby are you contemplating (F) going out some (G7) where? The (Dm) shadow on the wall tells me the (G7) sun is going down. (Dm) Oh (C) Ru (F) by (FAm) (Dm7), don't take your love to (C) town.
It (Dm) wasn't me that started that old (C) crazy Asian war. But (Dm) I was proud to go and do my (F) patriotic (G7) chore. And (Dm) yes it's true that I'm not the (G7) man I used to be (Dm). Oh, (C) Ru (F) by (FAm) (Dm7). I still need some compan (C) y.
It’s hard to love a man whose legs are (F) bent and para (G7) lyzed. (Dm) And the (C) wants and the needs of a woman your age, (F) Ruby I real (G7) ize. But it (Dm) won't be long I've heard them say un (G7) til I not around (Dm). Oh (C) Ru (F) by (FAm) (Dm7), don't take your love to (C) town.
She's (C) leaving now cause I just heard the (F) slamming of the (G7) door. (Dm) The (C) way I know I've heard it slam one (F) hundred times be (G7) fore. And if (Dm) I could move I'd get my gun and (G7) put her in the ground. (Dm) Oh (C) Ru (F) by (FAm) (Dm7), don't take your love to (C) town.
Oh Ru (F) by (FAm) (Dm7), for God's sake turn a (C) round.
(Kenny Rogers) (Artist Index) - (Main Index) - (Song Index) (This Song)
RUBY TUESDAY - (Richards/Jones) - The Rolling Stones
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(Am) She would (G) never (F) say where (G) she came (C) from. (Am) Yester (G) day don't (F) matter if it's (G) gone. (Am) While the (D7) sun is (G) bright, or (Am) in the (D7) darkest (G) night.
No one (C) knows. She comes and (G) goes.
(C) Good (G) bye (F) Ruby Tues (C) day. Who could (G) hang a (F) name on you? (C) When you
(G) change with (F) every new day. (G) Still I'm gonna (F) miss (C) you (G).
Don't (Am) question (G) why she (F) needs to (G) be so (C) free. She'll (Am) tell you (G) it's the (F) only way to (G) be. (Am) She just (D7) can't be (G) chained, to a (Am) life where
(D7) nothing's (G) gained, and nothing's (C) lost, at such a (G) cost.
(C) Good (G) bye (F) Ruby Tues (C) day. Who could (G) hang a (F) name on you? (C) When you
(G) change with (F) every new day. (G) Still I'm gonna (F) miss (C) you (G).
(Am) There's no (G) time to (F) lose I (G) heard her (C) say. (Am) Catch your (G) dreams
be (F) fore they slip a (G) way. (Am) Dying (D7) all the (G) time. (Am) Lose your (D7) dreams
and (G) you will lose your (C) mind. Ain't life (G) unkind?
(C) Good (G) bye (F) Ruby Tues (C) day. Who could (G) hang a (F) name on you? (C) When you
(G) change with (F) every new day. (G) Still I'm gonna (F) miss (C) you (G).
(C) Good (G) bye (F) Ruby Tues (C) day. Who could (G) hang a (F) name on you? (C) When you
(G) change with (F) every new day. (G) Still I'm gonna (F) miss (C) you (G).
(The Rolling Stones) (Artist Index) - (Main Index) - (Song Index) (This Song)
RUNAROUND SUE – (DiMucci/Maresca) – Dion
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(C) Here's my story, it's sad but true. It's (Am) about a girl that I once knew. (F) She took my love then ran around, (G) with every single guy in town.
(C) Hey, hey, hum-ba-diddy-diddy. (Am) Hey, hey, hum-ba-diddy-diddy. (F) Hey, hey, hum-ba-diddy-diddy. (G) Hey.
Ah, (C) I should have known it from the very start. (Am) This girl will leave me with a broken heart. (F) Now listen people what I'm telling you, (G) a keep away from-a Runaround Sue.
(C) I miss her lips and the smile on her face. (Am) The touch of her hair and this girl's warm embrace. (F) So if you don't wanna cry like I do, (G) a keep away from-a Runaround Sue.
(F) She likes to travel around. She'll (C) love you but she'll put you down. Now (F) people let me put you wise, (G) Sue goes . . . (G7) out with other guys.
(C) Here's the moral and the story from the guy who knows. (Am) I fell in love and my love still grows. (F) Ask any fool that she ever knew, they'll say (G) keep away from-a Runaround Sue.
(F) She likes to travel around. She'll (C) love you but she'll put you down. Now (F) people let me put you wise, (G) Sue goes . . . (G7) out with other guys.
(C) Here's the moral and the story from the guy who knows. (Am) I fell in love and my love still grows. (F) Ask any fool that she ever knew, they'll say (G) keep away from-a Runaround Sue.
(C) Hey, hey, hum-ba-diddy-diddy. (Am) Hey, hey, hum-ba-diddy-diddy. (F) Hey, hey, hum-ba-diddy-diddy. (G) Hey. (C) Hey, hey, hum-ba-diddy-diddy. (Am) Hey, hey, hum-ba-diddy-diddy. (F) Hey, hey, hum-ba-diddy-diddy. (G) Hey. (C)
(Dion) (Artist Index) - (Main Index) - (Song Index) (This Song)
RUNAWAY - (Shannon/Crook) - Del Shannon/Traveling Wilburys (C0) or (C4)
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INTRO: (Am)
As I walk along I (G) wonder, what went wrong with (F) our love. A love that was so (E) strong.
(Am) And as, I still walk on I (G) think of, the things we've done to (F) gether, while our hearts were (E) young.
(A) I'm a-walkin' in the rain. (F#m) Tears are fallin' and I feel the pain. (A) Wishin' you were here by me, (F#m) to end this misery. I (A) wonder. I wah-wah-wah-wah (F#m) wonder, (A) why?
Why, why, why, why, (F#m) why, she ran away. And I (D) wonder, where she will (E) stay. My little
(A) runaway. A (D) run, run, run, run, (A) runaway.
(Am)(Am) (G)(G) (F)(F) (E)(E); (Am)(Am) (G)(G) (F)(F) (E)(E)
(A) I'm a-walkin' in the rain. (F#m) Tears are fallin' and I feel the pain. (A) Wishin' you were here by me, (F#m) to end this misery. I (A) wonder. I wah-wah-wah-wah (F#m) wonder, (A) why?
Why, why, why, why, (F#m) why, she ran away. And I (D) wonder, where she will (E) stay. My little
(A) runaway. A (D) run, run, run, run, (A) runaway. A (D) run, run, run, run, (A) runaway.
A (D) run, run, run, run, (A) runaway.
(Del Shannon)(Traveling Wilburys)(Artist Index) - (Main Index) - (Song Index) (This Song)
RUNNIN' DOWN A DREAM - Tom Petty
TIP: You have to play the intro and bridge riff really quickly.
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Intro: (E)(A)(G)(E) x 4
It was a (E) beautiful day, the sun beat down. I had the (D) radio on, I was (E) drivin'. The trees went by, me and Del were singin', "Little (D) Runaway", I was (E) flyin'.
Yeah (A) runnin' (G) down a (E) dream. That never would (G) come to (A) me. (D) Workin' on a
(G) myster (E) y. Goin' where (G) ever it (A) leads. Runnin' (G) down a (E) dream.
(E)(A)(G)(E)
I felt so good, like anything was possible. Hit (D) cruise control, and rubbed (E) eyes. The last three days, the rain was unstoppable. It was (D) always cold, no sun (E) shine.
Yeah (A) runnin' (G) down a (E) dream. That never would (G) come to (A) me. (D) Workin' on a
(G) myster (E) y. Goin' where (G) ever it (A) leads. Runnin' (G) down a (E) dream.
(E)(A)(G)(E) Woo (C) ooh, woo (D) ooh, woo (E) ooh. Woo (C) ooh, woo (D) ooh, woo (E) ooh.
I rolled on, the sky grew dark. I put the (D) pedal down, to make some (E) time. There's something good, waitin' down this road. I'm (D) pickin up, whatever is (E) mine.
I'm (A) runnin' (G) down a (E) dream. That never would (G) come to (A) me. (D) Workin' on a
(G) myster (E) y. I'm goin' where (G) ever it (A) leads. Runnin' (G) down a (E) dream.
(E)(A)(G)(E)
Yeah I'm (A) runnin' (G) down a (E) dream. That never would (G) come to (A) me. (D) Workin' on a
(G) myster (E) y. I'm goin' where (G) ever it (A) leads. I'm runnin' (G) down a (E) dream.
(E)(A)(G)(E); (E)(A)(G)(E)
Woo (C) ooh, woo (D) ooh, woo (E) ooh. Woo (C) ooh, woo (D) ooh, woo (E) ooh.
Woo (C) ooh, woo (D) ooh, woo (E) ooh. Woo (C) ooh, woo (D) ooh, woo (E) ooh.
Woo (C) ooh, woo (D) ooh, woo (E) ooh. Woo (C) ooh, woo (D) ooh, woo (E) ooh.
(Tom Petty) (Artist Index) - (Main Index) - (Song Index) (This Song)
RUNNING SCARED - (Orbison/Melson) - Roy Orbison
TIP: This song has that four-beat strum cadence going through the whole song. It consists of two four-beat strums, followed by a 10-beat run, and then it repeats. And most if not all are down-beats. Takes a bit of practice to master. Listen to the song a few times to get it down.
TIP: The transition after the (C#m) isn't hard but requires concentration. In the first half of the verse, to go from (C#m) to (A9) just lift off the ring finger. Then to go to (A4) add ring finger to 3rd string/2nd fret while holding your index finger in place - and strike the middle three strings. To move to (E) to keep the index finger where it is and lift the ring and middle fingers up one string-set. For the 2nd half of the verse to go from the (C#m) to the (A4) just move your ring finger up one string, and then to complete the (A) just add the pinky.
TIP: The first two lines of the last verse are a bit much with the (D) chord progression. To play (D6) just lift off the ring finger. Then play the (Dmaj7) as a barre and add your pinky to the 3rd string/2nd fret for the one-note (D) and back to the (Dmaj7). When coming back down from the second (D6) you play (D) but add your pinky to the 4th string/4th fret to complete the (D/A).
TIP: The last two lines are an ascending scale, with "be" and "You" being the same note. (D) and (Dsus2) - just lift off the bottom finger - are easy enough, then it's (Bm4) which isn't the name for that chord but it looks like a (Bm) up on the 4th fret. The last note/chord is an (A). You can play the (A) as (F5) as indicated, or you can just play a regular (A), or you can play a modified (A6) - barre chord the lower 4 strings on 2nd fret - but you must also include your pinky on the bottom string of the 5th fret.
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INTRO: Strum (A) once. Then strum four times, twice.
Just runnin' (A) scared. Each place we (Bm) go. So a (C#m) fraid, that (A9) he (A4) might
(E) show. Yeah, runnin' (A) scared. What would I (Bm) do, if he came (C#m) back, and (A4) wanted (A) you?
Just runnin' scared. Feelin' (Bm) low. Runnin' (C#m) scared. You (A9) love (A4) him (E) so.
Just runnin' (A) scared. Afraid to (Bm) lose. If he came (C#m) back, which one (A4) would you
(A) choose? (A7)
(D) Then all at (D6) once, (Dmaj7) he was (D) stand (Dmaj7) ing (D6) there- (D/A) -er. So (D) sure of him (D6) self, his (Dmaj7) head (D) in (Dmaj7) the (D6) air- (D/A) -er. (D) My heart was (D6) breaking, (Dmaj7) which one would it (D) be? You turned a (Dsus2) round, and (D) walked
a (Bm4) way with (F5) me. [End with three downward strums of four]
(Roy Orbison) (Artist Index) - (Main Index) - (Song Index) (This Song)
SALLY SIMPSON - (Townsend) - The Who (C2)
TIP: For the (G)-(G4)-(G) part just use your index finger to cover the 2nd string/1st fret and leave the top string open when moving back and forth. And use your pinky to cover the bottom string/3rd fret while holding the (D) in the (D)-(D4)-(D) sequence.
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INTRO: (C), (G), (C), (G)
(C) Outside the house Mr. (G) Simpson announced that (C) Sally couldn't go to the (G) meeting.
He (C) went on cleaning his (G) blue Rolls Royce and (C) she ran inside a (G) weeping.
She (C) got to her room and (G) tears splashed the picture (C) of the new mess (G) iah.
She (C) picked up a book of her (G) father's life and (C) threw it on the (G) fire (G4)-(G).
She (F) knew from the start deep down in her heart that she and Tommy were (G) worlds
apart (G4)-(G)(G4)-(G). But her (F) Mother said "never (C) mind your part is to (D) be what you'll (G) be." (G4)
The (C) theme of the sermon was (G) come unto me and (C) love will find a (G) way.
So (C) Sally decided to ig (G) nore her dad and (C) sneak out any (G) way.
She (C) spent all afternoon (G) gettin' ready and de (C) cided she'd try to (G) touch him.
(C) Maybe he'd see that (G) she was free and (C) talk to her this (G) Sunday.
She (F) knew from the start deep down in her heart that she and Tommy were (G) worlds
apart (G4)-(G)(G4)-(G). But her (F) Mother said "never (C) mind your part is to (D) be what you'll (G) be." (G4)
She a (C) rrived at six and the (G) place was swinging to (C) gospel music by (G) nine.
(C) Group after group a (G) ppeared on the stage and (C) Sally just sat there (G) crying.
She (C) bit her nails looking (G) pretty as a picture (C) right in the very front (G) row.
And then a (C) DJ wearing a (G) blazer with a badge ran (C) on and said 'here we (G) go!'
The (D7) crowd went (G) crazy as (D7) Tommy hit the (G) stage. Little (D7) Sally got lost as the (G) police bossed the (A7) crowd back in a (D) rage. (D4)(D)(D4)(D)
(C) Soon the atmos (G) phere was cooler and (C) Tommy gave a (G) lesson.
(C) Sally just had to let him (G) know she loved him and (C) leapt up on the (G) rostrum.
She (C) ran cross stage to the (G) spotlit figure and (C) touched him on the (G) face
(C) Tommy whirled around as a (G) uniformed man (C) threw her off the (G) stage.
She (F) knew from the start deep down in her heart that she and Tommy were (G) worlds
apart (G4)-(G)(G4)-(G). But her (F) Mother said "never (C) mind your part is to (D) be what you'll (G) be." (G4)
Her (C) cheek hit a chair and (G) blood trickled down (C) mingling with her (G) tears,
(C) Tommy carried on (G) preaching and his (C) voice filled Sally's (G) ears.
(C) She caught his eye, she (G) had to try but (C) couldn't see through the (G) lights
Her (C) face was gashed and the (G) ambulance men had to (C) carry her out that (G) night.
The (D7) crowd went (G) crazy as (D7) Tommy left the (G) stage. Little (D7) Sally was lost for the (G) price of a touch and a (A7) gash across her (D) face! Ooooh.
(C) Sixteen stitches put her right and her Dad said (G) "don't say I didn't warn ya."
(C) Sally got married to a (G) rock musician she (C) met in Cali (G) fornia.
(C) Tommy always talks about the day the (G) disciples all went wild.
(C) Sally still carries a (G) scar on her cheek to (C) remind her of his (G) smile.
She (F) knew from the start deep down in her heart that she and Tommy were (G) worlds
apart (G4)-(G)(G4)-(G). But her (F) Mother said "never (C) mind your part is to (D) be what you'll (G) be." (G4)
(G) (G4) (G) (G4) (G)
(The Who) (Artist Index) - (Main Index) - (Song Index) (This Song)
SAN ANTONIO ROSE - (Wills) - Bob Wills/Patsy Cline (C1)
TIP: The (A) in the chorus can be skipped.
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(G) Deep within my heart lies a (C) melo (A7) dy, a (D) song of old San An (G) tone. Where in dreams I live with a (C) memo (A7) ry, be (D) neath the stars all a (G) lone. Well it was there I found be (C) side the Ala (A7) mo, en (D) chantment strange as the (G) blue up above. For that moonlit pass that only (C) he would (A7) know still (D) hears my broken song of (G) love.
(D) Moon in all your splendor, known (A7) only to my heart. Call back my (A) rose, Rose of
(D) San Antone. Lips so sweet and tender like (A7) petals fallin' apart. Speak once a (A) gain of my (D) love, my (D7) own. (G) Broken song. Empty (C) words I (A7) know still (D) live in my heart all a (G) lone. For that moonlit pass by the (C) Alam (A7) o, and (D) rose my Rose of
San An (G) tone.
[Repeat first half of chorus chords] (D),(A7),(A)-(D); (D),(A7),(A)-(D)-(D7)
(G) Broken song. Empty (C) words I (A7) know still (D) live in my heart all a (G) lone. For that moonlit pass by the (C) Alam (A7) o, and (D) rose my Rose of San An (G) tone. And (D) rose my Rose of San An (G) tone. And (D) rose my Rose of San An (G) tone.
(Bob Wills)(Patsy Cline) (Artist Index) - (Main Index) - (Song Index) (This Song)
SAVE THE LAST DANCE FOR ME – (Pomus/Shuman) – The Drifters
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(A) You can dance every dance with the guy who gives you the eye. Let him (E) hold you tight. You can smile every smile for the man who held your hand 'neath the (A) pale moonlight. But don't for (D) get who's taking you home and in whose arms you're (A) gonna be. So (E) darling, save the last dance for (A) me.
(A) Oh I know that the music is fine like sparkling wine. Go and (E) have your fun. Laugh and sing but while we're apart don't give your heart to (A) anyone. But don't for (D) get who's taking you home and in whose arms you're (A) gonna be. So (E) darling, save the last dance for (A) me.
(A) Baby don't you know I (E) love you so? Can't you feel it when we (A) touch? I will never never (E) let you go. Cause I love you oh so (A) much.
(A) You can dance, go and carry on, till the night is gone and it’s (E) time to go. If he asks if you’re all alone, can he take you home, you must (A) tell him, “No.” And don’t for (D) get who’s taking you home and in whose arms you’re (A) gonna be. So (E) darling, save the last dance for (A) me. So (E) darling, save the last dance for (A) me.
(The Drifters) (Artist Index) - (Main Index) - (Song Index) (This Song)
SAY IT AGAIN - (McDill) - Don Williams (C1)
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INTRO: (C)(C)-(G). . . (C)(C)(G)
Oh all I (G) needed, was one (C) look. One magic (G) moment, (C) was all it (D) took. From that (G) moment, I love you (C) so. (G) Now (C) that I (G) found you I'm (C) never gonna (D) let you (G) go.
So c'mon say it. Say it a (C) gain. It (G) sounds (C) so (G) good say it (C) one more time and (D) then. Whoa if you (G) mean it, say it a (C) gain. The (G) hard (C) part's (G) over and the (C) lovin' (D) part be (G) gins.
(G) (C) (G) (C) (D) (G)
Oh hold me closer, make me (C) warm. I feel (G) wanted, (C) here in your (D) arms. I've been
(G) lonely, for too (C) long. I've (G) wait (C) ed a (G) lifetime for (C) you to (D) come
a (G) long.
So c'mon say it. Say it a (C) gain. It (G) sounds (C) so (G) good say it (C) one more time and (D) then. Whoa if you (G) mean it, say it a (C) gain. The (G) hard (C) part's (G) over and the (C) lovin' (D) part be (G) gins.
So c'mon say it. Say it a (C) gain. It (G) sounds (C) so (G) good say it (C) one more time and (D) then. Whoa if you (G) mean it, say it a (C) gain. The (G) hard (C) part's (G) over and the (C) lovin' (D) part be (G) gins.
(Don Williams) (Artist Index) - (Main Index) - (Song Index) (This Song)
SCARBOROUGH FAIR – (Simon/Traditional) - Simon and Garfunkel
TIP: When you see (pp) “pinky-pick” it simply means, while playing (D), pick the bottom string while placing your pinky on the bottom string/3rd fret. On/off/on/off.
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(Em) Are you going to (D) Scarborough (Em) Fair. (G) Parsley (Em) sage rosemar (A) y and (Em) thyme. Remember (G) me to one (A) who (Em) lives (D) there (pp). (Em) She once (D) was (Em) a (D) true (Em) love (D) of (Em) mine.
(Em) Tell her to make me a (D) cambric (Em) shirt. (G) Parsley (Em) sage rosemar (A) y and (Em) thyme. With out no (G) seems nor (A) nee (Em) dle (D) work (pp). (Em) Then she'll (D) be (Em) a (D) true (Em) love (D) of (Em) mine.
(Em) Tell her to find me an (D) acre of (Em) land. (G) Parsley (Em) sage rosemar (A) y and (Em) thyme. Between the salt (G) water and (A) the (Em) sea (D) strands (pp). (Em) Then she’ll (D) be (Em) a (D) true (Em) love (D) of (Em) mine.
(Em) Tell her to reap it with a (D) sickle of (Em) leather. (G) Parsley (Em) sage rosemar (A) y and (Em) thyme. And gather it (G) all in a (A) bunch (Em) of (D) heather (pp). (Em) Then she'll (D) be (Em) a (D) true (Em) love (D) of (Em) mine.
(Em) Are you going to (D) Scarborough (Em) Fair. (G) Parsley (Em) sage, rosemar (A) y and (Em) thyme. Remember (G) me to one (A) who (Em) lives (D) there (pp). (Em) She once (D) was (Em) a (D) true (Em) love (D) of (Em) mine.
(Simon and Garfunkel) (Artist Index) - (Main Index) - (Song Index) (This Song)
SECRET AGENT MAN – (Barri/Sloan) - Johnny Rivers
TIP: The (A7/C) chord played in the RIFF is (C) with the index finger slid up from the 1st fret to the 2nd fret (same string). The RIFF itself is a simple one-note slide from (Em) to (C) to (A7/C) and back to (C).
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Intro: RIFF (Em) – (C)- (A7/C) – (C) (play twice)
(Em) There's a man who (Am) leads a life of (Em) danger. To everyone he meets he stays a (B7) stranger. With (Em) every move he makes, a (Am) nother chance he takes. (Em) Odds are he won't (Am) live to see to (Em) morrow.
Secret (Bm) agent (Em) man, secret (Bm) agent (Em) man. They've (Am) given you a number and (B7) taken 'way your (Em) name. [RIFF]
Be (Em) ware of pretty (Am) faces that you (Em) find. A pretty face can hide an evil (B7) mind. Ah, be (Em) careful what you say, you’ll (Am) give yourself away. (Em) Odds are you won't (Am) live to see to (Em) morrow.
Secret (Bm) agent (Em) man, secreat (Bm) agent (Em) man. They've (Am) given you a number and (B7) taken 'way your (Em) name. [RIFF]
(Em) Swinging on the (Am) Riviera (Em) one day. And then laying in a Bombay alley (B7) next day. Ah you (Em) let the wrong word slip while (Am) kissing persuasive lips. The (Em) odds are you won’t (Am) live to see to (Em) morrow.
Secret (Bm) agent (Em) man, secret (Bm) agent (Em) man. They've (Am) given you a number and (B7) taken 'way your (Em) name. [RIFF] [repeat and end with (Em)]
(Johnny Rivers) (Artist Index) - (Main Index) - (Song Index) (This Song)
SETTIN' THE WOODS ON FIRE - Hank Williams (C5)
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(C) Comb your hair and paint and powder. (F) You act proud and I'll act prouder. (G) You sing loud and I'll sing louder. Tonight we're setting the woods on fire. (C) You my gal and I'm your feller. (F) Dress up in your frock of yeller. (G) I'll look swell but you'll look sweller.
Setting the woods on (C) fire.
(F) We'll take in all the honkey tonks. Tonight we're having (C) fun. We'll (D7) show the folks a brand new dance that (G) never has been done.
(C) I don't care who thinks we're silly. (F) You be Daffy and I'll be Dilly. (G) We'll order up two bowls of chili. Setting the woods on (C) fire. I'll gas up my hot rod stoker. (F) We'll get hotter than a poker. (G) You'll be broke but I'll be broker. Tonight we're setting the woods on fire.
(C) We'll sit close to one another. (F) Up one street and down the other. (G) We'll have a time O brother. Setting the woods on (C) fire.
(F) We'll put aside a little time, to fix a flat or (C) two. My (D7) tires and tubes are doing fine, but the (G) air is showing through.
(C) You clap hands and I'll start bowing. (F) We'll do all the laws allowin'. (G) Tomorrow I'll be right back plowing. Setting the woods on (C) fire
(Hank Williams) (Artist Index) - (Main Index) - (Song Index) (This Song)
SEVEN BRIDGES ROAD - (Young) - The Eagles (C3)
TIP: Gather round the guys and gals, lads and lasses, blokes and birds, mates and sheilas, it's harmony time! The first and last verses are sung a capella but if you strum once for each chord it will sound nice.
TIP: At the end of the first verse begin a rapid strum (listen to the song). Continue through the bridge and end with a single strum of (D) at the end of the bridge. Then strum once for each chord through the final verse.
TIP: Don't sweat the (CaddG) and (Gadd) in the bridge. They're just the addition of one finger but the major chords can be played instead if too cumbersome.
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(D) There, are (C) stars, in the (G) southern (D) sky. Southward, (C) as, you (G) go- (D) -oh.
There, is (C) moonlight and (G) moss, in the (D) trees, down the Seven (C) Bridges (G) Ro- (D)- ad.
[begin strum] (D)(C)(G)(D)
Now I, have (C) loved, (G) you, like a (D) baby. Like, some (C) lone,some (G) chi- (D) -ld. And I, have (C) loved, you, (G) in a tame (D) way, and I, have (C) loved, you (G) wi- (D) -ld.
(CaddG) Sometimes, there's, a (Gadd) part of me, wants to (CaddG) turn from (Gadd) here and
(D) go. (CaddG) Running, like a child, from (Gadd) these warm stars, down the (D) Seven
(C) Bridges (G) Ro- (D) -ad. [stop strumming]
(D) There, are (C) stars, in the (G) southern (D) sky. And if ever you de- (C) -cide, you should (G) go- (D) -oh. There, is a (C) taste, of (G) thyme-sweetened (D) honey. Down the Sev - ven
(C) Bridges (G) Ro- (D) -ad.
(The Eagles) (Artist Index) - (Main Index) - (Song Index) (This Song)
SHAMBALA - (Moore) - Three Dog Night
TIP: In the chorus that begin with "How does your light shine . .. " the first "Shambala" ends on an up-inflection; the second time it ends on a down-inflection.
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INTRO: (A)-(E)(D)(A), (E)(D)(A); (A)-(E)(D)(A), (E)(D)(A)
Wash a (E) way my troubles wash a (D) way my (A) pain, with the (E) rain in Shamba (A) la.
Wash a (E) way my sorrow wash a (D) way my (A) shame, with the (E) rain in Shamba (A) la.
Ahha (E) ooh oooh (A) oooh yeah. (E) Yeah yeah (D) yeah yeah (A) yeah.
Ahha (E) ooh oooh (A) oooh yeah. (E) Yeah yeah (D) yeah yeah (A) yeah.
Every (E) one is helpful, every (D) one is (A) kind, on the (E) road to Shamba (A) la.
Every (E) one is lucky, every (D) one is so (A) kind, on the (E) road to Shamba (A) la.
Ahha (E) ooh oooh (A) oooh yeah. (E) Yeah yeah (D) yeah yeah (A) yeah.
Ahha (E) ooh oooh (A) oooh yeah. (E) Yeah yeah (D) yeah yeah (A) yeah.
How does your light shine, in the (D) halls of Shamba (A) la?
How does your light shine, in the (D) halls of Shamba (A) la? (E)(D)(A); (E)(D)(A)
I can (E) tell my sister by the (D) flowers in her (A) eyes, on the (E) road to Shamba (A) la.
I can (E) tell my brother by the (D) flowers in his (A) eyes, on the (E) road to Shamba (A) la.
Ahha (E) ooh oooh (A) oooh yeah. (E) Yeah yeah (D) yeah yeah (A) yeah.
Ahha (E) ooh oooh (A) oooh yeah. (E) Yeah yeah (D) yeah yeah (A) yeah.
How does your light shine, in the (D) halls of Shamba (A) la? How does your light shine, in the (D) halls of Shamba (A) la? Tell me how does your light shine, in the (D) halls of Shamba (A) la?
Tell me how does your light shine, in the (D) halls of Shamba (A) la?
Ahha (E) ooh oooh (A) oooh yeah. (E) Yeah yeah (D) yeah yeah (A) yeah.
Ahha (E) ooh oooh (A) oooh yeah. On the (E) road to (D) Shamba (A) la.
Ahha (E) ooh oooh (A) oooh yeah. (E) Shamba, Shamba (A) la.
Ahha (E) ooh oooh (A) oooh yeah. On the (E) road to (D) Shamba (A) la.
OUTRO: (A)-(E)(D)(A), (E)(D)(A); (A)-(E)(D)(A), (E)(D)(A)
(Three Dog Night) (Artist Index) - (Main Index) - (Song Index) (This Song)
SHE LOVES YOU - (Lennon/McCartney) - The Beatles [C0]
TIP: (Cmaj7) is just (C) without the index finger.
TIP: Begin singing the first "you" on high (index finger of the (Am)).
TIP: Remember to shake your head on the "Ooooh."
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She (Am) loves you, yeah, yeah, yeah. She (D7) loves you, yeah, yeah, yeah. She (F) loves you, yeah, yeah, yeah, (C) yeahhhhh.
You think you lost your (Cmaj7) love. Well I (Em) saw her yester (G7) day. It's (C) you she's thinking (Cmaj7) of, and she (Em) told me what to (G7) say. She says she (Am) loves you. And you know that can't be (Dm7) bad. Yes, she (Dm) loves you, and you know you should be (G) glad (G7).
She (C) said you hurt her (Cmaj7) so. She (Em) almost lost her (G7) mind. And (C) now she says she (Cmaj7) knows, you're (Em) not the hurting (G7) kind. She says she (Am) loves you. And you know that can't be (Dm7) bad. Yes, she (Dm) loves you, and you know you should be (G) glad. (G7) Ooh!
She (Am) loves you, yeah, yeah, yeah. She (D7) loves you, yeah, yeah, yeah. And with a (Dm7) love like that, you (G) know you (G7) should be (C) glad.
You know it's up to (Cmaj7) you. I (Em) think it's only (G7) fair. (C) Pride can hurt you, (Cmaj7) too. A (Em) pologize to (G7) her. Because she says she (Am) loves you. And you know that can't be (Dm7) bad. Yes, she (Dm) loves you, and you know you should be (G) glad. (G7) Ooh!
She (Am) loves you, yeah, yeah, yeah. She (D7) loves you, yeah, yeah, yeah. And with a (Dm7) love like that, you (G) know you (G7) should be (C) glad. (Am)
With a (Dm7) love like that, you (G) know you (G7) should be (C) glad. (Am)
With a (Dm7) love like that, you (G) know you (G7) should . . . be (C) glad.
(Am) Yeah, yeah, yeah. (F) Yeah, yeah, yeah, (C) yeah.
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
SHE THINKS HIS NAME WAS JOHN - (Knox/Rosen) - Reba McEntire
TIP: In the intro, the middle trill (Am-Asus-Am-Asus-Am) is adding and removing the pinky to the 2nd string, 3rd fret while holding the (Am) configuration. Easy.
TIP: The (CaddG) can be ommitted in the alternating (CaddG) and (C) sequence but just involves adding and removing the pinky to the bottom string, 3rd fret to accentuate the upward inflection at the point where Reba sings it.
TIP: The final stanza the (F) is held throughout even though it might sound a little awkward. This is how Reba sings it.
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INTRO: (CaddG) (Am); (Am)-(Asus)-(Am)-(Asus)-(Am); (C)
(C) She can account for (Am) all of the men in her (C) past. Where they are now, who they (Am) married, how many kids they (C) have. (CaddG) She (C) knew (CaddG) their (C) back (Am) grounds, family and (C) friends. (CaddG) A (C) few (CaddG) she (Am) even talks-to now and (C) then.
But there is (F) one, she can't (C) put her finger on. There is (F) one, who (C) never leaves her (Am) thoughts. And she thinks, his (F) name, (G) was (C) John.
A chance meeting, a (Am) party a few years (C) back. Broad shoulders, and (Am) blue eyes, his hair was so (C) black. (CaddG) He (C) was (CaddG) a (Am) friend of a friend you could (C) say. (CaddG) She (C) let (CaddG) his (Am) smile just sweep her a (C) way.
And in her (F) heart, oh she (C) knew that it was wrong. But too much (F) wine, and she (C) left his bed at (Am) dawn. And she thinks, his (F) name, (G) was (C) John.
(C) (CaddG)-(F)-(C); (C)(F)-(F)-(F)(C),(G); (C)
Now each day is (Am) one day that's left in her (C) life. She won't know love, have a (Am) marriage, or sing lulla (C) bies. (CaddG) She (C) lays (CadddG) alone (C) and cries (Am) herself to (C) sleep. (CaddG) Cause (C) she (CaddG) let a stran (C) ger (Am) kill-her-hopes and her (C) dreams.
And all her (F) friends, say what a (C) pity what a loss. And in the (F) end, when she was (C) barely hangin' (Am) on. All she could say... is she thinks his (F) name was John.
Oh she thinks his name (G) was (C) John.
(Reba McEntire) (Artist Index) - (Main Index) - (Song Index) (This Song)
SHE THINKS I STILL CARE – (Lee) – George Jones
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(C) Just because I (F) ask a friend a (C) bout her. Just because I (G7) spoke her name some (C) where. Just because I rang her (C7) number by mis (F) take today. (C) She thinks (G7) I still (C) care (G).
(C) Just because I (F) haunt the same old (C) places. Where the mem'ry of her (G7) lingers ev'ry (C) where. Just because I'm not the (C7) happy guy I (F) used to be. (C) She thinks (G7) I still (C) care (C7).
But (F) if she's happy thinkin' I still (C) need her. Then let that silly notion bring her (G) cheer. (F) How could she ever be so (C) foolish? Oh (D7) where would she get such an
(G7) idea?
(C) Just because I (F) ask a friend (C) about her. And just because I (G7) spoke her name some (C) where. Just because I saw her (C7) then went all to (F) pieces. (C) She thinks (G7) I still (C) care. She thinks (G7) I still (F) care (C).
(George Jones) (Artist Index) - (Main Index) - (Song Index) (This Song)
SHOOTING STAR – (Rodgers) – Bad Company
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(A) Johnny was a (E) schoolboy when he (D) heard his first Beatle (A) song. Love me (E) do I think it was, and from (D) there it didn't take him (A) long. Got himself a (E) guitar, used to (D) play every (A) night. Now he's in a (E) rock 'n' roll outfit and (D) everything's all (A) right, don't you (E) know? (D) (E)
(A) Johnny told his (E) Mama, ‘Hey, (D) 'Mama, I'm goin' (A) away. I'm gonna hit the (E) big
time, gonna (D) be a big star some (A) day'. Mama came (E) to the door with a (D) teardrop in her (A) eye. (A) Johnny said, (E) ‘Don't cry, mama, (D) smile and wave good (A) bye.'
(D) Don't you (E) know, (D) yeah (E) yeah. Don't you (D) know that you are a (A) shooting star.
(D) Don't you (E) know, (D) don't you (E) know. Don't you (D) know that you are a (A) shooting star. And (G) all the world will love you just as (D) long, as long as you (E) are. (D)(E)
(A) Johnny made a (E) record, went (D) straight up to number (A) one. Suddenly (E) everyone loved to (D) hear him sing the (A) song. Watching the (E) world go by, (D) surprising it goes so
(A) fast. Johnny looked (E) around him and said, 'Well, I (D) made the big time at (A) last'.
(D) Don't you (E) know, (D) don't you (E) know. Don't you (D) know that you are a (A) shooting star. (D) Don't you (E) know, (D) don't you (E) know. Don't you (D) know that you are a
(A) shooting star. And (G) all the world will love you just as (D) long, as long as you (E) are. (D)(E)
(A) Johnny died (E) one night, (D) died in his (A) bed. A bottle of (E) whiskey, sleeping
(D) tablets by his (A) head. Johnny's life (E) passed him by like a (D) warm summer (A) day. If you listen to the (E) wind you can (D) still hear him (A) play.
(D) Whoa (E). Don't you (D) know that you are a (A) shooting star. (D) Don't you (E) know, (D) don't you (E) know. Don't you (D) know that you are a (A) shooting star. And (G) all the world will love you just as (D) long, as long as you (E) are, a (D) shooting (A) star.
(E) Don't you (D) know that you are a (A) shooting star. (E) Don't you, don't you, don't you, don't you know. Don't you (D) know that you are a (A) shooting star. And (G) all the world will love you just as (D) long, as long as you (E) are, a (D) shooting (E) star. (D) A shooting (E) star.
(Bad Company) (Artist Index) - (Main Index) - (Song Index) (This Song)
SIGNS – (Emmerson) – Five Man Electrical Band
TIP: The intro is easy and it recurs throughout the song so you kind of need to know it. (Dsus2) is just (D) with the middle finger lifted. (Dsus) is just (D) with a pinky added to the bottom string/3rd fret.
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INTRO: (D)(Dsus2)(D)(Dsus)(D)(Dsus)(D)
And the (Am) sign said, (G) “Long haired freaky people (D) need not a (G) pply.” So I (D) tucked my hair up (A) under my hat and I (G) went in to ask him (A) why. (Bm) He said, “You look like a fine upstanding young (G) man, I think you'll do.” So I (D) took off my hat I said, (A) “Imagine that, huh, (Gadd) me working for (A) you. Whoa!”
(D) Sign, sign, (C) everywhere a (G) sign. (D) Blocking out the scenery, (G) breaking my mind.
(D) “Do this, don't do (A) that. Can't you read the (C) sign?”
(D)(Dsus2)(D)(Dsus)(D)(Dsus)(D)
And the (C) sign said ”Anybody (G) caught trespassing” (D) would be shot on (G) sight. So I (D) jumped on the fence and (A) yelled at the house, “Hey! (Gadd) What gives you the (A) right, to (Bm) put up a fence to keep me out or to (G) keep mother nature in. If (D) God was here, he'd (A) tell you to your face, (Gadd) man you're some kind of (A) sinner.”
(D) Sign, sign, (C) everywhere a (G) sign. (D) Blocking out the scenery, (G) breaking my mind.
(D) “Do this, don't do (A) that. Can't you read the (C) sign?”
Now, (A) hey you mister, can't you read? You (G) got to have a shirt and (D) tie to get a seat.
You can't even watch, no, (A) you can't eat. (G) You ain't suppose to (D) be here.
The (C) sign said, You (G) got to have a membership (D) card to get in (G) side.” Ugh!
(D)(Dsus2)(D)(Dsus)(D)(Dsus)(D)
And the (C) sign said, (G) “Everybody welcome, come (D) in, kneel down and (G) pray.” But when they (D) passed around the plate at the (A) end of it all, I (G) didn't have a penny to (A) pay. So I (Bm) got me a pen and a paper and I (G) made up my own little sign. I said, (D) “Thank you Lord for (A) thinking about me. I'm (Gadd) alive and doing (A) fine.”
(D) Sign, sign, (C) everywhere a (G) sign. (D) Blocking out the scenery, (G) breaking my mind.
(D) “Do this, don't do (A) that. Can't you read the (C) sign?”
(D) Sign, sign, (C) everywhere a (G) sign. (D) Blocking out the scenery, (G) breaking my mind.
(D) “Do this, don't do (A) that. Can't you read the (C) sign?”
(D)(Dsus2)(D)(Dsus)(D)(Dsus)(D)
(Five Man Electrical Band) (Artist Index) - (Main Index) - (Song Index) (This Song)
SILVER THREADS AND GOLDEN NEEDLES – (Reynolds/Rhodes) – Linda Ronstadt
TIP: Can also be played with (G), (D), (A), and (A7).
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I don't (C) want your lonely mansions, with a (F) tear in every room. All I want's the love you (C) promised, beneath the haloed (G) moon. But you (C) think I should be happy, with your (F) money and your name, and hide myself in (C) sorrow, while you (G) play your cheatin’ (C) game.
Silver (F) threads and golden needles, cannot (C) mend this heart of mine. And I dare not drown my sorrow, in the warm glow of your (G) wine (G7). You can't (C) buy my love with money, cause I (F) never was that kind. Silver threads and golden (C) needles cannot (G) mend this heart of (C) mine.
(C)(F)(C); (G)(C); (C)(F)(C), (G)(F)(C)
Silver (F) threads and golden needles, cannot (C) mend this heart of mine. And I dare not drown my sorrow, in the warm glow of your (G) wine (G7). You can't (C) buy my love with money, cause I (F) never was that kind. Silver threads and golden (C) needles cannot (G) mend this heart of (C) mine.
Silver (F) threads and golden (C) needles cannot (G) mend, this heart of (F) mine (C).
(Linda Ronstadt) (Artist Index) - (Main Index) - (Song Index) (This Song)
SIMPLE SONG - Lyle Lovett
TIP: The (E7full) and the (Gadd) can be ignored but it adds a little sophistication to the song.
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(Am) It's a simple (C) song for simple (G) feelings. (Am) You see the (C) moon and watch it (E7) rise (E7full). (F) Across the (C) continent the (G) night bird sings. (Am) And somewhere (E7) someone hears its (Am) cry.
So disill (C) usioned, keep your (G) head down. (Am) If you (C) do they'll never (E7) know (E7full). (F) You'll have no (C) answers to their (G) questions. (Am) And they will (E7) have to let you (Am) go. (Gadd)
(Am) And disen (C) franchised revol (G) ution. (Am) They'll take a (C) way by right what's (E7) yours (E7full). (F) And make you (C) martyrs of your (G) own cause, (Am) when they don't (E7) know what cause it's (Am) for. (Gadd)
(Am) And all de (C) serted, stand a (G) lerted. (Am) They'll love you (C) when you're all a (E7) lone (E7full). (F) But you find a (C) red rose in the (G) morning light., (Am) You wait the (E7) night and find it (Am) gone. (Gadd)
(Am) So hear my (C) words with faith and (G) passion. (Am) For what I (C) say to you is (E7) true (E7full). (F) And when you (C) find the one you (G) might become. (Am) Remember (E7) part of me is (Am) you. (Gadd) (Am) Remember (E7) part of me is (Am) you.
(Lyle Lovett) (Artist Index) - (Main Index) - (Song Index) (This Song)
SINGING THE BLUES - (Endsly) - Marty Robbins
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(G) Well I never felt more like (C) singin' the blues, 'cause (G) I never thought, that (D) I'd ever lose, your (G) love (C) dear. (D) Why'd you do me this (G) way?
Well I never felt more like (C) cryin' all night, 'cause (G) everything's wrong, and (D) nothin' ain't right, with (G) out (C) you. (D) You got me singin' the (G) blues.
The (C) moon and stars no (G) longer shine. The (C) dream is gone I (G) thought was mine. There's (C) nothin' left for (G) me to do, but cry-y-y over (D) you.
Well, (G) I never felt more like (C) runnin' away, but (G) why should I go, 'cause (D) I couldn't stay, with-(G) out (C) you. (D) You got me singin' the (G) blues.
(G) (C) (G) (D) (G) (C) (D)
(G) Well I never felt more like (C) singin' the blues, 'cause (G) I never thought, that (D) I'd ever lose, your (G) love (C) dear. (D) Why'd you do me this (G) way?
Well I never felt more like (C) cryin' all night, 'cause (G) everything's wrong, and (D) nothin' ain't right, with (G) out (C) you. (D) You got me singin' the (G) blues.
The (C) moon and stars no (G) longer shine. And the (C) dream is gone that I (G) thought was mine.
There's (C) nothin' left for (G) me to do, but cry-y-y over (D) you.
Well, (G) I never felt more like (C) runnin' away, but (G) why should I go, 'cause (D) I couldn't stay, with-(G) out (C) you. (D) You got me singin' the (G) blues.
(Marty Robbins) (Artist Index) - (Main Index) - (Song Index) (This Song)
SIXTEEN TONS - (Travis) - Tennessee Ernie Ford (C2)
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Intro: (Am)(Am)(E7)(Am)
(E) Some . . . (Am) people say a man is (F) made outta (E) mud. A (Am) poor man's made outta
(F) muscle and (E) blood. (Am) Muscle and blood and (Dm) skin and bones, a (Am) mind that's a-weak and a (E7) back that's (Am) strong.
You load sixteen tons, (F) what do you (E) get? A (Am) nother day older and (F) deeper in
(E) debt. Saint (Am) Peter don't you call me 'cause (Dm) I can't go. I (Am) owe my soul to the (E7) company (Am) store. (Am)(Am)(E7)(Am)
(E) I was (Am) born one mornin' when the (F) sun didn't (E) shine. I (Am) picked up my shovel and I (F) walked to the (E) mine. I loaded (Am) sixteen tons of (Dm) number nine coal and the
(Am) straw boss said "Well a (E7) bless my (Am) soul."
You load sixteen tons, (F) what do you (E) get? A (Am) nother day older and (F) deeper in
(E) debt. Saint (Am) Peter don't you call me 'cause (Dm) I can't go. I (Am) owe my soul to the (E7) company (Am) store. (Am)(Am)(E7)(Am)
(E) I . . . was born one mornin', it was (F) drizzlin' (E) rain. (Am) Fightin' and trouble are
(F) my middle (E) name. I was (Am) raised in the canebrake by an (Dm) old mama lion. Cain't no-a (Am) high-toned woman make me (E7) walk the (Am) line.
You load sixteen tons, (F) what do you (E) get? A (Am) nother day older and (F) deeper in
(E) debt. Saint (Am) Peter don't you call me 'cause (Dm) I can't go. I (Am) owe my soul to the (E7) company (Am) store. (Am)(Am)(E7)(Am)
(E) If . . . you see me comin', better (F) step a (E) side. A lotta men didn't, a (F) lotta men (E) died. One fist of iron, the (Dm) other of steel. If the (Am) right one don't get you
Then the (E7) left one (Am) will.
You load sixteen tons, (F) what do you (E) get? A (Am) nother day older and (F) deeper in
(E) debt. Saint (Am) Peter don't you call me 'cause (Dm) I can't go . . .
[Slowly] I (Am) owe my soul to the (E7) company (Am) store. (Am)(Am)(E7)(Am)
(Lyle Lovett) (Artist Index) - (Main Index) - (Song Index) (This Song)
SKIP A ROPE – (Moran/Tubb) - Henson Cargill
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Intro: (Am)(C) (Am)(C)
(Am) Skip a (C) rope, skip a (G) rope. Oh (C) listen to the children while they (Am) play. Now (C) ain't it kinda funny what the (Am) children say? Skip a (C) Rope.
(C) Daddy hates Mommy, Mommy hates (Am) Dad. (C) Last night you should'a heard the (Am) fight they had. (C) Gave little sister another bad (Am) dream. She (C) woke us all up with a (Am) terrible scream.
(Am) Skip a (C) rope, skip a (G) rope. Oh (C) listen to the children while they (Am) play. Now (C) ain't it kinda funny what the (Am) children say. Skip a (C) Rope.
(C) Cheat on your taxes don't be a (Am) fool. Now (C) what was that they said about a (Am) Golden Rule. (C) Never mind the rule just play to (Am) win and (C) hate your neighbor for the (Am) shade of his skin.
(Am) Skip a (C) rope, skip a (G) rope. Oh (C) listen to the children while they (Am) play. Now (C) ain't it kinda funny what the (Am) children say. Skip a (C) Rope.
(C) Stab 'em in the back that's the name of the (Am) game and (C) Mommy and Daddy are (Am) who's to blame. Skip a (C) rope. Skip a (G) rope. Just (C) listen to your children while they (Am) play. It's really (C) not very funny what the (Am) children say.
(Am) Skip a (C) rope. (Am) Skip a (C) rope. (Am) Skip a (C) rope. (Am) Skip a (C) rope. [Slowly] (Am) Skip a (C) rope.
(Henson Cargill) (Artist Index) - (Main Index) - (Song Index) (This Song)
SLEEP ON – (Mandrell) – Alison Krauss
TIP: The originial recording uses (Em) (A) and (B) but this version is easier to play.
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(G) Could your hear (C) rrr (G) rrrt (D) ever be (G) mine (C)(G)(D)? Your (C) arms, hold me so close to you all through the (G) night (C)(G). Your ey (C) yyy (G) yyyes (D) gaze into (G) mine (C)(G)(D). Sayin' (C) I should believe you, I always do, I don't know (G) why (C)(G).
Cause you (D) taught me a lesson the (G) hard way one time. (D) Told me you loved me but (G) then changed your mind. I (D) never told no one how I (G) hurt down inside until (C) now. Sleep (G) on.
(G) Could your hear (C) rrr (G) rrrt (D) ever be (G) mine (C)(G)(D)? My (C) arms, hold you so close to me all through the (G) night (C)(G). My hear (C) rrr (G) rrrt (D) warned me this (G) time (C)(G)(D). But I (C) need to believe you, so I do, just for to (G) night (C)(G).
But you (D) taught me a lesson the (G) hard way one time. (D) Promised to love me but (G) then changed your mind. I (D) never told no one how I (G) hurt down inside until (C) now.
Sleep (G) on. (C) Sleep (G) on. (C) Sleep (G) on.
(Alison Krauss) (Artist Index) - (Main Index) - (Song Index) (This Song)
SLIP SLIDING AWAY - Paul Simon
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Slip sliding a (G) way, slip sliding a (Em) way. You know the (G) nearer your destin (D) ation, the (C) more you slip (D) sliding a (G) way.
I know a (Em) man, he came from my home (G) town. He wore his passion for his (Em) woman like a (C) thorny crown. (C7) He said Do (G) lore (Gadd) lores, I live in (Em) fear. My love for (G) you's so over (D) powering I'm a (C) fraid that (D) I, will disa (G) ppear.
Slip sliding a (G) way, slip sliding a (Em) way. You know the (G) nearer your destin (D) ation, the (C) more you slip (D) sliding a (G) way.
And I know a (Em) woman, became a (G) wife. These are the very words she (Em) uses to de (C) scribe her life. (C7) She said a (G) good (Gadd) day, ain't got no (Em) rain. She said a (G) bad day is when I (D) lie in the bed and I (C) think of (D) things, that might have (G) been.
Slip sliding a (G) way, slip sliding a (Em) way. You know the (G) nearer your destin (D) ation, the (C) more you slip (D) sliding a (G) way.
(F)(C)(G)
And I know a (C) father who had a (G) son. He longed to tell him all the (Em) reasons for the (C) things he'd done. (C7) He came a (G) long (Gadd) way, just to ex (Em) plain. He kissed his (G) boy as he lay (D) sleeping then he (C) turned around and he (D) headed home a (G) gain.
He's slip slidin', slip sliding a (Em) way. You know the (G) nearer your destin (D) ation, the (C) more you slip (D) sliding a (G) way.
(F)(C)(G); (F)(C)(G)
And God only (Em) knows. God makes his (G) plan. The information's un (Em) available to the (C) mortal man. We're workin' our (G) jobs, collect our (Em) pay. Believe we're (G) gliding down the (D) highway when in (C) fact we're slip (D) sliding a (G) way.
Slip sliding a (G) way, slip sliding a (Em) way. You know the (G) nearer your destin (D) ation, the (C) more you slip (D) sliding a (G) way.
Slip sliding a (G) way, slip sliding a (Em) way. You know the (G) nearer your destin (D) ation, the (C) more you slip (D) sliding a (G) way.
(G)(Em); (G)(Em); (G)(Em); (G) . . . (Em)
(Paul Simon) (Artist Index) - (Main Index) - (Song Index) (This Song)
SLOOP JOHN B. - (Traditional-Sandburg/Jardine/Wilson) - The Beach Boys (C0)
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We (C) come on the sloop John B. My grandfather and me. Around Nassau town we did (G7) roam.
Drinking all (C) night, got into a (F) fight. Well I (C) feel so broke up, (G7) I wanna to go
(C) home.
So hoist up the John B's sail. See how the mainsail sets. Call for the Captain ashore, let me go (G7) home. Let me go (C) home. I wanna go (F) home. Well I (C) feel so broke up, I (G7) wanna go (C) home.
The first mate he got drunk. And broke in the Captain's trunk. The constable had to come and
take him a (G7) way. Sheriff John (C) Stone, why don't you leave me a (F) lone. Well I (C) feel so broke up, (G7) I wanna go (C) home.
So hoist up the John B's sail. See how the mainsail sets. Call for the Captain ashore, let me go (G7) home. Let me go (C) home. I wanna go (F) home. Well I (C) feel so broke up, I (G7) wanna go (C) home.
The poor cook he caught the fits, and threw away all my grits, and then he took and he ate up all of my (G7) corn. Let me go (C) home. Why don't they let me go (F) home? This (C) is the worst trip I've (G7) ever been (C) on.
So hoist up the John B's sail. See how the mainsail sets. Call for the Captain ashore, let me go (G7) home. Let me go (C) home. I wanna go (F) home. Well I (C) feel so broke up, I (G7) wanna go (C) home.
(Traditional) (The Beach Boys) (Artist Index) - (Main Index) - (Song Index) (This Song)
SNEAKY SNAKE – Tom T. Hall (C3)
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(G) Boys and girls take (G7) warning, if (C) you go near the (G) lake. (C) Keep your eyes wide (G) open, and (A7) look for Sneaky (D7) Snake. Now (G) maybe you won't (G7) see him, and (C) maybe you won't (G) hear. But (C) he'll sneak up behind (G) you, and (D7) drink all of your root (G) beer.
And then Sneaky Snake, goes (C) dancin', (G) wigglin' and a (C) hissin'. (G) Sneaky Snake goes dancin', (A7) gigglin' and a (D7) kissin'. (G) I don’t like old Sneaky Snake, he (C) laughs too much you (G) see. When (C) he goes wiggin' (G) thru the grass, it (D7) tickles his under (G) neath.
Well, Sneaky Snake, drinks (G7) root beer, and (C) he just makes me (G) sick. (C) When he is not (G) dancin', he (A7) looks just like a (D7) stick. Now (G) he doesn't have any (G7) arms or legs, you (C) cannot see his (G) ears. And (C) while we are not (G) lookin', he's (D7) stealin' all of our (G) beer.
And then Sneaky Snake, goes (C) dancin', (G) wigglin' and a (C) hissin'. (G) Sneaky Snake goes dancin', (A7) gigglin' and a (D7) kissin'. (G) I don’t like old Sneaky Snake, he (C) laughs too much you (G) see. When (C) he goes wiggin' (G) thru the grass, it (D7) tickles his under (G) neath.
(Tom T. Hall) (Artist Index) - (Main Index) - (Song Index) (This Song)
SOLITARY MAN – Neil Diamond
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(Em) Melinda was mine til the (D) time that I (Em) found her. (G) Holding (Am) Jim, (G) loving (Am) him. (Em) Then Sue came along, loved me (D) strong. That's what (Em) I thought. (G) Me and (Am) Sue. (G) But that died (Am) too.
(G) Don't know that I (C) will, but un (G) til I can (D) find me. The girl who'll (C) stay and won't (G) play games be (D) hind me. I'll be what I (Em) am (D): A solitary (Em) man (D). Solitary (Em) man.
(Em) I've had it to here bein' (D) where love's a (Em) small word. (G) Part-time (Am) thing. (G) Paper (Am) ring. (Em) I know it's been done, having (D) one girl who’ll (Em) love me. (G) Right or (Am) wrong. (G) Weak or (Am) strong.
(G) Don't know that I (C) will, but un (G) til I can (D) find me. The girl who'll (C) stay and won't (G) play games be (D) hind me. I'll be what I (Em) am (D): A solitary (Em) man (D). Solitary (Em) man.
(D) A Solitary (Em) man (D). Solitary (Em) man.
(Neil Diamond) (Artist Index) - (Main Index) - (Song Index) (This Song)
SOME BROKEN HEARTS NEVER MEND (Jennings) – Don Williams
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Coffee (A) black, cigar (E7) ette. Start this day (E) like all the (A) rest. (D) First thing every morning that I (A) do, is start (E) missing you.
(A) Some broken (E7) hearts never mend. Some (E) mem'ries (A) never end. Some tears will (D) never dry. (E7) My love for you will never (A) die.
Rendezvous, in the (E7) night. A willing (E) woman to hold me (A) tight. (D) But in the middle of love's em (A) brace, I (E) see your face.
(A) Some broken (E7) hearts never mend. Some (E) mem'ries (A) never end. Some tears will (D) never dry. (E7) My love for you will never (A) die.
(Don Williams) (Artist Index) - (Main Index) - (Song Index) (This Song)
SOMETHING – (Harrison) – The Beatles [C1]
TIP: The (D#) is just (D) on the 3rd fret. It helps if you can make the pinky extension for the 5th fret/4th string note. If not, just strum the bottom three strings.
TIP: The (Cmaj7) is simply (C) without the index finger. And since it’s preceeded by a (C) it’s an easy chord to play but keep form as you’ll need to replace the index finger as well as the pinky to complete the (C7) which comes next.
TIP: When playing the (D7) on the transition after the first line -- (F)(A7)(D7) – hold the (D7) and just add your pinky to 3rd fret/2nd string to play the (D) which follows since you soon transition back to (D7) before moving on to (G7).
TIP: The (Ab+) may be awkward to play. It will be preceeded by an (Am) so you roll your wrist slightly and rotate the middle finger from 2nd fret to 1st and down one string; at the same time the ring finger follows and moves up one string. Then you can just lift the middle finger to complete the next (Am7) chord.
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Intro: (F) (D#) (G7) (C)
(C) Something in the way she (Cmaj7) moves, (C7) attracts me like no other (F) lover. (F)(A7)(D7)
(D) Something in the (D7) way she (G7) woos me. (Am) I don't want to leave her (Ab+) now. You (Am7) know I believe and (D7) how. (F)(D#)(G7)(C)
(C) Somewhere in her smile she (Cmaj7) knows, (C7) that I don't need no other (F) lover. (F)(A7)(D7) (D) Something in her (D7) style that (G7) shows me. (Am) I don't want to leave her (Ab+) now. You (Am7) know I believe and (D7) how. (F)(D#)(G7)(A)
You're asking (Amaj7) me will my love (F#m) grow. I don't (D) know, (G) I (D) don't (A) know.
Just stick (Amaj7) around, and it may (F#m) show. I don't (D) know, (G) I (D) don't (C) know.
Something in the way she (Cmaj7) knows, (C7) and all I have to do is (F) think of her. (F)(A7)(D7) (D) Something in the (D7) things she (G7) shows me. (Am) I don't want to leave her (Ab+) now. You (Am7) know I believe and (D7) how. (F)(D#)(G7)(C)
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
SONG SUNG BLUE – Neil Diamond
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(C) Song sung blue, everybody (G) knows one. (G7) Song sung blue, every garden (C) grows one.
(C7) Me and you are subject to the (F) blues now and then. But (G) when you take the blues and make a song, you sing them (C) out again. Sing them (Dm) out again (G7).
(C) Song sung blue, weeping like a (G) willow. (G7) Song sung blue, sleeping on my (C) pillow.
(C7) Funny thing, but you can sing it with a (F) cry in your voice. And (G) before you know it gets to feeling good, you simply (C) got no choice.
(C) Song sung blue, everybody (G) knows one. (G7) Song sung blue, every garden (C) grows one.
(C7) Funny thing, but you can sing it with a (F) cry in your voice. And (G) before you know it gets to feeling good, you simply (C) got no choice. You simply (Dm) got no choice. (G7)
(C) Song sung blue, everybody (G) knows one. (G7) Song sung blue, every garden (C) grows one. (C)
(Neil Diamond) (Artist Index) - (Main Index) - (Song Index) (This Song)
SONORA'S DEATH ROW - (Farrell) - Michael Martin Murphey/Robert Earl Keen
TIP: A nice easy song. Also sounds good in key of C: (C)(Am)(F)(G), or key of D: (D)(Bm)(G)(A).
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Intro: (G) (Em) (C) (G)
(G) Me and the boy's we (Em) cinched up our saddles and (C) rode to Sonora last (G) night. Gun's hanging proud, and (Em) daring out loud for (C) any one looking to (G) fight. (C) Card cheats and rustlers would (G) run for their holes when the (C) boys from the Old Broken (D) "O", (G) rode up and reined on the (Em) street that they named, (C) Sonora's Death (G) Row.
Mescal is free at (Em) Amanda's saloon for the (C) boy's from the Old Broken (G) "O". Saturday nights in the (Em) town of Sonora are the (C) best in all Mexi (G) co. They've got (C) guitars and trumpets and (G) sweet senoritas who (C) won't want to let you (D) go. You'd (G) never believe such a (Em) gay happy time on the (C) street called Sonora's Death (G) Row.
Inside Amanda's (Em) we was a dancin' with (C) all of Amanda's (G) gals. I won some silver at
(Em) seven card stud so (C) I was out doin' my (G) pals. (C) But the whiskey and mescal, (G) peso cigars (C) drove me outside for some (D) air. (G) Somebody whispered "Your (Em) life or your money", I (C) reached but my gun wasn't (G) there.
(G) (Em) (C) (G), (G) (Em) (C) (G), (C) (G) (C) (D), (G) (Em) (C) (G)
I woke up face down in (Em) Amanda's back alley a (C) ware of the fool I had (G) been. I rushed to my pony, (Em) grabbed my Winchester and (C) entered Amanda's a (G) gain. Where (C) I saw my partners (G) twirling my pistols and (C) throwing my money a (D) round. (G) Blinded by anger,
(Em) I jacked the lever and (C) one of them fell to the (G) ground.
Amanda's got silent like (Em) night in the desert, my (C) friends stared in pure disbe (G) lief.
Amanda was kneeling be (Em) side the dead cowboy (C) plainly expressing her (G) grief. And as
(C) I bowed my head a (G) tremble shot through me my (C) six-gun was still at my (D) side. (G) I felt my pockets, (Em) there was my money, I (C) fell to my knees and I (G) cried.
A nightmare of mescal is (Em) all that it was for (C) no one had robbed me at (G) all. I wish I was dreaming the (Em) sound of the gallows they're (C) testing just outside the (G) wall. The
(C) mescal's still free at (G) Amanda's saloon for the (C) boy's from the old Broken (D7) "O".
(G) I'd give a ransom to (Em) drink there today and be (C) free of Sonora's Death (G) Row.
(G) I'd give a ransom to (Em) drink there today and be (C) free of Sonora's Death (G) Row.
(G) (Em) (C) (G)
(Michael Martin Murphey)(Robert Earl Keen) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE SOUND OF SILENCE – (Simon) - Simon and Garfunkel
TIP: Very pretty when the notes are picked along with the chords, and fairly easy to pick, too.
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(Em) Hello darkness my old (D) friend, I’ve come to talk with you (Em) again. Because a (G) vision softly (C) creep (G) ing, left its seed while I was (C) sleep (G) ing. And the (C) vision that was planted in my (G) brain still re (Em) mains (G) within the (D) sound of (Em) silence.
In restless dreams I walked a (D) lone, narrow streets of cobble (Em) stone. ‘Neath the (G) halo of (C) a street (G) lamp, I turned my collar to the (C) cold and (G) damp. When my (C) eyes were stabbed by the flash of a neon (G) light, that split the (Em) night. (G) And touched the (D) sound of (Em) silence.
And in the naked light I (D) saw, ten-thousand people, maybe (Em) more. (G) People talking with (C) out speak (G) ing. People hearing with (C) out listen (G) ing. People writing (C) songs that voices never (G) share. And no one (Em) dared, (G) disturb the (D) sound of (Em) silence.
"Fools," said I, "You do not (D) know. Silence like a cancer (Em) grows. (G) Hear my words that I might (C) teach (G) you. Take my arms that I mi (C) ght reach (G) you." But my (C) words, like silent raindrops (G) fell, and echoed in the (D) wells of (Em) silence.
And the people bowed and (D) prayed, to the neon god they (Em) made. And the (G) sign flashed out (C) its warn (G) ing. In the words that it (C) was form (G) ing. And the signs said, “The (C) words of the prophets are written on the subway (G) walls, and tenement (Em) halls.” And (G) whisper'd in the (D) sounds of (Em) silence.
(Simon and Garfunkel) (Artist Index) - (Main Index) - (Song Index) (This Song)
SOUTHERN CALIFORNIA - (Richey/Sherrill/Bowling) - George Jones and Tammy Wynette (C0)
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(G) You always said someday you'd go to live in (C) southern Cali (G) fornia. And (D7) me I'd stay right here in Tennes (G) see. You always talked about the better days in (C) southern
Cali (G) fornia. But (D7) if you'll stay in Tennessee I promise there'll be better days with
(G) me
It's not that I don't love you but I hear the call from (C) southern Cali (G) fornia. There's
(D7) something I can't find in Tennes (G) see. Silver screens and limousines, they wait for me in (C) southern Cali (G) fornia. Though (D7) you've been so good to me the time has come you'll have to set me (G) free.
Tomorrow when you leave you'll take my heart to (C) southern Cali (G) fornia. But (D7) just remember I'll be here to keep your heart with me until you (G) see.
Spoken:
"Well, it's been five years and I guess I've cried a million tears, lookin' out the window of this little room right over that flashin' neon sign that says: 'Bar'. It's almost midnight and time to go downstairs and go to work. I wonder how he's doin' in Tennessee?"
"Well, here I sit by the window of this big old lonely mansion, lookin' out over the Smokies and owning everything I can see. Oh, I guess by now she's found what she was lookin' for, and as I look at this old faded photograph of the girl that I still love, I wonder if she ever thinks of me."
(G) But the weather's good in (C) southern Cali (G) fornia.
(George Jones)(Tammy Wynette) (Artist Index) - (Main Index) - (Song Index) (This Song)
SPANISH LADIES - (Traditional/Chartier) - Quint
TIP: This is actually an old British naval homecoming song; the lyrics were adapted for the American fleet, with the first verse changed further to the one sung by Robert Shaw's character in the film Jaws.
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Fare (G) well and a (Em) dieu to you (C) fair Spanish (D) ladies. Farewell and adieu to you (D7) ladies of (Gadd) Spain. For we’ve received (Em) orders for to (C) sail back to (D) Boston.
And so never more shall we see you a (G) gain (C)(G).
We’ll rant and we’ll (Em) roar like (C) true Yankee (D) sailors. We’ll rant and we’ll rave a (D7) cross the salt (Gadd) sea. Till we strike (Em) soundings in the (C) harbor of New (D) Bedford. Nantucket to home is just a few (G) leagues (C)(G).
We hove our ship (Em) to with the (C) wind at the sou’ (D) west, boys. We hove our ship to for to (D7) take soundings (Gadd) clear. In fifty five (Em) fathoms with a (C) fine sandy (D) bottom.
We filled main tops’l up channel did (G) steer (C)(G).
We’ll rant and we’ll (Em) roar like (C) true Yankee (D) sailors. We’ll rant and we’ll rave a (D7) cross the salt (Gadd) sea. Til we strike (Em) soundings in the (C) harbor of New (D) Bedford. Great Point to home is just a few (G) leagues (C)(G).
The first land we (Em) made was a (C) place called Nan (D) tucket. Martha’s Vinyard, Woods Hole, then (D7) down Buzzards (Gadd) Bay. We sailed then by (Em) Marion, Matta (C) poisett and Fair (D) haven. Then bore straight away for New Bedford hoo (G) ray (C)(G).
We’ll rant and we’ll (Em) roar like (C) true Yankee (D) sailors. We’ll rant and we’ll rave a (D7) cross the salt (Gadd) sea. Til we strike (Em) soundings in the (C) harbor of New (D) Bedford. The Vinyard to home is just a few (G) leagues (C)(G).
Now the Captain called (Em) out for our (C) grand ship to (D) anchor. We clewed up our tops’ls stuck (D7) out tacks and (Gadd) sheets. We stood by our (Em) stoppers, we (C) brailed in our (D) spankers. And anchored ahead of the noblest of (G) fleets (C)(G).
We’ll rant and we’ll (Em) roar like (C) true Yankee (D) sailors. We’ll rant and we’ll rave a (D7) cross the salt (Gadd) sea. Til we strike (Em) soundings in the (C) harbor of New (D) Bedford. Woods Hole to home is just a few (G) leagues (C)(G).
Let every man (Em) here drink (C) up his full (D) bumper. Let every man here drink (D7) up his full (Gadd) bowl. And let us be (Em) jolly and (C) drown melan (D) choly. And drink-health to each jovial and true hearted (G) soul.
We’ll rant and we’ll (Em) roar like (C) true Yankee (D) sailors. We’ll rant and we’ll rave a (D7) cross the salt (Gadd) sea. Til we strike (Em) soundings in the (C) harbor of New (D) Bedford. West Island to home is just a few (G) leagues (C)(G)
So fare (G) well and a (Em) dieu to you (C) fair Spanish (D) ladies. Farewell and adieu to you (D7) ladies of (Gadd) Spain. For we’ve received (Em) orders for to (C) sail back to (D) Boston.
And so never more shall we see you a (G) gain (C)(G)(C)(G)(C)(G).
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
SPIRIT IN THE SKY – Norman Greenbaum
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(A) When I die and they lay me to rest. Gonna go to the (D) place that's the best. When I lay me (A) down to die, (E) goin' up to the spirit in the (A) sky.
Goin' up to the spirit in the sky. That's where I'm gonna go (D) when I die. When I die and they (A) lay me to rest, I’m gonna (E) go to the place that's the (A) best.
Prepare yourself, you know it's a must. Gotta have a friend in (D) Jesus. So you know that
(A) when you die, he's (E) gonna recommend you to the spirit in the (A) sky.
Gonna recommend you to the spirit in the sky. That's where you're gonna go (D) when you die. When you die and they (A) lay you to rest, you're gonna (E) go to the place that's the (A) best.
Never been a sinner, I never sinned. I got a friend in (D) Jesus. So you know that (A) when I die, He's (E) gonna set me up with the spirit in the (A) sky.
Oh set me up with the spirit in the sky. That's where I'm gonna go (D) when I die. When I die and they (A) lay me to rest, I'm gonna (E) go to the place that's the (A) best. (E) Go to the place that's the (A) best.
(Norman Greenbaum) (Artist Index) - (Main Index) - (Song Index) (This Song)
SQUEEZE BOX – (Townshend) - The Who
TIP: This song uses a (G)-(G-Add) pattern so when starting each verse, suggest playing (G) using the pinky on the bottom string to complete the chord. Then, when it’s time for the (G-Add) simply add the ring finger to the 2nd string/3rd fret. To go back to (G) simply lift the ring finger. If it’s too confusing you can just ignore the (G-Add) completely.
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Intro: (G-Add) . . . (D) . . . (G-Add) . . . (strum (G) in rhythm, alternating striking the top 3 strings and then the middle strings, avoiding the bottom string completely, and then . . .
(G) Mama's got a squeeze box she wears on her (G-Add) chest, and when (G) Daddy comes (G-Add) home he never (G) gets no (G-Add) rest. 'Cause she's (D) playing all night, and the (C) music's all right. (D) Mama's got a squeeze box, (C) Daddy never sleeps at (G) night.
(G) Well the kids don't (G-Add) eat and the (G) dog can't (G-Add) sleep. There's no es (G) cape from the music in the (G-Add) whole damn street. Cause she's (D) playing all night. And the (C) music's all right. (D) Mama's got a squeeze box, (C) Daddy never sleeps at (G) night.
(G) She goes in and out, and in and out, and in and out, and in and out. She's (D) playing all night. And the (C) music's all right. (D) Mama's got a squeeze box, (C) Daddy never sleeps at (G) night.
(No Chord) She goes, (G) squeeze me. (No Chord) Come on and (G) squeeze me. (No Chord) Come on and (D) tease me like you do. I'm (C) so in love with you. (D) Mama's got a squeeze box, (C) Daddy never sleeps at (G) night.
(G) She goes in and out, and in and out, and in and out, and in and out. 'Cause she's (D) playing all night. And the (C) music's all right. (D) Mama's got a squeeze box, (C) Daddy never sleeps at (G) night (C) (G) (C) (G)-(G) (C) (G)
(The Who) (Artist Index) - (Main Index) - (Song Index) (This Song)
STAND BY ME – (King/Lieber/Stoller) – Ben E. King
TIP: This song has that classic “bum-bum-bum” riff which can be faked by playing the intro chords accordingly. When playing the (C) and (G), add your pinky above the ring finger (the bass notes) and emphasize the top three (bass) strings.
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Intro: (C) (Am) (F) (G) - (C) (Am) (F) (G)
When the (C) night, has (CaddG) come, and the (Am) land, is dark. And the (F) moon, is the (G) only, light we will (C) see (G). No I (C) won't, be a (CaddG) fraid. Oh, I (Am) won't, be afraid. Just as (F) long, as you (G) stand, stand by (C) me. So darlin' darlin' stand, by me. Oh (Am) stand, by me. Oh (F) stand, (G) stand by me, (C) stand by me (G).
If the (C) sky, that we look u (CaddG) pon, should (Am) tumble and fall. Or the (F) mountain, should (G) crumble, to the (C) sea (G). I won't (C) cry, I won't (CaddG) cry. No I (Am) won't, shed a tear. Just as (F) long, as you (G) stand, stand by (C) me. And darlin' darlin', stand, by me. Oh (Am) stand, by me. Oh (F) stand now, (G) stand by me, (C) stand by me.
(C) (Am) (F) (G) - (C) (Am) (F) (G)
If the (C) sky, that we look u (CaddG) pon, should (Am) tumble and fall. Or the (F) mountain, should (G) crumble, to the (C) sea (G). I won't (C) cry, I won't (CaddG) cry. No I (Am) won't, shed a tear. Just as (F) long, as you (G) stand, stand by (C) me. And darlin' darlin', stand, by me. Oh (Am) stand, by me. Oh (F) stand now, (G) stand by me, (C) stand by me.
Whenever you're in trouble won't you stand, by me. Oh (Am) stand, by me. Whoa (F) stand now, (G) oh stand, (C) stand by me. (C) (Am) (F) (G) (C)
(Ben E. King) (Artist Index) - (Main Index) - (Song Index) (This Song)
STAND BY YOUR MAN – (Wynette/Sherrill) - Tammy Wynette
TIP: There’s a brief three-note instrumental bridge (G)-(Am)-(Dm2) leading into the chorus and that (Dm2) is a little tricky to hit smoothly so you might want to try it first to see how it plays. If too uncomfortable, or doesn’t sound right, just play another (G) instead, i.e.: (G)-(Am)-(G).
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(C) (Am) (F) (G)
(C) Sometimes it’s hard to be a (G) woman (G7). (Dm) Giving all your (G7) love to just one (C) man (C7). (F) You'll have bad times, (C) and he'll have (Am) good times, (D7) doing things that you don't under (G) stand (G7).
(C) But if you love him you'll for (G) give him (G7). (Dm) Even though he's (G7) hard to under (C) stand (C7). (F) And if you love him, (C) oh be proud of (F) him (C) cause after (G7) all he's just a (C) man. (G)-(Am)-(Dm2)
(C) Stand by your (E) man. (F) Give him two arms to (Em) cling (Dm) to (C) and something (A7) warm to come to (D7) when nights are (G7) cold and lonely.
(C) Stand by your (E) man. (F) And tell the world you (Em) love (Dm) him. (C) Keep giving (G7) all the love you (E7) can. (F) Stand (G7) by your (C) man (F) (C). (G)-(Am)-(Dm2)
(C) Stand by your (E) man. (F) And tell the world you (Em) love (Dm) him. (C) Keep giving (G7) all the love you (E7) can (Am). (F) Stand (G7) by your (C) man (F) (C).
(Tammy Wynette) (Artist Index) - (Main Index) - (Song Index) (This Song)
STAY ALL NIGHT - (Wills) - Bob Wills/Willie Nelson (C0)
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INTRO: (C)(G)(D)(G)
You ought to see my blue-eyed Sally, she lives away down on (D) Shinbone (G) Alley. The number on the gate is the number on the door and the next house over is a (D) grocery (G) store. Stay all night, stay a little longer. (D) Dance all night, (G) dance a little longer. Pull off your coat, throw it in the corner. (D) I don't see why I don't (G) stay a little longer.
You can't go home if you're goin' by the mill, cause the bridge's washed out at the (D) bottom of the (G) hill. The big creek's up and the little creek's level, I'll plow my corn with a (D) double (G) shovel. Stay all night, stay a little longer. (D) Dance all night, (G) dance a little longer. Pull off your coat, throw it in the corner. (D) I don't see why I don't (G) stay a little longer.
Sittin' in the window, singin' to my love. The slop bucket fell from the (D) window up a (G) bove. Mule and the grasshopper eatin' ice cream. The mule got sick so they (D) laid him on the
(G) green. Stay all night, stay a little longer. (D) Dance all night, (G) dance a little longer. Pull off your coat, throw it in the corner. (D) I don't see why I can't (G) stay a little longer.
Grab your gal and pat her on the head. If she don't like biscuits (D) feed her corn (G) bread. Gals around Big Creek, about half grown, jump on a man like a (D) dog on a (G) bone. Stay all night, stay a little longer. (D) Dance all night, (G) dance a little longer. Pull off your coat, throw it in the corner. (D) I don't see why I can't (G) stay a little longer.
Stay all night, stay a little longer. (D) Dance all night, (G) dance a little longer. Pull off your coat, throw it in the corner. (D) I don't see why I can't (G) stay a little longer.
(Bob Wills)(Willie Nelson) (Artist Index) - (Main Index) - (Song Index) (This Song)
STEEL RAIL BLUES – Gordon Lightfoot
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(C) Well I got my mail, late last night. A letter from a girl who (C7) found the time to (F) write, to her lonesome boy somewheres in the (C) night. She (F) sent me a railroad ticket too, to take me to her lovin' (C) arms, and the big steel (Am) rail gonna carry me (G7) home to the one I (C) love.
Well I been out here, many long days. I haven't found a place that (C7) I could call my (F) own.
Not a two-bit bed to lay my body (C) on. I (F) been stood up, I been shook down, I been dragged into the (C) sand, and the big steel (Am) rail gonna carry me (G7) home to the one I (C) love.
(F) Ooooh, (Em) ooooh, (Am) ooh, whee hee (C) hee. (F) Oooh (Em) oooh (Am) oooh (G7) oooh (C) oooh oooh, ooh.
Well I been up tight, most every night, walkin' along the (C7) streets of this old (F) town. Not a friend around to tell my troubles (C) to. My (F) good old car, she done broke down, 'cause I drove it into the (C) ground, and the big steel (Am) rail gonna carry me (G7) home to the one I (C) love.
Well I look over yonder, across the plain. The big drive wheels are (C7) poundin' along the (F) ground. Gonna get on board and I'll be homeward (C) bound. Now (F) I ain't had a home cooked meal, and Lord I need one (C) now, and the big steel (Am) rail gonna carry me (G7) home to the one I (C) love.
(F) Ooooh, (Em) ooooh, (Am) ooh, whee hee (C) hee. (F) Oooh (Em) oooh (Am) oooh (G7) oooh (C) oooh oooh, ooh.
Now here I am, with my hat in hand, standin' on the broad high (C7) way will you give a (F) ride, to a lonesome boy who missed the train last (C) night. I (F) went in town, for one last round, and I gambled my ticket a (C) way, and the big steel (Am) rail won't carry me (G7) home to the one I (C) love.
(F) Ooooh, (Em) ooooh, (Am) ooh, whee hee (C) hee. (F) Oooh (Em) oooh (Am) oooh (G7) oooh (C) oooh oooh, ooh.
(F) Ooooh, (Em) ooooh, (Am) ooh, whee hee (C) hee. (F) Oooh (Em) oooh (Am) oooh (G7) oooh (C) oooh oooh, ooh. Weee, hee, hee.
(Gordon Lightfoot) (Artist Index) - (Main Index) - (Song Index) (This Song)
STEEL RAILS – (Branscomb) – Alison Krauss
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Steel (C) rails, chasing (Dm) sunshine round the bend. (F) Winding through the (G) trees, like a (F) ribbon in the (C) wind. I don't mind, not knowing (Dm) what lies down the track. Cause I'm (F) looking out a (G) head, to keep my (F) mind from turning (C) back.
It's not the first time, I've found my (Dm) self alone at dawn. (F) If I really (G) had you once, then I'd (F) have you when I'm (C) gone. Whistle blowin’, blowin' (Dm) lonesome in my mind. (F) Calling me a (G) long that never (F) ending metal (C) line.
Steel (C) rails, chasing (Dm) sunshine round the bend. (F) Winding through the (G) trees, like a (F) ribbon in the (C) wind. I don't mind, not knowing (Dm) what lies down the track. Cause I'm (F) looking out a (G) head, to keep my (F) mind from turning (C) back.
(C) (Dm) (F) (G) (F) (C) (C) (Dm) (F) (G) (F) (C)
Sun is shining, through the (Dm) open boxcar door. (F) Lying in my (G) mind with the (F) things I've known be (C) fore. I've lost count, of the (Dm) hours days and nights. The (F) rhythm of the (G) rails keeps the (F) motion in my (C) mind.
Steel (C) rails, chasing (Dm) sunshine round the bend. (F) Winding through the (G) trees, like a (F) ribbon in the (C) wind. I don't mind, not knowing (Dm) what lies down the track. Cause I'm (F) looking out a (G) head, to keep my (F) mind from turning (C) back.
Cause I'm (F) looking out a (G) head, to keep my (F) mind from turning (C) back.
(Alison Krauss) (Artist Index) - (Main Index) - (Song Index) (This Song)
STEWBALL - (Traditional-Herald/Rinzler/Yellin/Auffray) - Peter, Paul and Mary/Joan Baez (C1)
TIP: There are several versions of this song. The lyrics here are a hybrid of the ones sung by PPM and Baez.
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INTRO: (D)(Em)(A)(D)(G)(A)
Oh Stewball was a (D) racehorse, and I wish he were (Em) mine. He never drank (A) water, he always drank (D) wine (G)(A). His bridle was (D) silver, his mane it was (Em) gold. And the worth of his (A) saddle has never been (D) told (G)(A).
I rode him in (D) England, I rode him in (Em) Spain. And I never did (A) lose boys, I always did (D) gain (G)(A). So come all you (D) gamblers, wherever you (Em) are. And don't place your (A) money, on that little gray (D) mare (G)(A).
She's likely to (D) stumble, she's likely to (Em) fall. But never you'll (A) lose boys, on my noble Stew (D) ball (G)(D). (D)(Em)(A)(D)(G)(D)
Oh the fairgrounds were crowded, and Stewball was (Em) there. But the betting was (A) heavy on the bay and the (D) mare (G)(A). As they were a (D) riding, about halfway (Em) 'round, that gray mare she (A) stumbled, and fell on the (D) ground (G)(A).
And a-way up (D) yonder, ahead of them (Em) all, came a-prancin' and a- (A) dancin' my noble Stew (D) ball (G)(A). I bet on the (D) grey mare. I bet on the (Em) bay. If I'd have bet on ol'
(A) Stewball, I'd be a free man to (D) day (G)(D). (D)(Em)(A)(D)(G)(D)
Oh the hoot owl she hollers, and the turtle dove (Em) moans. I'm a poor boy in (A) trouble and a long way from (D) home (G)(A). Oh Stewball was a (D) racehorse, and I wish he were (Em) mine. He never drank (A) water, he always drank (D) wine (G)(D). (G)(D)(G)(D)
(Traditional)(Ptr, Paul & Mary)(Joan Baez) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE STORY IN YOUR EYES – (Hayward) – Moody Blues
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(Am) I've been thinking about our (D) fortune, and I've de (Am) cided that we're really not to (D) blame. For the (Am) love that's deep in (D) side us now, is (G) still the (C) same (G). And the (Am) sounds we make to (D) gether, is the (Am) music to the story in your (D) eyes. It's been (Am) shining down up (D) on me now, I (G) real (C) ize (G).
(Em) Listen to the tide slowly (F#m) turning. (G) Wash all our heartaches a (F#) way. We're (A) part of the fire that is (Bm) burning (A), and from the (G) ashes we can (D) build another (E) day.
But I'm (Am) frightened for you (D) children, that the (Am) life that we are living is in (D) vain. And the (Am) sunshine we've been (D) waiting for, will (G) turn to (C) rain (G).
(Em) Listen to the tide slowly (F#m) turning. (G) Wash all our heartaches a (F#) way. We're (A) part of the fire that is (Bm) burning (A), and from the (G) ashes we can (D) build another (E) day.
But I'm (Am) frightened for you (D) children, that the (Am) life that we are living is in (D) vain. And the (Am) sunshine we've been (D) waiting for, will (G) turn to (C) rain (G).
When the (Am) final line is (D) over, and it's (Am) certain that the curtain's gonna (D) fall. I can (Am) hide inside your (D) sweet sweet love, for (G) ever (C) more (G).
(Am) (D) (Am) (D) (Am) (D) [slow down] (G) (C) (G)
(The Moody Blues) (Artist Index) - (Main Index) - (Song Index) (This Song)
STRANGE CURRENCIES - (Barry, Buck, Mills, Stipe) - R.E.M.
TIP: (Fmaj7) is just (F) without the mini-barre on the bottom string, and with the pinky covering the bass . You'll be playing the (C) beforehand so just hold the index finger in place and drop the middle and ring fingers down one string-set and then place the pinky above the ring finger on the 5th string/3rd fret.
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INTRO: (C) (Fmaj7) (C), (C) (Fmaj7) (C)
I don't know, (Fmaj7), why you're (C) mean to me (Fmaj7). (C) When I (Fmaj7) call, on the
tele (Dm) phone (Gadd). And I don't (C) know, (Fmaj7), what you (C) mean to me (Fmaj7).
(C) But I want to turn you on, (Fmaj7) turn you up, figure you out, I want to, take you
(Dm) on (Gadd).
These (C) words, (F) "You will be (Gadd) mine." These (C) words, (F) "You will be (Dm) mine" (G), all the (Dm) time (Gadd).
(C) The fool might be, (Fmaj7), my (C) middle name (Fmaj7). (C) But I'd be (Fmaj7) foolish, not to (Dm) say (Gadd). (C) I'm going to make whatever it (Fmaj7) takes, ring you up, call you down, sign your name, secret (C) love, make it rhyme, take you (Fmaj7) in, and make you (Dm) mine (Gadd).
These (C) words, (F) "You will be (Gadd) mine." These (C) words, (F) "You will be (Dm) mine" (G), all the (Dm) time, (Gadd) oh.
(Am) I tripped and (C) fell. (Am) Did I (C) fall? (Am) What I want to (F) feel, I want to feel it (Dm) now (Gadd).
(C) You know with love, (Fmaj7), come strange (C) currencies (Fmaj7). (C) And here (Fmaj7), is my a (Dm) ppeal (Gadd): (C) I need a chance a second chance a third (Fmaj7) chance a fourth chance
a (C) word, a signal, a nod, a little breath. Just to (Fmaj7) fool myself, to catch myself, to make it (Dm) real (Gadd).
These (C) words, (F) "You will be (Gadd) mine." These (C) words, (F) "You will be (Dm) mine" (G), all the (Dm) time, (Gadd) oh.
These (C) words, (F) "You will be (Gadd) mine." These (C) words, they (Am) haunt me, hunt me down, catch in my throat, make me pray, (Fmaj7) say, love's con (Dm) fined, (G) oh.
(C) (Fmaj7); (C) (Fmaj7); (C) (Fmaj7) (C)
(R.E.M.) (Artist Index) - (Main Index) - (Song Index) (This Song)
STREETS OF LAREDO – (Traditional/Maynard) – Marty Robbins
TIP: Also known as “The Cowboy’s Lament” there are many versions of this old ballad, most do not include all of the versions presented here. (Can also be done in (G), (C), and (D)).
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(D) As I walked (G) out, in the (D) streets of La (A) redo. As (D) I walked (A) out, in La (D) redo one (A) day. I (D) spied a young (G) cowboy, all (D) wrapped in white (A) linen. (D) Wrapped up in white (A) linen, and cold (A7) as the (D) clay.
"I see by your (G) outfit, that (D) you are a (A) cowboy." These (D) words he did (A) say as I (D) slowly walked (A) by. "Come (D) sit down be (G) side me, and (D) hear my sad (A) story. I'm (D) shot in the (A) breast, and today (A7) I must (D) die."
"It was once in the (G) saddle, I (D) used to go (A) dashing. 'Twas (D) once in the (A) saddle, I (D) used to go (A) gay. First (D) down to (G) Rosie's, and (D) then to the (A) card-house. Got (D) shot in the (A) breast, and I'm dy (A7) ing to (D) day."
"Oh, beat the drum (G) slowly, and (D) play the fife (A) lowly, and (D) play the dead (A) march, as you (D) carry me a (A) long. Take me (D) to the green (G) valley, and (D) lay the sod (A) o'er me,
for (D) I'm a young (A) cowboy and I know (A7) I’ve done (D) wrong."
"Get six jolly (G) cowboys, to (D) carry my (A) coffin. Get (D) six pretty (A) maidens, to (D) bear up my (A) pall. Put (D) bunches of (G) roses, all (D) over my (A) coffin. (D) Roses to (A) deaden, the clods (A7) as they (D) fall."
"Then swing your rope (G) slowly, and (D) rattle spurs (A) lowly. And (D) give a wild (A) whoop as you (D) bear me a (A) long. And (D) in the grave (G) throw me, and (D) roll the sod (A) o'er me.
For (D) I'm a young (A) cowboy and I know (A7) I've done (D) wrong."
"Go bring me a (G) cup, a (D) cup of cold (A) water, to (D) cool my parched (A) lips", the (D) cowboy then (A) said. Be (D) fore I re (G) turned, his (D) soul had de (A) parted, and (D) gone to the (A) round up. The cow (A7) boy was (D) dead.
We beat the drum (G) slowly, and (D) played the fife (A) lowly. And (D) bitterly (A) wept, as we (D) bore him a (A) long. For we (D) loved our (G) comrade, so (D) brave, young and (A) handsome.
We (D) all loved our (A) comrade, although (A7) he'd done (D) wrong.
(Traditional)(Marty Robbins) (Artist Index) - (Main Index) - (Song Index) (This Song)
SUGAR SUGAR – (Kim/Barry) - The Archies
[The double (D) chords on either side of “Sugar” and “Honey” and the double (G) afterwards is necessary to keep the timing because of the unsung “do, do, do-do, do do” that goes between.]
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(D) Sugar, (D) (G)(G) ah honey hon (D) ey (D)(G)(G). You are my (D) candy girl (A) and you've got me (D) wanting you (G)(A). (D) Sugar, (D)(G) ah honey, hon (D) ey (D) (G). You are my (D) candy girl (A) and you've got me (D) wanting you.
(D) I just can't believe the (G) loveliness of (D) loving you. (D) (I just can't be (G) lieve it's (D) true). (D) I just can't believe the (G) one to love this (D) feeling to. (D) (I just can't be (G) lieve it's (A) true).
(D) Sugar, (D) (G)(G) ah honey hon (D) ey (D)(G)(G). You are my (D) candy girl (A) and you've got me (D) wanting you (G)(A). (D) Sugar, (D)(G) ah honey, hon (D) ey (D) (G). You are my (D) candy girl (A) and you've got me (D) wanting you.
(D) When I kissed you, girl, I (G) knew how sweet a (D) kiss could be. (I (D) know how sweet a (G) kiss can (D) be). (D) Like the summer sunshine, (G) pour your sweetness (D) over me. (D) (Pour your sweetness (G) over (A) me).
(D) Pour a little sugar on it (G) honey. (D) Pour a little sugar on it (G) baby. (D) I'm gonna make your (G) life so (A) sweet. (D) Pour a little sugar on it, (G) oh yeah. (D) Pour a little sugar on it (G) honey. (D) Pour a little sugar on it, (G) baby. (D) I'm gonna make your (G) life so (A) sweet. (D) Pour a little sugar on it honey.
Ah (D) Sugar, (D) (G)(G) ah honey hon (D) ey (D)(G)(G). You are my (D) candy girl (A) and you've got me (D) wanting you (G)(A).
Ah (D) Sugar, (D) (G)(G) ah honey hon (D) ey (D) (G)(G). You are my (D) candy girl (A) and you've got me (D) wanting you. (G) (A) (G) (A) (D)
(The Archies) (Artist Index) - (Main Index) - (Song Index) (This Song)
SUMMERTIME DREAM – Gordon Lightfoot
TIP: In the bridge there’s a part where it goes from (C) to (G4+) to (G). Hold the index finger on the (C) chord and flip the middle and ring fingers to where they would normally play the (G). It will feel unnatural and seem like a stretch but you can then play the (G) by simply moving the index finger.
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Where the (C) road runs down by the (G) butternut grove, to (C) old Bill Skinner’s (F) stream. (C) Do tell at the (F) noon day bell, it's (G) time for a summertime (C) dream.
In a (C) lunch pail town, in a (G) one horse way, you can (C) live like a king and (F) queen. (C) Let's steal away in the (F) noon day sun, it's (G) time for a summertime (C) dream.
(Am) Birds in all creation will be (C) twitterin' in the trees. And (Am) down below there's a pond I know, you can (C) swim in it if you (G4+) please (G).
And if (C) you come 'round when the (G) mill shuts down, you can (C) see what chivalry (F) means. (C) Let's steal away in the (F) noon day sun, it's (G) time for a summertime (C) dream.
On a (Am) trip on down to wonderland, in (C) love among the flowers. Where (Am) time gets lost, with no straw boss, (C) tallyin' up the (G4+) hours (G) .
Where the (C) road runs down by the (G) butternut grove, to (C) old Bill Skinner’s (F) stream. (C) Do tell at the (F) noon day bell, it's (G) time for a summertime (C) dream.
(Am) Birds in all creation will be (C) twitterin' in the trees. And (Am) down below there's a pond I know, you can (C) swim in it if you (G4+) please (G).
So if (C) you come 'round when the (G) mill shuts down, you can (C) see what chivalry (F) means. (C) Let's steal away in the (F) noon day sun, it's (G) time for a summertime (C) dream.
(G) Time for a summertime (C) dream. (G) It's time for a summertime (F) dream (C).
(Gordon Lightfoot) (Artist Index) - (Main Index) - (Song Index) (This Song)
SUSPICIOUS MINDS - (James) - Elvis Presley
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(G) We're caught in a trap. (C) I can't walk out, (D) because I (C) love you too much (G) baby.
Why can't you see, (C) what you're doin' to me, (D) when you don't be (C) lieve a word I (D) say? (C)(Bm)(D7)
(C) We can't go (G) on together, (Bm) with suspicious (C) minds (D). (Em) And we can't (Bm) build our dreams, (C) on suspicious (D) minds (D7).
(G) So if an old friend I know, (C) stops by to say hello, (D) would I still (C) see suspicion (G) in your eyes? (G) Here we go again, (C) askin' where I've been. (G) You can see the (C) tears for real I'm (D) cryin'. (C)(Bm)(D7)
(C) We can't go (G) on together, (Bm) with suspicious (C) minds (D). (Em) And we can't (Bm) build our dreams, (C) on suspicious (B7) minds.
(Em) Oh let our (Bm) love survive. (C) I'll dry the (D) tears from your eyes. (Em) Let's don't let a (Bm) good thing die, (C) when honey, you (D) know I've never, (G) lied to you. (C) Mmm.
(G) yeah, (D7) yeah.
Why can't you see, (C) what you're doin' to me, (D) when you don't be (C) lieve a word I (D) say?
Well don't you know I'm, (G) caught in a trap. (C) I can't walk out, (D) because I (C) love you too much (G) baby. Don't you know I'm, caught in a trap. (C) I can't walk out, (D) because I
(C) love you too much (G) baby. Well don't you know I'm, (G) caught in a trap. (C) I can't walk out, (D) because I (C) love you too much (G) baby. (G)
(Elvis Presley) (Artist Index) - (Main Index) - (Song Index) (This Song)
SUZANNE - (Cohen) - Joan Baez (C0)
TIP: If you can, when you play the (Bm) include your pinky above the ring finger - 4th string/4th fret (not shown here in the chord diagram).
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(G) Suzanne takes you down to her place by the river. You can (Am) hear the boats go by, you can spend the night beside her. And you (G) know that she's half crazy, and that's why you want to be there. And she (Bm) feeds you tea and oranges that come (C) all the way from China. And (G) just when you mean to tell her that you have no love to give her, she (Am) gets you on her wave-length and lets the river answer that you've (G) always been her lover.
And you (Bm) want to travel with her, and you (C) want to travel blind, and you (G) know that you can trust her, for you've (Am) touched her perfect body with your (G) mind.
(G) And Jesus was a sailor when He walked upon the water, and he (Am) spent a long time watching from a lonely wooden tower. And (G) when he knew for certain only drowning men could see him, He said, (Bm) "All men shall be brothers, then, un (C) til the sea shall free them." But (G) He himself was broken long before the sky would open, for (Am) saken, almost human, he sank beneath your wisdom like a (G) stone.
And you (Bm) want to travel with him, and you (C) want to travel blind, and you (G) think you maybe trust him, for he's (Am) touched your perfect body with his (G) mind.
(G) Suzanne takes you down to her place by the river. You can (Am) hear the boats go by, you can spend the night forever, and the (G) sun pours down like honey, on our lady of the harbour. And she (Bm) shows you where to look amid the (C) garbage and the flowers. There are (G) heroes in the seaweed, there are children in the morning, they are (Am) leaning out for love, and they will lean that way forever, while (G) Suzanne holds the mirror.
And you (Bm) want to travel with her, and you (C) want to travel blind, and you (G) think maybe you'll trust her, for you've (Am) touched her perfect body with your (G) mind.
(Joan Baez) (Artist Index) - (Main Index) - (Song Index) (This Song)
SWEET BABY JAMES – James Taylor
TIP: The movement from (F#m) to (Bm) is a little tricky if you completely remove your fingers. However, if you are playing both as Easy-Chords (indicated in the first set of diagrams) then play the (F#m) as a barre with your index finger and then just add the ring and ring and pinky to complete the (Bm). If you’re playing the full chords hold the pinky in place and shift the middle and ring fingers to complete the (Bm).
TIP: For (Asus) try playing (A) and adding your pinky to the 2nd string/3rd fret, leaving the ring finger where it normally is.
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There (D) is a young (A) cowboy, he (G) lives on the (F#m) range. His (Bm) horse and his (G) cattle are his (D) only com (F#m) panions. He (Bm) works in the (G) saddle, and he (D) sleeps in the (F#m) canyons. Just (G) waiting for (D) summer, his (A) pastures to (A7) change.
And (G) as the moon rises he (Asus) sits by his (D) fire, (Bm) thinking about (G) women and (D) glasses of (A) beer. And (G) closing his eyes as the (Asus) dogies re (D) tire, he (Bm) sings out a (G) song which is (D) soft but it's clear, as (A3) if maybe (E7) someone could (A) hear (A7).
(D) Goodnight you (G) moonlight (A) la (D) dies. (Bm) Rockabye (G) sweet baby (D) James. (Bm) Deep greens and (G) blues are the (D) colors I choose. Won't you (A3) let me go (E7) down in my (A) dreams, and (G) rockabye (Asus) sweet baby (D) James.
Now the first of De (A) cember, was (G) covered with (F#m) snow. And (Bm) so was the (G) turnpike from (D) Stockbridge to (F#m) Boston. Though the (Bm) Berkshires seemed (G) dream-like on a (D) ccount of that (F#m) frosting. With (G) ten miles be (D) hind me and (A) ten thousand (A7) more to go.
There's a (G) song that they sing, when they (Asus) take to the (D) highway. A (Bm) song that they (G) sing when they (D) take to the (A) sea. A (G) song that they sing of their (Asus) home in the (D) sky. Maybe (Bm) you can be (G) lieve it if it (D) helps you to sleep, but (A3) singing works (E7) just fine for (A) me (A7).
(D) Goodnight you (G) moonlight (A) la (D) dies. (Bm) Rockabye (G) sweet baby (D) James. (Bm) Deep greens and (G) blues are the (D) colors I choose. Won't you (A3) let me go (E7) down in my (A) dreams, and (G) rockabye (Asus) sweet baby (D) James.
(James Taylor) (Artist Index) - (Main Index) - (Song Index) (This Song)
SWEET BETSY FROM PIKE - (Traditional/Stone) - Various Artists (C0)
TIP: This venerable American classic has been recorded multiple times with an equal number of variations in lyrics melody. The one here is a based on the popular version recorded by Tom Roush.
TIP: For the intro you can just play the first three chords shown. If you want to get fancy, play those chords and then the note/chord sequence that follows. After the opening chords, form (C) with the pinky covering the top bass note . Now pluck the 2nd string and strumm twice. Then pluck the top string and strum twice. Do this a couple of times and then start singing.
TIP: In the chorus, the word "low" rhymes with "cow" as in "louder".
TIP: There's a key change to (D) toward the end but you can just stick with (C) and keep playing the same chords if you wish.
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INTRO: (C)(G7)(C); (C)(C), (C)(C); (C)(C), (C)(C);
Oh (C) don't you remember Sweet (G7) Betsy from (C) Pike, who crossed the big (D7) mountains with (G7) her lover Ike. With (C) two yoke of (Em) cattle and a (F) big yeller (C) dog, a tall Shanghai rooster, and a (G) one-spotted (C) hog. Tru low low, oooh low low, (G7) oooh low low (C) lah.
One evening quite early they (G7) camped on the (C) Platte, near by the (D7) road on a (G7) green shady flat. Where (C) Betsy sore (Em) footed lay (F) down to re (C) pose, with wonder Ike gazed on that (G) Pike County (C) rose. Tru low low, oooh low low, (G7) oooh low low (C) lah.
Their wagon broke down with a (G7) terrible (C) crash, and out on the (D7) prairie rolled (G7) all kinds of trash. A (C) few little (Em) baby clothes (F) done up with (C) care, was rather suspicious but (G) all on the (C) square. Tru low low, oooh low low, (G7) oooh low low (C) lah.
The Shanghai ran off and the (G7) cattle all (C) died. That morning the (D7) last piece of
(G7) bacon was fried. (C) Ike got dis (Em) couraged and (F) Betsy got (C) mad. The dog drooped his tail and looked (G) wonderously (C) sad. Tru low low, oooh low low, (G7) oooh low low (C) lah.
The Injuns came down in a (G7) thundering (C) horde. And Betsy was (D7) scared they would
(G7) scalp her adored. So (C) under the (Em) wagon bed (F) Betsy did (C) crawl, and she fought off the Injuns with (G) musket and (C) ball. Tru low low, oooh low low, (G7) oooh low low (C) lah.
(C)(G7)(C)
They stopped at Salt Lake to in (G7) quire on the (C) way, when Brigham de (D7) clared that sweet (G7) Betsy should stay. (C) Betsy got (Em) frightened and (F) ran like a (C) deer, while Brigham stood pawing the (G) ground like a (C) steer. Tru low low, oooh low low, (G7) oooh low low
(C) lah.
They soon reached the desert where (G7) Betsy gave (C) out. And down in the (D7) sand she lay
(G7) rolling about. While (C) Ike half dis (Em) tracted looked (F) on with sur (C) prise, "Betsy get up you'll get (G) sand in your (C) eyes." Tru low low, oooh low low, (G7) oooh low low
(C) lah.
Sweet Betsy got up in a (G7) great deal of (C) pain. Declared she'd go (D7) back to Pike
(G7) County again. But (C) Ike gave a (Em) sigh and they (F) fondly em (C) braced. They traveled along with his (G) arm 'round her (C) waist. Tru low low, oooh low low, (G7) oooh low low (C) lah.
The alkali desert was (G7) burning and (C) bare, and Isaac's soul (D7) shrank from the (G7) death that lurked there. (C) "Dear old Pike (Em) County I'll (F) go back to (C) you". Says Betsy "You'll go by your (G) self if you (C) do!" Tru low low, oooh low low, (G7) oooh low low (C) lah.
They suddenly stopped on a (G7) very high (C) hill. With wonder looked (D7) down upon (G7) old Plasserville. Ike (C) sighed when he (Em) said and he (F) cast his eyes (C) down, "Sweet Betsy my darling we've (G) got to Hang (C) town." Tru low low, oooh low low, (G7) oooh low low (C) lah.
[Key change] (D)
Long Ike and Sweet Betsy a (A7) ttended a (D) dance. Ike wore a (Bm) pair of his (A) Pike County pants. Sweet (D) Betsy was (F#m) covered with (G) ribbons and (D) rings. Says Ike "You're an angel but (A7) where are your (D) wings?" Tru low low, oooh low low, (A7) oooh low low (D) lah.
This Pike County couple got (A7) married of (D) course. Ike built a log (Bm) cabin and (A) got them a horse. (D) Besty panned (F#m) gold in a (G) river near (D) by. And lived in that valley til the (A7) day that they (D) died. Tru low low, oooh low low, (A7) oooh low low (D) lah.
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This song)
SWEET CAROLINE – Neil Diamond
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(G) Where it be (Gadd) gan, (C) I can't begin to knowin', (G) but then I know it's growin' (D) strong. (G) Was in the (Gadd) spring, (C) then spring became the summer. (G) Who'd a believed you'd come (D) along? (G) Hands. (Em) Touchin' hands. (D) Reachin' out. (C) Touchin' me. Touchin' (D) you. (C) (D)
(G) Sweet Carol (C) ine. Good times never (Am7) seemed so (D) good. (G) I've been in (C) clined, to believe they (Am7) never (D) would. (C) But (Bm) now (Am) I . . .
(G) Look at the (Gadd) night. (C) And it don't seem so lonely. (G) We fill it up with only (D) two. (G) And when I (Gadd) hurt, (C) hurtin' runs off my shoulders. (G) How can I hurt when holdin' (D) you? (G) Warm. (Em) Touchin' warm. (D) Reachin' out. (C) Touchin' me. Touchin'
(D) you. (C) (D)
(G) Sweet Carol (C) ine. Good times never seemed so (D) good. (G) I've been in (C) clined, to believe they (Am7) never (D) would. (C) Oh (Bm) no (Am) no. (G)
(Neil Diamond) (Artist Index) - (Main Index) - (Song Index) (This Song)
SWING LOW SWEET CHARIOT - Traditional (C5)
TIP: Either the (D7) or a (D) will work.
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Swing (G) low sweet (C) chari (G) ot, coming forth to carry me (D7) home. Swing (G) low, sweet
(C) chari (G) ot, coming forth to carry (D7) me (G) home.
I looked over Jordan and (C) what did I (G) see, coming forth to carry me (D7) home? A (G) band of angels (C) coming after me - (G) -ee, coming forth to carry (D7) me (G) home. Swing (G) low sweet (C) chari (G) ot, coming forth to carry me (D7) home. Swing (G) low, sweet (C) chari (G) ot, coming forth to carry (D7) me (G) home.
Sometimes I'm up, and (C) sometimes I'm (G) down, coming forth to carry me (D7) home. But
(G) still my soul feels (C) heavenly bou- (G) -ound, coming forth to carry (D7) me (G) home. Swing (G) low sweet (C) chari (G) ot, coming forth to carry me (D7) home. Swing (G) low, sweet
(C) chari (G) ot, coming forth to carry (D7) me (G) home.
The brightest day, that (C) I can (G) say, coming forth to carry me (D7) home. When (G) Jesus washed my (C) sins a way- (G) -ay, coming forth to carry (D7) me (G) home. Swing (G) low sweet
(C) chari (G) ot, coming forth to carry me (D7) home. Swing (G) low, sweet (C) chari (G) ot, coming forth to carry (D7) me (G) home.
If I get there, be (C) fore you (G) do, coming forth to carry me (D7) home. (G) I'll cut a hole and (C) pull you through- (G) -oooh, coming forth to carry (D7) me (G) home. Swing (G) low sweet (C) chari (G) ot, coming forth to carry me (D7) home. Swing (G) low, sweet (C) chari (G) ot, coming forth to carry (D7) me (G) home.
If you get there, be (C) fore I (G) do, coming forth to carry me (D7) home. (G) Tell all my friends (C) I'm coming too- (G) -ooh, coming forth to carry (D7) me (G) home. Swing (G) low sweet (C) chari (G) ot, coming forth to carry me (D7) home. Swing (G) low, sweet (C) chari (G) ot, coming forth to carry (D7) me (G) home.
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This song)
SYLVIA’S MOTHER – (Silverstein) – Dr. Hook
TIP: The intro is just one chord but with a distinct cadence. It’s hard to explain (watch the YouTube video (UPrixYOTNHw) of Dr. Hook performing it) but it’s sort of down, down up-up, down-up (and repeat).
TIP: If you want to get fancy, begin the intro with a downbeat strum of (A) and then add a five-note sequence by picking the 2nd string/1st string/2nd string/1st string/2nd string. Repeat again with the downbeat strum of (A). Repeat this a few times and then break into the strum cadence mentioned above and open the song. You can carry this rhythm thru the entire song.
TIP: The (E7-full) can be ignored although it sounds a little more complete if you can incorporate it. It’s just the (E) chord with your pinky added to the 2nd string/3rd fret as shown.
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INTRO: (A)
(A) Sylvia's mother says, Sylvia's busy. Too busy to come to the (E) phone. (E7-full) Sylvia's mother (E) says, (E7-full) Sylvia's tryin', to start a new life of her (A) own. (D) Sylvia's mother says, (A) Sylvia's happy. So (E) why don't you leave her a (A) lone?
And the (E) operator says, 40 cents more, for the next, three minutes. (D) Please Mrs Avery, I (A) just gotta talk to her. I'll (E) only keep her a (A) while. (D) Please Mrs Avery, I (A) just wanna tell 'er, good (E) bye.
(A) Sylvia's mother says, Sylvia's packin'. She's gonna be leavin' to (E) day. (E7-full) Sylvia's mother (E) says, (E7-full) Sylvia's marryin', a fella down Galveston (A) way. (D) Sylvia's mother says, (A) please don't say nothin', to (E) make her start cryin' and (A) stay.
And the (E) operator says, 40 cents more, for the next, three minutes. (D) Please Mrs Avery, I (A) just gotta talk to her. I'll (E) only keep her a (A) while. (D) Please Mrs Avery, I (A) just wanna tell 'er, good (E) bye.
(A) Sylvia's mother says, Sylvia's hurryin'. She's catchin' the nine o'clock (E) train. (E7-full) Sylvia's mother (E) says, (E7-full) take your umbrella. 'Cause Sylvia, it's startin' to (A) rain. And (D) Sylvia's mother says, (A) thank you for callin'. And, (E) sir, won't you call back a (A) gain?
And the (E) operator says, 40 cents more, for the next, three minutes. (D) Please Mrs Avery, I (A) just gotta talk to her. I'll (E) only keep her a (A) while. (D) Please Mrs Avery, I (A) just wanna tell 'er, good (E) bye.
Tell her goodbye. Please tell her good (A) bye.
(Dr. Hook) (Artist Index) - (Main Index) - (Song Index) (This Song)
TAKE A MESSAGE TO MARY – (Bryant/Bryant) – The Everly Brothers
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(C) These are the words of a frontier lad, who (Em) lost his love, when (G) he turned ba– (G7) ad.
(C) Take a message to Mary, but (G7) don't tell ‘er where I (C) am. Take a message to Mary, but (G7) don't say I'm in a (C) jam. You can (Am) tell her I had to (Em) see the world, or (Am) tell ‘er that my (D) ship set (G) sail (G7). You can (C) say she (Em) better not (F) wait for (C) me, but (Am) don't tell her I'm (G) in (Am) jail. Oh, (C) don't tell her I'm (G7) in (C) jail.
(C) Take a message to Mary, but (G7) don't tell ‘er what I've (C) done. Please don't mention the stagecoach, and the (G7) shot from a careless (C) gun. You can (Am) tell her I had to (Em) change my plans, and (Am) cancel out our (D) wedding (G) day (G7). But (C) please don't (Em) mention my (F) lonely (C) cell, where (Am) I'm gonna pine (G) a (Am) way. Un (C) til my (G7) dying (C) day.
(C) Take a message to Mary, but (G7) don't tell ‘er all you (C) know. My heart's achin’ for Mary, Lord (G7) knows I miss her (C) so. Just (Am) tell her I went to (Em) Timbuktu. (Am) Tell her I'm (D) searchin’ for (G) gold (G7). You can (C) say, she (Em) better find (F) someone (C) new, to (Am) cherish and (G) to (Am) hold. Oh (C) Lord, this cell (G7) is (C) cold.
Marrr - ry, (Am) Marrr- arr- (C) ry. Oh Lord this cell (G7) is (C) cold.
(The Everly Brothers) (Artist Index) - (Main Index) - (Song Index) (This Song)
TAKE IT EASY – (Browne) - The Eagles (C4)
TIP: The intro is strike and strum, emphasizing the middle strings: Strike (G), then strum (G) lightly; then strike (CaddG), and strum (CaddG) lightly; end with a strike of (D) and strum (D). Repeat. Then it's (G) (pause), (G) (pause) and 5 single-strums of (G) down-up-down-up-down.
TIP: The (G-) comes only at the outro during the up-tone middle "e" on "easy" in which you simply lift off the bottom string (treble note) and emphasize the bottom three strings.
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Intro: (G) (G).... (CaddG) (CaddG)... (D) (D).....; repeat; (G)(G) (G)-(G)-(G)-(G)-(G)
Well, I'm (Gadd) running down the road, tryin' to loosen my load. I've got seven women (D) on my (C) mind. (G) Four that wanna own me, (D) two that wanna stone me, (C) one says she's a friend of (G) mine.
Take it (Em) easy, take it (C) ea (G) sy. Don't let the (Am) sound of your own (C) wheels drive you cra (Em) zy. Lighten (CaddG) up while you still (G) can, don't even (C) try to under (G) stand. Just find a (Am) place to make your (C) stand and take it (G) easy. (G)(G) (G)-(G)-(G)-(G)-(G)
Well, I'm a (G) standing on a corner in Winslow, Arizona - such a fine (D) sight to (C) see. It's a (G) girl, my Lord, in a (D) flatbed Ford slowin' (C) down to take a look at (G) me. Come on, (Em) baby, don't say (C) may (G) be. I gotta (Am) know if your sweet (C) love is gonna (Em) save me. We may (CaddG) lose and we may (G) win, though we will (C) never be here (G) again. So open (Am) up, I'm climbin' (C) in. So take it (G) easy.
(CaddG) (G) (C) (G) (Am) (C) (Gadd)
Well I'm (G) running down the road, trying to loosen my load. Got a world of trouble (D) on my (C) mind. (G) Lookin' for a lover who (D) won't blow my cover, she's (C) so hard to (G) find.
Take it (Em) easy, take it (C) ea (G) sy. Don't let the (Am) sound of your own (C) wheels make you (Em) crazy. Come on (C) ba (G) by, don't say (C) may (G) be. I gotta (Am) know if your sweet (C) love is gonna (G) save . . . me.
(C) Oooh, Oooh; (G) Oooh, Oooh; (C) Oooh, Oooh; (G) Oooh, Oooh; (C) Oooh, oooh oh we got it
(G) e - (G-) e - (C) asy. We ought to take it (G) e - (G-) e - (C) sy. (C)(C)(C)(C)-(Em)
(The Eagles) (Artist Index) - (Main Index) - (Song Index) (This Song)
TAKE IT TO THE LIMIT - (Meisner/Frey/Henley) - The Eagles
TIP: There's two (E7) chords in the first verse, the second appearing as (E7+). Coming off the traditional two-fingered (E7) just add your pinky to the 2nd string/3rd fret while transitioning to the (Am).
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Intro: (C)(F); (C)(F)
All (CaddG) alone at the (C) end of the of the (F) evening. And the (CaddG) bright lights have
(C) faded to (F) blue. I was (C) thinking 'bout a (E7) woman who might have (E7+) loved (Am) me, and I never (G) knew (G7). You know I've always been a (C) dreamer, spent my life (F) running 'round. And it's so hard to (C) change. Can't seem to (F) settle down. But the dreams I've seen (Dm) lately (F), keep on (G) turning out, and (F) burning out, and (G) turning out the
(F) same (G).
So (F) put me on a (C) highway, and (F) show me a (C) sign. And (F) take it to the (G) limit one more (C) time (G).
You can (CaddG) spend all your time making (F) money. You can (CaddG) spend all your love making (F) time. If it (C) all fell to (E7) pieces to (Am) morrow, would you still be (G) mine (G7)? And when you're looking for your (C) freedom, nobody (F) seems to care. And you can't find the (C) door. Can't find it (F) anywhere. When there's nothing to be (Dm) lieve in (F), still you're (G) coming back, you're (F) running back, you're (G) coming back for (F) more (G).
So (F) put me on a (C) highway, and (F) show me a (C) sign. And (F) take it to the (G) limit one more (Am) time. (F) Take it to the (G) limit, (F) take it to the (G) limit, (F) take it to the
(G) limit one more (C) time. (C7)
(F) Take it to the (G) limit, (F) take it to the (G) limit. (F) Take it to the (G) limit one more (C) time. (F) Take it to the (G) limit, (F) take it to the (G) limit. (F) Take it to the (G) limit one more (C) time.
(The Eagles) (Artist Index) - (Main Index) - (Song Index) (This Song)
TAKE ME HOME COUNTRY ROADS - John Denver
TIP: Instead of strumming the song from the beginning, try opening the song with a single chord strum for each chord in the opening verse and then cadence strum for the rest of the song.
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(G) Almost heaven, (Em) West Virginia. (D) Blue Ridge Mountains, (C) Shenandoah Ri (G) ver. Life is old there, (Em) older than the trees. (D) Younger than the mountains, (C) growin’ like a (G) breeze.
Country Roads, take me (D) home, to the (Em) place, I be (C) long. West Vir (G) ginia, mountain (D) Momma, take me (C) home, country (G) roads.
All my mem'ries, (Em) gather 'round her. (D) Miner's lady, (C) stranger to blue (G) water. Dark and dusty, (Em) painted on the sky. (D) Misty taste of moonshine, (C) teardrop in my (G) eye.
Country Roads, take me (D) home, to the (Em) place, I be (C) long. West Vir (G) ginia, mountain (D) Momma, take me (C) home, country (G) roads.
(Em) I hear her (D) voice out in the (G) mornin' hours she calls me. The (C) radio (G) reminds me of my (D) home far away. And (Em) drivin' down the (F) road I get a (C) feelin' that I (G) should have been home (D) yesterday, yester (D7) day.
Country (G) roads, take me (D) home, to the (Em) place, I be (C) long. West Vir (G) ginia, mountain (D) Momma, take me (C) home, country (G) roads. Take me (D) home, country (G) roads. Take me (D) home, country (G) roads (C) (D) (G)-(C)-(G)
(John Denver) (Artist Index) - (Main Index) - (Song Index) (This Song)
TAMMY – (Livingston/Evans) - Debbie Reynolds [For those of you old enough to remember this one!]
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(C) I hear the (Em) cottonwoods (F) whispering a (C) bove. (Em) Tammy, (Am) Tammy, (Dm) Tammy's in (G7) love. The (C) ol’ hooty (Em) owl hooty (F) hoos to the (C) dove. (Em) Tammy, (Am) Tammy, (G7) Tammy's my (C) love.
Does my lover feel, (F) what I feel, (D7) when he comes (G7) near? My (E7) heart beats so (Am) joy-ful (F) ly you'd (C) think that (Em) he (Am) could (G7) hear.
Wish (C) I knew, if (Em) he knew, what (F) I'm dreamin' (C) of. (Em) Tammy, (Am) Tammy, (G7) Tammy's in (C) love.
(C) Whippoorwill, (Em) whippoorwill, (F) you and I (C) know. (Em) Tammy, (Am) Tammy, (Dm) can't let him (G7) go. The (C) breeze from the (Em) bayou keeps (F) murmuring (C) low. (Em) Tammy, (Am) Tammy, (G7) you love him (C) so.
When the night is warm, (F) soft and warm, (D7) I long for his (G7) charms. I'd (E7) sing like a (Am) vio (F) lin if (C) I were (Em) in (Am) his (G7) arms.
Wish (C) I knew if (Em) he knew what (F) I'm dreamin' (C) of. (Em) Tammy, (Am) Tammy, (G7) Tammy's in (C) love.
(Debbie Reynolds) (Artist Index) - (Main Index) - (Song Index) (This Song)
TEACH YOUR CHILDREN – (Nash) – Crosby, Stills, and Nash
TIP: The natural (A) chord will bracket (Asus) so from (A) just slide your bottom finger up one fret and then back.
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INTRO: (D) (G) (D) (A)
(D) You, who are on the (G) road. Must have a (D) code that you can (A) live by (Asus) (A). And (D) so, become your (G) self because the (D) past is just a good (A) bye.
(D) Teach your children (G) well, their father’s (D) hell did slowly go (A) by (Asus) (A). And (D) feed them on your (G) dreams. The one they (D) pick, the one you’ll know (A) by (Asus) (A).
(D) Don’t you ever ask them (G) why. If they told you, you will (D) cry. So just look at them and (Bm) sigh (G) (A). And know they love (D) you. (G) (A)
And (D) you, of tender (G) years. Can’t know the (D) fears that your elders (A) grew by (Asus) (A). And so please (D) help, them with your (G) youth. They seek the (D) truth before they (A) can die.
(D) Teach your parents (G) well, their children’s (D) hell will slowly go (A) by (Asus)(A). And (D) feed them on your (G) dreams. The one they (D) pick, the one you’ll know (A) by (Asus) (A).
(D) Don’t you ever ask them (G) why. If they told you, you will (D) cry. So just look at them and (Bm) sigh (G) (A) and know they love (D) you. (G) (A) (D)
(Crosby, Stills and Nash) (Artist Index) - (Main Index) - (Song Index) (This Song)
TEDDY BEAR – (Mann/Low) – Elvis Presley
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(C) Baby let me be, your (F) lovin' Teddy (C) Bear. (F) Put a chain around my neck and lead me any (C) where. Oh let me (G7) be, your Teddy (C) Bear.
I (F) don't wanna be a (G7) tiger, 'cause (F) tigers play too (G7) rough. I (F) don't wanna be a (G7) lion, 'cause (F) lions ain't the (G7) kind you love e (C) nough.
Just wanna be, your Teddy Bear. (F) Put a chain around my neck and lead me any (C) where. Oh let me (G7) be, your Teddy (C) Bear (F)(C)
(C) Baby let me be, a (F) round you every (C) night. (F) Run your fingers through my hair and cuddle me real (C) tight. Oh let me (G7) be, your Teddy (C) Bear.
I (F) don't wanna be a (G7) tiger, 'cause (F) tigers play too (G7) rough. I (F) don't wanna be a (G7) lion, 'cause (F) lions ain't the (G7) kind you love e (C) nough.
Just wanna be, your Teddy Bear. (F) Put a chain around my neck and lead me any (C) where. Oh let me (G7) be, your Teddy (C) Bear (F)(C)
Oh let me (G7) be, your Teddy (C) Bear (F)(C)
(Spoken) I just want to be your Teddy Bear (C)
(Elvis Presley) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE TENNESSEE WALTZ – (Stewart/King) – Patsy Cline/Tom Jones/Anne Murray (C1)
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(C) I was dancing, with my darling, to the (C7) Tennessee (F) Waltz. When an (C) old friend I happened to (G7) see. Intro (C) duced her, to my loved one, and (C7) while they were (F) waltzing, my (C) friend stole my sweet (G7) heart from (C) me.
I remember that (E7) night and the (F) Tennessee (C) Waltz. Now I know just how much I have (G7) lost. Yes I (C) lost my, little darling, the (C7) night they were (F) playing, the (C) beautiful (G7) Tennessee (C) Waltz.
(C) I was dancing, with my darling, to the (C7) Tennessee (F) Waltz. When an (C) old friend I happened to (G7) see. Intro (C) duced her, to my loved one, and (C7) while they were (F) waltzing, my (C) friend stole my sweet (G7) heart from (C) me.
I remember that (E7) night and the (F) Tennessee (C) Waltz. Now I know just how much I have (G7) lost. Yes I (C) lost my little darling the (C7) night they were (F) playing the (C) beautiful (G7) Tennessee (C) Waltz.
Yes I (C) lost my little darling the (C7) night they were (F) playing, the (C) beautiful, the (G) wonderful, the (C) marvelous, the (F) glorious, the (C) beautiful (G7) Tennessee (C) Waltz.
(Patsy Cline)(Tom Jones)(Anne Murray) (Artist Index) - (Main Index) - (Song Index) (This Song)
TEQUILA SUNRISE – (Henley/Frey) - The Eagles (C0 or C5)
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INTRO: (G)(G)(G)(G) (Am) (D) (G)
(G) It's another tequila sunrise, (D) starin' slowly 'cross the (Am) sky (D7). Said good (G) bye.
He was just a hired hand, (D) workin' on the dreams he planned to (Am) try (D7). The days go (G) by.
(Em) Ev'ry night when the (C) sun goes down, (Em) just another (C) lonely boy in (Em) town, and (Am) she's out runnin' (D7) 'round.
(G) She wasn't just another woman, (D) and I couldn't keep from comin' (Am) on (D7). It's been so (G) long. Oh and it's a hollow feelin,' (D) when it comes down to dealin' (Am) friends (D7). It never (G) ends.
(Am) Take another (D) shot of courage, (Bm) wonder why the (E) right words never (Am) come (B7). You just get (Em) numb (A).
(G) It's another tequila sunrise, (D) this old world still looks the (Am) same (D7). Another (G) frame. (Gadd) Mmmm.
(The Eagles) (Artist Index) - (Main Index) - (Song Index) (This Song)
TEXARKANA - (Berry, Buck, Mills, Stipe) - R.E.M.
TIP: The final chorus is a little tricky as the first word of a verse is sung over the last word of the preceding verse, both with the same chord. This is denoted by a solidus, e.g. "(D) Catch me if I (Em) fall/Catch me if I (D) fall." While singing, try skipping the last word and sing the first word of the next verse when this occurs. Also, the final four verses are sung with the same chord series but end with different inflection points, indicated by or .
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INTRO: (Em)(G)(Bm), (Em)(A)(G); (Em)(G)(Bm), (Em)(A)(G)
(Em) 20,000 (G) miles to an o (Bm) asis. (Em) 20,000 (A) years will I (G) burn.
(Em) 20,000 (G) chances I (Bm) wasted. (Em) Waiting for the (A) moment to (G) turn.
(C) I would give my (D) life to find it, (Bm) I would give it all.
(Am) Catch me if (Em) I (D) fall.
(Em)(D), (Em) (D)
(Em) Walking through the (G) woods I have (Bm) faced it. (Em) Looking for (A) something to
(G) learn. (Em) 30,000 (G) thoughts have re (Bm) placed it. (Em) Never in my (A) time to
re (G) turn. (C) I would give my (D) life to find it, (Bm) I would give it all.
(Am) Catch me if (Em) I (D) fall.
(Em)(D), (Em) (D); (D)(Dsus2)(D)(Dsus2), (Gadd)(G)(Gadd)(G)
All a (D) lone. (G) Waiting to (D) fall.
(Em) 40,000 (G) stars in the (Bm) evening. (Em) Look at them (A) fall from the (G) sky.
(Em) 40,000 (G) reasons for (Bm) living. (Em) 40,000 (A) tears in your (G) eye. (C) I would give my (D) life to find it, (Bm) I would give it all. (Am) Catch me if (Em) I (D) fall.
(Em)(D), (Em) (D) Catch me if I (Em) fall. (D) (Em) (D) Catch me if I (Em) fall/Catch me if I
(D) fall. (Em) Catch me if I (D) fall/Catch me if I (Em) fall/Catch me if I (D) fall .
(Em) Catch me if I (D) fall . (Em) Catch me if I (D) fall . (Em) Catch me if I
(D) fall .
(R.E.M.) (Artist Index) - (Main Index) - (Song Index) (This Song)
TEXAS RIVER SONG - Lyle Lovett
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We (C) crossed the wild Pecos, we (F) forded the Nu (C) eces, we (C) swum the Guadalupe and we (G) followed the Brazos. Red (C) River runs rusty, the (F) Wichita (C) clear. But (C) down by the Brazos I (G) courted my (C) dear. Singing (C) lie lie lie, lee lee lee, (F) lend me your (C) hand. (G) Lie lie lie, lee lee lee, (G) lend me your (C) hand. Lie lie lie, lee lee lee, (F) lend me your (C) hand, there's (C) many a river That (G) waters the (C) land.
Now the (C) fair Angelina runs (F) glossy and (C) gliding. The (C) crooked Colorado runs (G) weaving and winding. The (C) slow San Antonio (F) courses the (C) plains, but I (C) never will walk by the (G) Brazos a (C) gain. Singing (C) lie lie lie, lee lee lee, (F) lend me your (C) hand. (G) Lie lie lie, lee lee lee, (G) lend me your (C) hand. Lie lie lie, lee lee lee, (F) lend me your (C) hand, there's (C) many a river That (G) waters the (C) land.
She kissed me and she hugged me. She (F) called me her (C) dandy. The (C) Trinity is muddy but the (G) Brazos quicksandy. She (C) kissed me and she hugged me. She (F) called me her (C) own. But (C) down by the Brazos she (G) left me a (C) lone. Singing (C) lie lie lie, lee lee lee, (F) lend me your (C) hand. (G) Lie lie lie, lee lee lee, (G) lend me your (C) hand. Lie lie lie, lee lee lee, (F) lend me your (C) hand, there's (C) many a river That (G) waters the (C) land.
Now the (C) girls of Little River, they're (F) plump and they're (C) pretty. The (C) Sabine and the Sulphur hold (G) beauties a-many. The (C) banks of the Neches, there's (F) girls by the (C) score. But (C) down by the Brazos I'll (G) wander no (C) more. Singing (C) lie lie lie, lee lee lee, (F) lend me your (C) hand. (G) Lie lie lie, lee lee lee, (G) lend me your (C) hand. Lie lie lie, lee lee lee, (F) lend me your (C) hand, there's (C) many a river That (G) waters the (C) land.
Singing (C) lie lie lie, lee lee lee, (F) lend me your (C) hand. (G) Lie lie lie, lee lee lee, (G) lend me your (C) hand. Lie lie lie, lee lee lee, (F) lend me your (C) hand, there's (C) many a river That (G) waters the (C) land.
(Lyle Lovett) (Artist Index) - (Main Index) - (Song Index) (This Song)
THANK GOD FOR THE RADIO – (Barnes/Jones) – Alan Jackson
TIP: The (A6+) can be omitted if you wish.
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On the (D) wrong end of the highway. (Bm) When the long night has no end. (G) When there's no one there beside me, (A) 'til I hold you once a (A6+) gain.
Thank God for the (D) radio. When I'm (A) on the road. When I'm (G) far from home, (A) and feelin' (D) blue (A). Thank God for the (D) radio. Playin' (A) all night long. Playin' (G) all the songs, that (A) mean so much, to (D) me and you.
There's a (A) song, that we first (D) danced to. And there's a (A) song, they played, the night we (D) met. And there's a (Bm) song, (G) we first made (D) love to. That's a (G) song, I'll (A) never for (D) get.
Thank God for the (D) radio. When I'm (A) on the road. When I'm (G) far from home, (A) and feelin' (D) blue (A). Thank God for the (D) radio. Playin' (A) all night long. Playin' (G) all the songs, that (A) mean so much, to (D) me and you.
Instrumental: (D) (A) (G) (A) (D) (A)
Thank God for the (D) radio. When I'm (A) on the road. When I'm (G) far from home, (A) and feelin' (D) blue (A). Thank God for the (D) radio. Playin' (A) all night long. Playin' (G) all the songs, that (A) mean so much, to (D) me and you.
Playin' (G) all the songs, that (A) mean so much, to (D) me and you.
Thank God for the radio.
(Alan Jackson) (Artist Index) - (Main Index) - (Song Index) (This Song)
THAT’S ALL RIGHT MAMA – (Crudup) – Elvis Presley
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(A) Well, that's all right, mama. That's all right for you. That's all right mama, just (A7) anyway you do. Well, that's all (D) right. That's all right. That's all (E) right now (E7) mama. Anyway you (A) do.
Mama she done told me, Papa done told me too: “Son, that gal you're foolin' with. She (A7) ain't no good for you.” But, that's all (D) right. That's all right. That's all (E) right now (E7) mama. Anyway you (A) do.
I'm leaving town, baby. I'm leaving town for sure. Well then you won't be bothered, with me (A7) hangin' round your door. But, that's all (D) right. That's all right. That's all (E) right now (E7) mama. Anyway you (A) do (D) (A).
(Elvis Presley) (Artist Index) - (Main Index) - (Song Index) (This Song)
THAT’S AMORE – (Warren/Brooks) – Dean Martin
TIP: The (Esus)-(E) has a sort of sing-song cadence to it with one beat on the (Esus) and two beats on the (E). Just play (E) and add your pinky below your ring finger at the 3rd string/2nd fret when you see the (Esus). The (Esus) can be ignored completely if you want.
TIP: When transitioning from the (E) to the lone (F#7) think (F) chord and then just don’t roll your index figner over to form the mini-barre like you normally would to play (F) and you’ve got (F#7).
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In (Am) Napoli, where love is (Dm) king. When boy meets (Am) girl, here's what they (E7) say. (A)
When (E7) the (A) moon, hits your eye, like a big, pizza pie, that's a (E) more. When (Esus) the (E) world, seems (Esus) to (E) shine, like (Esus) you've (E) had, too (Esus) much (E) wine, that's a (A) more. Bells will ring, ting-a-ling-a-ling, ting-a-ling-a-ling, and you'll sing, "Vita (E) bella." Hearts will (E7) play, tippy-tippy-tay, tippy-tippy-tay, like a gay taran (A) tella.
When (E7) the stars, make you drool, just like a pasta fazool, that's a (E) more. When (Esus) you (E) dance, down (Esus) the (E) street, with (Esus) a (E) cloud, at (Esus) your (E) feet, you're in (F#7) love. When you (D) walk in a dream but you (Dm) know you're not dreaming sign (A) ore. Scuzza (E7) me, but you see, back in old, Napoli, that's a (A) more.
When (E7) the (A) moon, hits your eye, like a big, pizza pie, that's a (E) more. When (Esus) the (E) world, seems (Esus) to (E) shine, like (Esus) you've (E) had, too (Esus) much (E) wine, that's a (A) more. Bells will ring, ting-a-ling-a-ling, ting-a-ling-a-ling, and you'll sing, "Vita (E) bella." Hearts will (E7) play, tippy-tippy-tay, tippy-tippy-tay, like a gay taran (A) tella.
(Lucky fella).
When (E7) the stars, make you drool, just like a pasta fazool, that's a (E) more. When (Esus) you (E) dance, down (Esus) the (E) street, with (Esus) a (E) cloud, at (Esus) your (E) feet, you're in (F#7) love. When you (D) walk in a dream but you (Dm) know you're not dreaming sign (A) ore. Scuzza (E7) me, but you see, back in old, Napoli, that's a (A) more. A (Dm) more. That’s a (A) amore.
(Dean Martin) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE ONE I LOVE - (Berry/Buck/Mills/Stipe) - R.E.M.
TIP: When you get to the lone (B7) at the coda, don't play the bottom string.
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Intro: (Em)(D), (Em)-(Em); (Em)(D), (Em)-(Em)
(Em) This one goes out (Dsus2) to the one I (Em) love. This one goes out (Dsus2) to the one I've (Em) left behind. (G) A simple (D) prop to (Am) occupy my (C) time. (Em) This one goes out (Dsus2) to the one I (Em) love.
Fire (Dsus2) (Em). Fire (Dsus2) (Em)
(Em) This one goes out (Dsus2) to the one I (Em) love. This one goes out (Dsus2) to the one I've (Em) left behind. (G) A simple (D) prop to (Am) occupy my (C) time. (Em) This one goes out (Dsus2) to the one I (Em) love.
Fire (Dsus2) (Em). Fire (Dsus2) (Em)
(G)-(G)(Gadd)-(C)-(G), (G)-(G)(Gadd)-(C)-(G), (G)-(G)(Gadd)-(C)-(G); (G)-(C)-(G) (G)-(C)-(G);
(D)-(Dsus2)-(D)-(D/A)-(Em)
(Em) This one goes out (Dsus2) to the one I (Em) love. This one goes out (Dsus2) to the one I've (Em) left, behind. (G) Another (D) prop has (Am) occupied my (C) time. (Em) This one goes out (Dsus2) to the one I (Em) love.
Fire (Dsus2) (Em). Fire (Dsus2) (Em)
Fire (Dsus2) (Em). Fire (Dsus2) (Em)
(Em)(D)(B7)(Em)
(R.E.M.) (Artist Index) - (Main Index) - (Song Index) (This Song)
THEME FROM THE MONKEES - (Boyce/Hart) - The Monkees
TIP: There were a couple of minor variations to the lyrics depending on the season. The opening note for "come" is high or bottom string open.
TIP: Vocally, the transition from the end of the bridge - " . .. we got something to (Em) say. (D) Ah. Any (Am) time . . . " is a bit tricky. You want the word "time" to be high which is open bottom string. Just like the opening.
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Here we (Am) come, walkin' down the (F) street. We get the funniest (D) looks from, everyone we (G) meet.
Hey, hey we're the (C) Monkees, and (F) people say we (G) monkey a (C) round. But (F) we're too (G) busy (C) singing, to (F) put any (G) body (Am) down.
We go wherever we want to. Do what we like to (F) do. We don't have time to get (D) restless. There's always something (G) new.
Hey, hey we're the (C) Monkees, and (F) people say we (G) monkey a (C) round. But (F) we're too (G) busy (C) singing, to (F) put any (G) body (Am) down.
(D) We're just trying to be friendly. (G) Come watch us (A) sing and (D) play. (G) We're the (A) young gener (D) ation, and (G) we got (A) something to (Em) say. (D) Ahh.
Any (Am) time or any (F) where, just look over your (D) shoulder. Guess who'll be standing (G) there.
Hey, hey we're the (C) Monkees, and (F) people say we (G) monkey a (C) round. But (F) we're too (G) busy (C) singing, to (F) put any (G) body (C) down.
Hey, hey we're the (C) Monkees, and (F) people say we (G) monkey a (C) round. But (F) we're too (G) busy (C) singing, to (F) put any (G) body (Am) down.
(D) We're just trying to be friendly. (G) Come watch us (A) sing and (D) play. (G) We're the (A) young gener (D) ation, and (G) we got (A) something to (D) say.
Hey, hey we're the Monkees. (G) Hey hey we're the (C) Monkees.
(The Monkees) (Artist Index) - (Main Index) - (Song Index) (This Song)
THERE SHE GO’S – (Mavers) – The La’s
TIP: You can play (C) instead of (CaddG), or come tardy on adding the pinky to the bottom and it still sounds just fine.
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INTRO: (G)(D)(C) x 4; (C) . . . (D)x7 quickly
(G) There (D) she (CaddG) goes. (G) There she (D) goes a (Caddg) gain. (G) Racing (D) through my (CaddG) brain. And (Am) I just can't (C) con (Am) ta- (D) –in. This (Am) feeling that (C) re (Am) ma- (D) –ins (strum D).
(G) There (D) she (CaddG) blows. (G) There she (D) blows a (Caddg) gain. (G) Pulsing (D) through my (CaddG) veins. And (Am) I just can't (C) con (Am) ta- (D) –in. This (Am) feeling that (C) re (Am) ma- (D) -ins
(G)(D)(C) x 4; (C) . . . (D)x7 quickly
(G) There (D) she (CaddG) goes. (G) There she (D) goes a (Caddg) gain. (G) She calls (D) my (C) name, (G) she pulls (D) my (C) train. No one (Am) else could heal (C) my (Am) pa- (D) –ain.
That (Am) I, just can't (C) con (Am) ta- (D) –ain. This (Am) feeling that (C) re (Am) ma- (D) –ains (strum D)
(G) There (D) she (CaddG) goes. (G) There she (D) goes a (Caddg) gain. (G) Chasing (D) down my (CaddG) lane. And (Am) I just can't (C) con (Am) ta- (D) –in. This (Am) feeling that (C) re (Am) ma- (D) –ins (strum D)
(G) There (D) she (CaddG) goes. (G) There (D) she (CaddG) goes. (G) There (D) she (CaddG) goes.
(C) She calls my (G) name.
(The La's) (Artist Index) - (Main Index) - (Song Index) (This Song)
THERE’S A KIND OF HUSH – (Reed/Stephens) – Herman’s Hermits (C4)
TIP: [Bm(maj7) is simply the D chord with the pinky added to the 3rd string/3rd fret, above the ring finger. And in this song the progression from (D) to (Bm(maj7) (add pinky) to (D6) (lift ring finger and pinky) to (D7) is simple and easy.]
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(No Chord) There’s a (D) kind of hush (Bm(maj7), all over the (D6) world to (D7) night. All over the (G) world you can hear the (A) sound of lovers in (D) love. You (G) know what I (A) mean.
Just the (D) two of us (Bm(maj7) and nobody (D6) else in (D7) sight. There’s nobody (G) else and I’m feeling (A) good just holding you (D) tight. (D7)
So (G) listen very (Em) carefully, get (Bm) closer now and (Em) you will see what I (A) mean. It (Em) isn’t a (A) dream. The (G) only sound that (Em) you will hear is (Bm) when I whisper (Em) in your ear “I love (A) you.” For (G) ever and (D) ev (A) ver.
There’s a (D) kind of hush (Bm(maj7) all over the (D6) world to (D7) night. All over the (G) world people just like (A) us are fallin’ (D) love.
SOLO: (D) (Bm(maj7) (D6) (D7) (G) (A) (D) (D7)
So (G) listen very (Em) carefully, get (Bm) closer now and (Em) you will see what I (A) mean. It (Em) isn’t a (A) dream. The (G) only sound that (Em) you will hear is (Bm) when I whisper (Em) in your ear “I love (A) you.” For (G) ever and (D) ev (A) ver.
There’s a (D) kind of hush (Bm(maj7) all over the (D6) world to (D7) night. All over the (G) world people just like (A) us are fallin’ (D) love.
(Herman's Hermits) (Artist Index) - (Main Index) - (Song Index) (This Song)
THERE'S A TEAR IN MY BEER - Hank Williams (C2)
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There's a (D) tear in my beer 'cause I'm cryin' for you dear. You are on my lonely (A7) mind.
Into these last nine beers I have shed a million tears. You are on my lonely (D) mind (D7).
I'm (G) gonna keep drinkin' un (D) til I'm petrified. (E7) And, then maybe, these (A7) tears
will leave my (A) eyes. There's a (D) tear in my beer cause I'm crying' for you dear. (E7) You are (A7) on my lonely (D) mind.
Last night I walked the floor and the night before. You are on my lonely (A7) mind.
It seems my life is through and I'm so doggone blue. You are on my lonely (D) mind (D7).
I'm (G) gonna keep drinkin' till (D) I can't move a toe, (E7) and, then maybe, my (A7) heart won't hurt me (A) so. There's a (D) tear in my beer cause I'm cryin' for you dear. (E7) You are (A7) on my lonely (D) mind.
Lord I've tried and I've tried but my tears I can't hide. You are on my lonely (A7) mind.
All these blues that I've found have really got me down. You are on my lonely (D) mind (D7).
I'm (G) gonna keep drinkin' till (C) I can't even think, (E7) cause, in the last week (A7) I ain't slept a (A) wink. There's a (D) tear in my beer cause I'm crying for you dear. (E7) You are
(A7) on my lonely (D) mind (A7)(D).
(Hank Williams) (Artist Index) - (Main Index) - (Song Index) (This Song)
THIS BOY (RINGO’S THEME) – (Lennon/McCartney) – The Beatles [C0]
TIP: Normally I don’t recommend playing the (Bm) as an extension of (D) but this song has a (D)(Bm)(Em) sequence and it’s easier to just add your pinky to complete the (Bm) chord from (D).
TIP: In the refrain, (F#7) is just (F) played up one fret and without the bottom string. After playing (F#7) drop down one string-set to play the (Bm).
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(D) (Bm) (Em) (A7), (D) (Bm) (Em) (A7)
(D) That boy (Bm) (Em). Took my (A7) love a (D) way (Bm) (Em). Oh he’ll re (A7) gret it some (D) day (Bm). But (G) this boy (A7) wants you back a (D) gain (Bm) (Em) (A7). (D) That boy (Bm) (Em) isn’t (A7) good for (D) you (Bm) (Em), though he may (A7) want you (D) too (Bm). This (G) boy (A7) wants you back a (D) gain.
Oh, and (G) this boy, would be (F#7) happy, just to (Bm) love you. But oh (D7) my hi hi hi. (G) That boy won’t be (E7) happy, (A7) till he’s seen you cry hi hi hi.
(D) This boy (Bm) (Em) wouldn’t (A7) mind the (D) pain (Bm) (Em), would always (A7) feel the (D) same (Bm). If (G) this boy (A7) gets you back a (D) gain (Bm) (Em) (A7).
(D) This boy (Bm) (Em) (A7). (D) This boy (Bm) (Em) (A7). (D) This boy (Bm) (Em) (A7). (D)
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
THIS LAND IS YOUR LAND – (Guthrie) – Peter, Paul and Mary/Woody Guthrie (C0, C4, or C5)
TIP: In Woody’s original text the first verse that appears here is actually the third verse of the song and the popular chorus opens the song. The version appearing here is the one popularized by Peter, Paul, & Mary (although it contains Woody’s other verses as well which PP&M don’t play during their concerts). In PP&M’s rendition the opening verse is sung slowly, with pauses after the commas, followed by a single chord strike, with the strumming beginning on the final (G) before “me”. The chorus is then begun energetically.
TIP: This is also a nice song to pick, especially the opening verse.
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I've roamed and I’ve, (C) rambled and I've followed my, (G) footsteps. To the sparkling (D) sands, of her diamond (G) deserts. And all a (C) round me, I heard a voice (G) singing, saying, (D) “This land was (D7) made for you and (G) me.”
This land is (C) your land, this land is (G) my land. From Cali (D) fornia, to the New York (G) Islands. From the redwood (C) forests, to the gulf stream (G) waters. (D) This land was (D7) made for you and (G) me.
As I went (C) walking, that ribbon of (G) highway. I saw a (D) bove me, an endless (G) skyway. I saw be (C) low me, a golden (G) valley. (D) This land was (D7) made for you and (G) me. This land is (C) your land, this land is (G) my land. From Cali (D) fornia, to the New York (G) Islands. From the redwood (C) forests, to the gulf stream (G) waters. (D) This land was (D7) made for you and (G) me.
Well I went (C) walking, the sun was (G) shining. The wheat fields (D) waving, and the dust clouds (G) rolling. The fog was (C) lifting, a voice come (G) singing (it might have been Woody!), (D) “This land was (D7) made for you and (G) me.” This land is (C) your land, this land is (G) my land. From Cali (D) fornia, to the New York (G) Islands. From the redwood (C) forests, to the gulf stream (G) waters. (D) This land was (D7) made for you and (G) me.
As I was (C) walkin', I saw a (G) sign there. And that (D) sign said, “No Tres (G) passin’!” But on the (C) other, it didn't say (G) nothin’. Now (D) that side was (D7) made for you and (G) me.
This land is (C) your land, this land is (G) my land. From Cali (D) fornia, to the New York (G) Islands. From the redwood (C) forests, to the gulf stream (G) waters. (D) This land was (D7)made for you and (G) me.
In the squares of the (C) city, in the shadow of the (G) steeple. Near the relief (D) office, I see my (G) people. And some are (C) grumblin', and some are (G) wonderin', if (D) this land's still (D7) made for you and (G) me. This land is (C) your land, this land is (G) my land. From Cali (D) fornia, to the New York (G) Islands. From the redwood (C) forests, to the gulf stream (G) waters. (D) This land was (D7) made for you and (G) me.
(D) This land was (D7) made for you and (G) me. (C) (D) (G)
(Peter, Paul and Mary)(Woody Guthrie) (Artist Index) - (Main Index) - (Song Index) (This Song)
THIS MAGIC MOMENT – (Pomus/Shuman) – Jay and the Americans/The Drifters (C3)
TIP: Opening note is the (top string).
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(C) Magic. (Am) Magic. (F) Magic. (G) Magic.
This magic (C) moment, so (Am) different and so new, was like any (F) other, until (G) I kissed you. And then it (C) happened. It (Am) took me by surprise. I knew that you (F) felt it too, by the (G) look in your eyes.
Sweeter than (Am) wine, softer than a (F) summer night. Everything I (C) want I have, whenever I (G) hold you tight. This magic (C) moment, while your (Am) lips are close to mine, will last for (F) ever. For (G) ever till the end of (C) time.
Whoa-oh-oh (Am) oh-oh. Oh-oh-oh (F) oh-oh. Oh-oh-oh (G) oh.
Sweeter than (Am) wine, softer than a (F) summer night. Everything I (C) want I have, whenever I (G) hold you tight. This magic (C) moment, while your (Am) lips are close to mine, will last for (F) ever. For (G) ever till the end of (C) time.
Whoa-oh-oh (Am) oh-oh. Oh-oh-oh (F) oh-oh. Oh-oh-oh (G) oh.
(C) Magic. (Am) Magic. (F) Magic. (G) Moment. (C)
(The Drifters) (Artist Index) - (Main Index) - (Song Index) (This Song)
THOSE WERE THE DAYS – (Raskin/Russian Traditional) - Mary Hopkins (C0 or C5)
TIP: The (Am)(Asus)(Am)(A4) series in the opening line of each verse is easy to play. From (Am) just add your pinky to the 3rd fret/2nd string to get (Asus), then lift both index and pinky to get (A4), and reapply the index finger to get back to (Am).
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(Am) Once upon a (Asus) time (Am) there (A4) was a (Am) tavern, (A) where we used to raise a glass or (Dm) two. Remember how we laughed away the (Am) hours, and (B7) dreamed of all the great things we would (E) do?
(Am) Those were (E) the (Am) days friend, we thought they'd (Dm) never end. We'd sing and (G) dance for (G7) ever and a (C) day. We'd live the (Dm) life we choose, we'd fight and (Am) never lose. For we were (E) young and sure to have our (Am) way. La la la la la la. La la la (Dm) la la la. Those were the (E) days, oh yes those were the (Am) days.
(Am) Then the busy (Asus) years (Am) went (A4) rushing (Am) by us, we (A) lost our starry notions on the (Dm) way. If by chance I'd see you in the (Am) tavern, we'd (B7) smile at one another and we'd (E) say.
(Am) Those were (E) the (Am) days friend, we thought they'd (Dm) never end. We'd sing and (G) dance for (G7) ever and a (C) day. We'd live the (Dm) life we choose, we'd fight and (Am) never lose. For we were (E) young and sure to have our (Am) way. La la la la la la. La la la (Dm) la la la. Those were the (E) days, oh yes those were the (Am) days.
(Am) Just tonight I (Asus) stood (Am) be (A4) fore the (Am) tavern. (A) Nothing seemed the way it used to (Dm) be. In the glass I saw a strange re (Am) flection. (B7) Was that lonely fellow really (E) me?
(Am) Those were (E) the (Am) days friend, we thought they'd (Dm) never end. We'd sing and (G) dance for (G7) ever and a (C) day. We'd live the (Dm) life we choose, we'd fight and (Am) never lose. For we were (E) young and sure to have our (Am) way. La la la la la la. La la la (Dm) la la la. Those were the (E) days, oh yes those were the (Am) days.
(Am) Through the door there (Asus) came (Am) fa (A4) miliar (Am) laughter. I (A) saw your face and heard you call my (Dm) name. Oh my friend we're older but no (Am) wiser, for (B7) in our hearts the dreams are still the (E) same.
(Am) Those were (E) the (Am) days friend, we thought they'd (Dm) never end. We'd sing and (G) dance for (G7) ever and a (C) day. We'd live the (Dm) life we choose, we'd fight and (Am) never lose. For we were (E) young and sure to have our (Am) way. La la la la la la. La la la (Dm) la la la. Those were the (E) days, oh yes those were the (Am) days.
(Am) La la la la la la. La la la (Dm) la la la. La la la (G) la. La (G7) la-la la la (C) la. La la la (Dm) la la-la. La la la (Am) la la la. La la la (E) lah, la la la la la (Am) la.
[Outro] (Am) La la la la la (C) la. La la la la la (D) la. La la (Am) la (D) (E) la (A) lah.
(Mary Hopkins) (Artist Index) - (Main Index) - (Song Index) (This Song)
TIME IN A BOTTLE - Jim Croce (C0)
TIP: Don’t be scared off by the unfamiliar chords. Most come in tandem with other more familiar chords and simply require a finger adjustment. Try out the tips that follow to see how they all fit in.
TIP: (Dm#7) is simply (Dm) with the ring finger move down from the third fret to the second. And since you’ll already be playing (Dm) when (Dm#7) comes along so it’s an easy adjustment.
TIP: (F11) is a brief chord and comes in a sequence when moving from (Dm7) to (Dm-). So all you have to do, since you’re already playing (Dm7) is simply add your ring finger to the 3rd string/3rd fret.
TIP: (A#) is (Dm) but with the middle finger slid up one fret on the same string. You’ll already be set up for (A#) as (Dm-) precedes it, so play (A#) with the middle and ring fingers, and then transition to (Dm) by sliding the middle finger back to the second fret.
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If (Dm) I could save (Dm#7) time in a (Dm7) bottle (Dm-), the (Gm) first thing that I'd like to (A7) do. Is to (Dm) save every (Dm7) day til e (F11) ternity (Dm-) passes (A#) a (Dm) way just to (Gm) spend them with (A7) you.
If (Dm) I could make (Dm#7) days last for (Dm7) ever (Dm-), if (Gm) words could make wishes come (A7) true. I'd (Dm) save every (Dm7) day like a (F11) treasure and (Dm-) then (A#) a (Dm) gain I would (Gm) spend them with (A7) you.
But there (D) never seems to (Dmaj7) be enough time to (D6) do the things you (D) want to do once you (G) find them (Bm) (Em) (A7). I've (D) looked around e (Dmaj7) nough to know that (D6) you're the one I (D) want to go through (G) time with. (Bm) (Em) (A7)
If (Dm) I had a (Dm#7) box just for (Dm7) wishes (Dm-), and (Gm) dreams that had never come (A7) true. The (Dm) box would be (Dm7) empty except (F11) for the (Dm-) memory (A#) of (Dm) how they were (Gm) answered by (A7) you.
But there (D) never seems to (Dmaj7) be enough time to (D6) do the things you (D) want to do once you (G) find them (Bm) (Em) (A7). I've (D) looked around e (Dmaj7) nough to know that (D6) you're the one I (D) want to go through (G) time with. (Bm) (Em) (A7) . . . (D)
(Jim Croce) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE TIMES THEY ARE A CHANGING - Bob Dylan (C5 or C4)
TIP: Don’t play too fast! And the (G-Add) is optional but adds a complementary treble sound -- play the preceding (G) with pinky on bottom string, vice ring finger, and then just add the finger to complete the (G-Add) chord.
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Come (G) gather 'round (Em) people where (D) ever you (G) roam. And (G-Add) admit that the waters a (D) round you have grown. And ac (G) cept it that (Em) soon you’ll be (D) drenched to the (G) bone. If your (G-Add) time to you is (Em) worth (D) saving, then you’d (G) better start (D) swimming or you’ll (G) sink like a (D) stone, for the (G) times they (C) are a (D) chang (G) ing.
Come (G) writers and (Em) critics who (D) prophesize with your (G) pens. And (G-Add) keep your eyes open, the chance (D) won’t come again. And (G) don’t speak too (Em) soon, the (D) wheel’s still in (G) spin. And there’s (G-Add) no telling who that (Em) it’s (D) naming. Oh the (G) loser (D) now will be (G) later to (D) win, for the (G) times they (C) are a (D) chang (G) ing.
Come (G) senators, (Em) congressmen (D) please heed the (G) call. Don’t (G-Add) stand in the doorway, don’t (D) block up the hall. For (G) he that gets (Em) hurt will be (D) he that has (G) stalled. The (G-Add) battle out (Em) side (D) raging, will (G) soon shake your (D) windows and (G) rattle your (D) hall, for the (G) times they (C) are a (D) chang (G) ing.
Come (G) mothers and (Em) fathers all (D) over this (G) land. And (G-Add) don’t criticize what you (D) can’t understand. Your (G) sons and your (Em) daughters are be (D) yond your com (G) mand. Your (G-Add) old role is rapid (Em) ly (D) aging. Please (G) get out of the (D) new one if you (G) can’t lend a (D) hand, for the (G) times they (C) are a (D) chang (G) ing.
The (G) line, it is (Em) drawn, the (D) curse it is (G) cast. The (G-Add) slow one now will (D) later be fast. And the (G) present (Em) now will (D) soon be the (G) past. The (G-Add) order is rapid (em) ly (D) fading. The (G) first one (D) now, will (G) later be (D) last, for the (G) times they (C) are a (D) chang (G) ing.
(Bob Dylan) (Artist Index) - (Main Index) - (Song Index) (This Song)
TO KNOW HIM IS TO LOVE HIM – (Specter) - Emmylou Harris/Dolly Parton/Linda Ronstadt (Trio) (C1)
TIP: Use your pinky to include bass E string (G note) on (C) chords to start each verse.
TIP: The “lilt” mentioned in the bridge are 6 notes that can be easily plucked without any chords. The notes are: (all bottom string) 3rd fret, 5th fret, 3rd fret, 1st fret, 1st string open; and then 3rd fret/2nd string.
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(C) To know, know, know him is to (G7) love, love, love him. (Am) Just to see him smile, (F) makes my life worthwhile. To (C) know, know, know him is to (G7) love, love, love him and I (C) do (F) (C) (G).
(C) I'll be good to him, (G7) I'll bring love to him. (Am) Everyone says there'll come a day, when (F) I'll walk alongside of him. (C) Yes, just to know him, is to (G7) love, love, love him and I (C) do (F) (C).
(C) Why can't he (G) see, (F) how blind can he (E7) be? (C) Some (A7) day he will (Dm) see (Am), that (D7) he was meant for (G7) me. (pick lilt)
(C) To know, know, know him is to (G7) love, love, love him. (Am) Just to see him smile, (F) makes my life worthwhile. To (C) know, know, know him is to (G7) love, love, love him and I (C) do (F) (C) (F) (C).
(E. Harris)(D. Parton)(L. Ronstadt) (Artist Index) - (Main Index) - (Song Index) (This Song)
TOM DOOLEY – (Land/Traditional) – The Kingston Trio
TIP: Based on the true story of the 1868 murder of Laura Foster in North Carolina, allegedly by confederate veteran Tom Dooley. There are many variations. Also a very easy song to pick.
TIP: The middle bar of each stanza contains both a (D) and a (D7). You can play this song using both chords as written, using just the (D), or using just the (D7). It sound fine either way.
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Intro: Strum (G)
(G) Hang down your head, Tom Dooley. Hang down your head and (D) cry. Hang down your head, Tom Doo (D7) ley. Poor boy, you're bound to (G) die.
I met her on the mountain. I swore she’d be (D) my wife. But the gal re (D7) fused me, so I stabbed her with my (G) knife. I left her by the roadside, I begged to be ex (D) cused. I left her by the (D7) roadside, then I hid her clothes and (G) shoes.
Hang down your head, Tom Dooley. Hang your head and (D) cry. You killed poor Laurie (D7) Foster, you know you're bound to (G) die.
I dug the grave four feet long, and I dug it three feet (D) deep. I rolled the cold clay (D7) over her, and tromped it with my (G) feet. "Trouble, oh it's trouble. A-rollin' through my (D) breast. As long as I'm a (D7) livin', boys, they ain't a-gonna let me (G) rest.
Hang down your head, Tom Dooley. Hang your head and (D) cry. You killed poor Laurie (D7) Foster, you know you're bound to (G) die.
In this world and one more, then reckon that’s where I'll (D) be. If it wasn't for Sheriff (D7) Grayson, I'd be in Tenne (G) see. I know they're gonna hang me, tomorrow I'll be (D) dead. Though I never even (D7) harmed a hair, on poor little Laurie's (G) head."
Hang down your head, Tom Dooley. Hang your head and (D) cry. You killed poor Laurie (D7) Foster, you know you're bound to (G) die.
Take down my old violin, and play it all you (D) please. For at this time (D7) tomorrow, boys. It'll be of no use to (G) me." This here time tomorrow, I know just where I'll (D) be. In some lonesome (D7) valley, hanging from a white oak (G) tree.
Hang down your head, Tom Dooley. Hang your head and (D) cry. You killed poor Laurie (D7) Foster, you know you're bound to (G) die.
Hang down your head, Tom Dooley. Hang your head and (D) cry. You killed poor Laurie (D7) Foster, you know you're bound to (G) die.
(Traditional)(The Kingston Trio) (Artist Index) - (Main Index) - (Song Index) (This Song)
TOM TRAUBERT'S BLUES (Waltzing Mathilda) - (Waits) - Tom Waits/Rod Stewart (C1)
TIP: To go from (Am) to (ASUS) just hold the (Am) formation and place pinky on 2nd string/3rd fret.
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(C) Wasted and wounded, and it (G) ain't what the moon did. I (Am7) got what I (D7) paid for
(G) now. (C) See you tomorrow. Hey (G) Frank can I borrow, a (Am) couple of (Asus) bucks from
(D7) you. To go (G) waltzing Ma (Am7) thilda. (G) Waltzing Mathil (C) da. (G) You'll go waltzing
Ma (Am7) thilda with (D7) me.
I'm an (C) innocent victim of a (G) blinded alley, and I'm (Am7) tired of all these (D7) soldiers (G) here. (C) Noone speaks English, and (G) everything's broken, and my (Am) strength is
(Asus) soaking a (D7) way. To go (G) waltzing Ma (Am7) thilda. (G) Waltzing Mathil (C) da.
(G) You'll go waltzing Ma (Am7) thilda with (D7) me.
Now the (C) dogs they are barking, and the (G) taxi cab's parking. A (Am7) lot they can (D7) do for (G) me. I (C) begged you to stab me. You (G) tore my shirt open, and I'm (Am) down on my (Asus) knees to (D7) night. Old (C) bushmills I staggered. You (G) buried the dagger. Your
(Am) silhouette window (D7) light. (NC) To go (G) waltzing Ma (Am7) thilda. (G) Waltzing
Mathil (C) da. (G) You'll go waltzing Ma (Am7) thilda with (D7) me.
Now I've (C) lost my St. Christopher, (G) now that I kissed her, and the (Am7) one-arm (D7) bandit (G) knows. And the (C) maverick Chinaman, with the (G) cold-blooded sigh, and the (Am7) girls down by the (D7) striptease shows go. (G) Waltzing Ma (Am7) thilda. (G) Waltzing Mathil (C) da.
(G) You'll go waltzing Ma (Am7) thilda with (D7) me.
No I (C) don't want your sympathy, (G) fugitives say, that the (Am7) streets aren't for
(D7) dreaming (G) now. (C) Manslaughter dragnets, and the (G) ghost that sells memories, want a (Am7) piece of the action (D7) anyhow go. (G) Waltzing Ma (Am7) thilda. (G) Waltzing
Mathil (C) da. (G) You'll go waltzing Ma (Am7) thilda with (D7) me.
And you can (C) ask any sailor, and the (G) keys from the jailor, and the (Am7) old men in
(D7) wheelchairs (G) know, that Ma (C) tilda's the defendant. She (G) killed about a hundred, and she (Am7) follows wherever (D7) you may go. (G) Waltzing Ma (Am7) thilda. (G) Waltzing
Mathil (C) da. (G) You'll go waltzing Ma (Am7) thilda with (D7) me.
And it's a (C) battered old suitcase, in a (G) hotel someplace, and a (Am7) wound that will
(D7) never (G) heal. (C) No prima donnas, the (G) perfume is on, an old (Am) shirt that is
(D7) stained with (G) blood (Am) and (G7) whiskey. And good (C) night to the street-sweepers,
the night (G) watchmen flame-keepers, and (Am) goodnight Ma (D7) tilda (G) too. (Am) Goodnight
Ma (D7) tilda (G) too.
(Rod Stewart) (Artist Index) - (Main Index) - (Song Index) (This Song)
TOMMY CAN YOU HEAR ME? - (Townshend) - The Who (C0)
TIP: You'll play the (F) and then the (Fsus) so keep the (F) formation and just tuck your pinky under the ring finger on the 3rd string/3rd fret and then release to get back to the (F).
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INTRO: (G)(C)-(G); (G)(C)-(G)
(G) Tommy can you (C) hear (G) me (C)-(G)? Can you feel me (C) near (G) you (C)-(G)?
(F) Tommy can you (Fsus) see (F) me? (Em) Can I help to (A4) cheer (Em) you.
Oooh (D) Tommy. Tommy. Tommy. Tommy.
(G) Tommy can you (C) hear (G) me (C)-(G)? Can you feel me (C) near (G) you (C)-(G)?
(F) Tommy can you (Fsus) see (F) me? (Em) Can I help to (A4) cheer (Em) you.
Oooh (D) Tommy. Tommy. Tommy. Tommy.
(G) Tommy can you (C) hear (G) me (C)-(G)? Can you feel me (C) near (G) you (C)-(G)?
(F) Tommy can you (Fsus) see (F) me? (Em) Can I help to (A4) cheer (Em) you.
Oooh (D) Tommy. Tommy. Tommy. Tommy. Tommy. Tommy. Tommy? Tommy? Tommy?
(The Who) (Artist Index) - (Main Index) - (Song Index) (This Song)
TRAVELIN' MAN - (Fuller) - Rick Nelson
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INTRO: (G)(Em); (G)(Em); (G)
I'm a travelin' man, (Em) made a lotta stops, (G) all over the (D) world. And in (Em) every port, I (C) own the heart, of at (G) least one (D) lovely (G) girl. I've a pretty senorita, (Em) waitin' for me, (G) down in old Mexi (D7) co. And if you're (Em) ever in Alaska, (C) stop and see, my (G) cute little (D) Eski (G) mo.
Oh my (C) sweet fraulien down in (Bm) Berlin town, (C) makes my heart start to (G) yearn. And my (C) China doll down in (Bm) old Hong Kong, (A) waits for my re (D7) turn.
Pretty (G) Polynesian baby, (Em) over the sea, (G) I remember the (D) night. When we (Em) walked in the sands of (C) Waikiki and I (G) held you (D) oh so (G) tight.
Oh my (C) sweet fraulien down in (Bm) Berlin town, (C) makes my heart start to (G) yearn. And my (C) China doll down in (Bm) old Hong Kong, (A) waits for my re (D7) turn.
Pretty (G) Polynesian baby, (Em) over the sea, (G) I remember the (D) night. When we (Em) walked in the sands of (C) Waikiki and I (G) held you (D) oh so (G) tight.
Whoa, I'm a (Em) travelin' man. (G) Yes, I'm a (Em) travelin' man now. (G) Well I'm a (Em) travelin' man. (G) Yes, I'm a (Em) travelin' man. (D) (G)
(Rick Nelson) (Artist Index) - (Main Index) - (Song Index) (This Song)
TRAVELIN’ SOLDIER – (Robison) – The Dixie Chicks
TIP: Presented in both the key of A and key of G. The key of A is how the Chicks did it but the key of G is a little easier to play without the (F#m).
(KEY OF A)
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(A) Two days past eighteen, he was waiting for the bus in his Army greens. Sat (D) down in a booth in a cafe there, gave his (A) order to a girl with a bow in her hair. He's a little shy so she gives him a smile, and he said would you mind sittin' down for a while, and (D) talking to me, I'm feeling a little (A) low? She said I'm (G) off in an hour and (D) I know where we can (A) go.
So they went down and they sat on the pier. He said I bet you got a boyfriend but I don't care. I (D) got no one to send a letter (A) to. Would you (G) mind if I sent (D) one back here to (A) you?
(F#m) How I cried. (D) Never gonna hold the hand of another guy-(A)-y. Too young for him they told her, (E) waitin' for the love of a travelin' (E7) sold (E) ier. (F#m) Our love will never end. (D) Waitin' for the soldier to come back aga-(A)-in. Never more to be alone, when the (E) letter said: A (E7) sol (E) dier's coming (A) home.
So the letters came from an Army camp, in California then Vietnam. And he (D) told her of his heart – it might be love, and (A) all of the things he was so scared of. He said when it's getting kinda rough over here, I think of that day sittin' down at the pier. And I (D) close my eyes, and see your pretty (A) smile. Don't (G) worry but I won't be (D) able to write for a (A) while.
(F#m) I cried. (D) Never gonna hold the hand of another guy-(A)-y. Too young for him they told her, (E) waitin' for the love of a travelin' (E7) sold (E) ier. (F#m) Our love will never end. (D) Waitin' for the soldier to come back aga-(A)-in. Never more to be alone, when the (E) letter said: A (E7) sol (E) dier's coming (A) home. (A) (A7)-(D); (A) (A7)-(D); (A)
One Friday night at a football game, the Lord's prayer said and the Anthem sang. A (D) man said folks would you bow your heads, for a (A) list of local Vietnam dead? Crying all alone under the stands, was a piccolo player in the marching band. And (D) one name read and nobody really (A) cared, but a (G) pretty little girl with a (D) bow in her (A) hair.
(F#m) How I cried. (D) Never gonna hold the hand of another guy-(A)-y. Too young for him they told her, (E) waitin' for the love of a travelin' (E7) sold (E) ier. (F#m) Our love will never end. (D) Waitin' for the soldier to come back aga-(A)-in. Never more to be alone, when the (E) letter said: A (E7) sol (E) dier's coming . . .
(F#m) How I cried. (D) Never gonna hold the hand of another guy-(A)-y. Too young for him they told her, (E) waitin' for the love of a travelin' (E7) sold (E) ier. (F#m) Our love will never end. (D) Waitin' for the soldier to come back aga-(A)-in. Never more to be alone, when the (E) letter said: A (E7) sol (E) dier's coming (A) home.
(A) (A7)-(D); (A) (A7)-(A); (A) (A7)-(D); (A)
(The Dixie Chicks) (Artist Index) - (Main Index) - (Song Index) (This Song)
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TRAVELIN’ SOLDIER – (Robison) – The Dixie Chicks
(KEY OF G)
TIP: The (Gadd) chord can be omitted without consequence.
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(Gadd) Two days past eight (G) teen, he was (Gadd) waiting for the bus in his Army greens. Sat (C) down in a booth in a cafe there, gave his (G) order to a girl with a bow in her hair.
(Gadd) He's a little shy so she gives him a (G) smile, and he said would you (Gadd) mind sittin' down for a while, and (C) talking to me, I'm feeling a little (G) low? She said I'm (F) off in an hour and (C) I know where we can (G) go.
So they (Gadd) went down and they sat on the (G) pier. He said I (Gadd) bet you got a boyfriend but I don't care. I (C) got no one to send a letter (G) to. Would you (F) mind if I sent (C) one back here to (G) you?
(Em) How I cried. (C) Never gonna hold the hand of another guy-(G)-y. (Gadd) Too young for him they told her, (D) waitin' for the love of a travelin' soldier. (Em) Our love will never end. (C) Waitin' for the soldier to come back aga-(G)-in. (Gadd) Never more to be a (G) lone, when the (D) letter said: A (D7) sol (D) dier's coming (G) home.
So the (Gadd) letters came from an Army (G) camp, in (Gadd) California then Vietnam. And he (C) told her of his heart – it might be love, and (G) all of the things he was so scared of.
He (Gadd) said when it's getting kinda rough over (G) here, I (Gadd) think of that day sittin' down at the pier. And I (C) close my eyes, and see your pretty (G) smile. Don't (F) worry but I won't be (C) able to write for a (G) while.
(Em) How I cried. (C) Never gonna hold the hand of another guy-(G)-y. (Gadd) Too young for him they told her, (D) waitin' for the love of a travelin' soldier. (Em) Our love will never end. (C) Waitin' for the soldier to come back aga-(G)-in. (Gadd) Never more to be a (G) lone, when the (D) letter said: A (D7) sol (D) dier's coming (G) home. (Gadd)-(C); (Gadd)-(C); (Gadd)
One Friday night at a football (G) game, the (Gadd) Lord's prayer said and the Anthem sang. A (C) man said folks would you bow your heads, for a (G) list of local Vietnam dead? (Gadd) Crying all alone under the (G) stands, was a (Gadd) piccolo player in the marching band. And (C) one name read and nobody really (G) cared, but a (F) pretty little girl with a (C) bow in her (G) hair.
(Em) How I cried. (C) Never gonna hold the hand of another guy-(G)-y. (Gadd) Too young for him they told her, (D) waitin' for the love of a travelin' soldier. (Em) Our love will never end. (C) Waitin' for the soldier to come back aga-(G)-in. (Gadd) Never more to be a (G) lone, when the (D) letter said: A (D7) sol (D) dier's coming . . .
(Em) How I cried. (C) Never gonna hold the hand of another guy-(G)-y. (Gadd) Too young for him they told her, (D) waitin' for the love of a travelin' soldier. (Em) Our love will never end. (C) Waitin' for the soldier to come back aga-(G)-in. (Gadd) Never more to be a (G) lone, when the (D) letter said: A (D7) sol (D) dier's coming (G) home.
(Gadd)-(C); (Gadd)-(C); (Gadd)
(The Dixie Chicks) (Artist Index) - (Main Index) - (Song Index) (This Song)
TULSA TIME - (Flowers) - Don Williams (C1)
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(G) I left Oklahoma drivin' in a Pontiac, just about to lose my (D) mind. I was goin' on to Arizona, maybe on to California, where all the people live so (G) fine. My baby said I was crazy, my momma called me lazy, I was goin' to show 'em all this (D) time. 'Cause you know I ain't no fool an' I don't need no more schoolin'. I was born to just walk the (G) line.
Livin' on Tulsa time. Livin' on Tulsa (D) time. Well you know I've been through it, when I set my watch back to it. Livin' on Tulsa (G) time.
Well there I was in Hollywood, wishin' I was doin' good, talkin' on the telephone (D) line. But they don't need me in the movies and nobody sings my songs. Guess I'm just wastin' (G) time. Well then I got to thinkin', man I'm really sinkin', and I really had a flash this (D) time. I had no business leavin' and nobody would be grievin' if I went on back to Tulsa (G) time.
Livin' on Tulsa time. Livin' on Tulsa (D) time. Well you know I've been through it, when I set my watch back to it. Livin' on Tulsa (G) time.
(Don Williams) (Artist Index) - (Main Index) - (Song Index) (This Song)
TUMBLING TUMBLEWEEDS – (Nolan) – Sons of the Pioneers
TIP: The (A6) played here is a brief, one-strum transition chord. You’ll already be playing (A) so just add your pinky to the bottom string for one note and quickly move back to the (A) and on to the (D).
TIP: The (F#/E) is just (F) played up one fret and with the pinky added above the ring finger (same fret) to fill in the bass. Don’t strum top string. If this is too difficult, just play an (F#) and ignore the bit about the pinky.
TIP: It may be a little hard to find the right note used to start the intro. While holding (A), it’s the 3rd string from the bottom (note A).
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Intro (sung): (A) Drifting along with the tumbling (A6) tum (A) ble (D) weeds.
[strum (D)]
(D) I'm a roaming cowboy, (G) riding all day (D) long. (A) Tumbleweeds around me, (D) sing their lonely (D7) song. (G) Nights underneath the prairie (D) moon. (G) I ride along and sing this (A) tune.
(G) See them tumbling down. (F#/E) Pledging their love to the ground. (G) Lonely but free I'll be (D) found, (A) drifting along with the tumbling (A6) tum (A) ble (D) weeds.
(G) Cares of the past are behind. (F#/E) Nowhere to go but I'll find, (G) just where the trail will (D) wind. (A) Drifting along with the tumbling (A6) tum (A) ble (D) weeds.
I (A) know, when night has (D) gone. That a (E) new world's, born at (A) dawn. (G) I'll keep rolling along. (F#/E) Deep in my heart is a song. (G) Here on the range I be (D) long, (A) along with the tumbling (A6) tum (A) ble (D) weeds.
[slowly] (A) Drifting along with the tumbling, (A6) tum (A) ble (D) weeds.
(Sons of the Pioneers) (Artist Index) - (Main Index) - (Song Index) (This Song)
TURN IT ON, TURN IT UP, TURN ME LOOSE - (Kostas/Patton) - Dwight Yoakam (C1)
TIP: This song can be played in just about any key. Presented here as Dwight does it, in (E), but can be played in (C)(G7)(F) or (D)(A7)(G) or (G)(D7)(C) or (A)(E7)(D) if those are easier for you to play.
TIP: The full (B7) chord is shown and is easy(ier) to play coming off the (E). Just move your index finger up one string and spread the middle and ring fingers over the 3rd and 5th strings. The pinky will follow naturally to cover the bottom string.
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(E) Well I'm back again, for a (B7) nother night, of trying to break free from this sadness that I can't lay to (E) rest. This old honky-tonk, sure does (B7) feel like home, and the music with the laughter seem to soothe my loneli (E) ness.
Turn it (A) on, turn it up, turn me loose, from the memory'ts, (E) driving me lonely, crazy and blue. It (A) helps me forget her, so the louder the better. Hey (E) mister turn it on, turn it (B7) up, turn me (E) loose.
If a (E) tear should fall. If I should (B7) whisper her name, to some stranger I'm holdin' while we're dancin' to an old Buck Owens (E) song. I know she won't mind. She won't (B7) even know. She'll be dancing with a memory crying teardrops of her (E) own.
Turn it (A) on, turn it up, turn me loose, from the memory'ts, (E) driving me lonely, crazy and blue. It (A) helps me forget her, so the louder the better. Hey (E) mister turn it on, turn it (B7) up, turn me (E) loose.
Turn it (A) on, turn it up, turn me loose, from the memory'ts, (E) driving me lonely, crazy and blue. It (A) helps me forget her, so the louder the better. Hey (E) mister turn it on, turn it (B7) up, turn me (E) loose.
Hey (E) mister turn it on, turn it (B7) up, turn me (E) loose.
(Dwight Yoakum) (Artist Index) - (Main Index) - (Song Index) (This Song)
TURN THE PAGE - Bob Seger
TIP: The intro can be ignored completely. It emulates the saxophone that begins the song. The numbers indicated the fret. Pluck the bottom string accordingly until you get to the chords.
TIP: The outro can be ignored too. It emulates the saxophone part that ends the song. You play alternate chords up on the neck at the fret indicated. The chord (G) on the 7th fret looks like the (Bm) chord -- see the diagram. The chord (Am) on the 5th fret is just a barre on the lower three strings -- see the diagram. Play (D4) like (D) but with the pinky covering the bottom string because the next chord played in (D) so you just lift the pinky. Keeping the (D) chord you pluck the 2nd and 4th strings and finish with (Em).
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Intro: 14-12-10-5-7; 5-7-14-12-10-5-7-5-2-(D)(Em)
(Em) On a long and lonesome highway, east of Omaha, you can (D) listen to the engine moanin' out his one note song. You can (Am) think about the woman, or the girl you knew the night befor- (Em) - ore. But your thoughts will soon be wandering, the way they always do, when you're (D) ridin' sixteen hours and there's nothin' much to do. And you (Am) don't feel much like ridin'. You just wish the trip was through (Em).
Here I (D) am, on the (Em) road again. There I (D) am, up on the (Em) stage. Here I (D) go,
playin' (Em) star again. There I (C) go (D), turn the (Em) page.
Well you walk into a restaurant, strung out from the road, and you (D) feel the eyes upon you
as you're shakin' off the cold. You pre (Am) tend it doesn't bother you but you just want to explode (Em). Most times you can't hear 'em talk; other times you can. All the (D) same old cliches, "Is that a woman or a man?" And you (Am) always seem outnumbered, you don't dare make a stand (Em).
Here I (D) am, on the (Em) road again. There I (D) am, up on the (Em) stage. Here I (D) go,
playin' (Em) star again. There I (C) go (D), turn the (Em) page.
Out there in the spotlight you're a million miles away. (D) Every ounce of energy you try to give away. As the (Am) sweat pours out your body like the music that you play (Em). Later in the evening as you lie awake in bed, with the (D) echoes from the amplifiers ringin' in your head. You (Am) smoke the day's last cigarette, rememberin' what she said (Em).
Now here I (D) am, on the (Em) road again. There I (D) am, up on the (Em) stage. Here I (D) go,
playin' (Em) star again. There I (C) go,(D) there IIIIIII . . . . (Em) go.
Outro: (G-7th fret), (Am -5th fret), (D4), (D), , (Em)
(Bob Seger) (Artist Index) - (Main Index) - (Song Index) (This Song)
25 or 6 to 4 – (Lamm) – Chicago
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INTRO: (Am) (C) (F) (E); (Am) (C) (F) (E)
(Am) Waiting (C) for the break of (F) day (E). (Am) Searching (C) for something to (F) say (E).
(Am) Flashing (C) lights against the (F) sky (E). (Am) Giving (C) up I close my (F) eyes (E).
(F) Sitting cross-legged on the (C) floor. (G) Twenty-five or six to (F) four.
(Am) (C) (F) (E)
(Am) Staring (C) blindly into (F) space (E). (Am) Getting (C) up to splash my (F) face (E).
(Am) Wanting (C) just to stay a (F) wake (E). (Am) Wond'ring (C) how much I can (F) take (E).
(F) Should I try to do some (C) more. (G) Twenty-five or six to (F) four.
(Am) (C) (F) (E); (Am) (C) (F) (E)
(Am) Feeling (C) like I ought to (F) sleep (E). (Am) Spinning (C) room is sinking (F) deep (E).
(Am) Searching (C) for something to (F) say (E). (Am) Waiting (C) for the break of (F) day (E).
(F) Twenty-five or six to (C) four. (G) Twenty-five or six to (F) four.
(Am) (C) (F) (E); (Am) (C) (F) (E); (Am)
(Chicago) (Artist Index) - (Main Index) - (Song Index) (This Song)
TWIST AND SHOUT - (Russell/Medley) - The Beatles [C1]
TIP: This is a fun, easy song to play. For the "Ahhh" part in the bridge (and the finale) you'll play (A) three times. The first time emphasize the top three strings (base A), next strike the middle strings, but not the bottom string (mid A), and then strike the lower three strings (treble A). Then comes (A6+) which is just (A) with your pinky extended to the bottom string/3rd fret. Alternatively you can play a barre on the second fret. The final A chord (bridge only) is something I made up called (AA5). Play a barre on the second fret and reach over with your pinky to play the bottom string/5th fret. Easy.
TIP: "Bueller . . . Bueller . . . Bueller . . . "
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INTRO: (A)-(A)-(A)(D)(G)(A), (A)x7 (D)(G)(A)
Well shake it up (D) baby now. (G) Shake it up (A) baby. (A7) Twist and (D) shout. (G) Twist and (A) shout. (A7) C'mon, c'mon, c'mon, c'mon (D) baby now. (G) Come on (A) baby. (A7) Come on and work it on (D) out. (G) Work it on (A) out.
(A7) Well work it on (D) ouuu-ut. (G) Work it on (A) out. (A7) You know you look so (D) good. (G) Look so (A) good. (A7) You know you got (D) me goin' now. (G) Got me (A) goin'. (A7) Just like I knew you (D) would. Like I (G) knew you (A) would.
Well shake it up (D) baby now. (G) Shake it up (A) baby. (A7) Twist and (D) shout. (G) Twist and (A) shout. (A7) C'mon, c'mon, c'mon, c'mon (D) baby now. (G) Come on (A) baby. (A7) Come on and work it on (D) out. (G) Work it on (A) out.
(A7) You know you twist you little (D) girl. (G) Twist, little (A) girl. (A7) You know you twist so (D) fine. (G) Twist so (A) fine. (A7) Come on and twist a little (D) closer now. (G) Twist a little (A) closer. (A7) And let me know that you're (D) mine. Let me (G) know you're (A) mine. Ooooh.
(D) (G) (A), (A)-(A)-(A)(D)(G)(A), (A)-(A)-(A)(D)(G)(A), (A)-(A)-(A)(D)(G)(A),
(Base A) Ahhh.... (Mid A) Ahhh..... (Treble A) Ahhh..... (A6+) Ahhh.... (AA5) Ahhh...
(D) Baby now! (G) Shake it up (A) baby. (A7) Twist and (D) shout. (G) Twist and (A) shout. (A7) C'mon, c'mon, c'mon, c'mon (D) baby now. (G) Come on (A) baby. (A7) Come on and work it on (D) out. (G) Work it on (A) out.
(A7) You know you twist you little (D) girl. (G) Twist, little (A) girl. (A7) You know you twist so (D) fine. (G) Twist so (A) fine. (A7) Come on and twist a little (D) closer now. (G) Twist a little (A) closer. (A7) And let me know that you're (D) mine. Let me (G) know you're (A) mine.
(A7) Well shake it shake it shake it (D) baby now. (G) Shake it up (A) baby.
(A7) Well shake it shake it shake it (D) baby now. (G) Shake it up (A) baby.
(A7) Well shake it shake it shake it (D) baby now. (G) Shake it up (A) baby.
(Base A) Ahhh.... (Mid A) Ahhh..... (Treble A) Ahhh..... (A6+) Ahhh.... [strum] (A)x3 (D) hold
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
TWO STORY HOUSE - (Wynette/Tubb/Lindsey) - George Jones and Tammy Wynette (C1)
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(C) We always wanted a (G7) big two story (C) house, back when we lived in that (G7) little two room (C) shack. We wanted fame and fortune and we'd live life the (C7) way the rich folks (F) do.
We (C) knew some how we'd make it, to (G7) gether me and (C) you.
With dreams and hopes of things to come we (G7) worked and never (C) stopped. Not much time for you and me, we (G7) had to reach the (C) top. We bought that big two story house and soon
be (C7) came the envy of the (F) town. With (C) all our work behind us, we'd (G7) finally settle (C) down.
Now we live (yes we live) in a (F) two story (G) house, whoa what (C) splendor, but there's
(F) no love a (G) bout. (C) I've got my (G7) story and (C) I've got mine (F) too. How sad it
(C) is, we now live, in a (G7) two story (C) house.
[Key change]: Strum (D)
The house is filled with rare antiques, there's (A7) marble on the (D) floor. Beauty all around us
like we've (A7) never seen be (D) fore. There's chandeliers in every room, imported (D7) silks and satin all a (G) bout. We (D) filled the house with everything but (A7) somehow left love (D) out.
Now we live (yes we live) in a (G) two story (A) house, whoa what (D) splendor, but there's
(G) no love a (A) bout. (D) I've got my (A7) story and (D) I've got mine (G) too. How sad it
(D) is, we now live, in a (A7) two story (D) house.
How sad it is, we now live, in a (A7) two story (D) house.
(George Jones)(Tammy Wynette) (Artist Index) - (Main Index) - (Song Index) (This Song)
UNCHAINED MELODY – (North/Zaret) - The Everly Brothers
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(C) Oh, my (Am) love, my dar (F) ling. I've (G) hungered for your (C) touch, a (Am) long lonely (G) time. And (C) time goes (Am) by, so slow (F) ly and (G) time can do so (C) much. Are (Am) you still (G) mine? I (C) need your (G) love, I (Am) need your (Em) love. God (F) speed your (G) love to (C) me. (C7)
(F) Lonely rivers (G) flow, to the (Am) sea, to the (Am7) sea. (F) To the open (G) arms of the (C) sea. (F) Lonely rivers (G) sigh: Wait for (Am) me, wait (Am7) for me. (F) I'll be coming (G) home, wait for (C) me.
(C) Oh, my (Am) love, my dar (F) ling. I've (G) hungered for your (C) touch, a (Am) long lonely (G) time. And (C) time goes (Am) by, so slow (F) ly and (G) time can do so (C) much. Are (Am) you still (G) mine? I (C) need your (G) love, I (Am) need your (Em) love. God (F) speed your (G) love (add D) to (C) me.
(Finale) (Am) (F) (G) (C)
(The Everly Brothers) (Artist Index) - (Main Index) - (Song Index) (This Song)
UNDER THE BOARDWALK – (Young/Resnick) - The Drifters
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Oh when the (G) sun beats down and burns the tar up on the (D) roof. And your (D7) shoes get so hot you wish your (D) tired feet were fire (G) proof (G7).
Under the (C) boardwalk, down by the (G) sea, yeah. On a blanket with my (D) baby is where I'll (G) be.
Under the (Em) boardwalk, out of the sun. Under the (D) boardwalk, we'll be having some fun. Under the (Em) boardwalk, people walking above. Under the (D) boardwalk, we'll be falling in love. Under the (Em) boardwalk, boardwalk.
From the (G) park you hear the happy sound of the carou (D) sel. You can (D7) almost taste the hot dogs and (D) French fries they (G) sell (G7).
Under the (C) boardwalk, down by the (G) sea, yeah. On a blanket with my (D) baby is where I'll (G) be.
Under the (Em) boardwalk, out of the sun. Under the (D) boardwalk we'll be having some fun. Under the (Em) boardwalk, people walking above. Under the (D) boardwalk, we'll be falling in love. Under the (Em) boardwalk, boardwalk.
(The Drifters) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE UNICORN – (Silverstein) – The Irish Rovers (C0)
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A (C) long time ago, when the (Dm) earth was still green, there were (G) more kinds of animals than (C) you've ever seen. They'd run around free, while the (Dm) earth was being born. The (C) loveliest of all was the (G) uni (C) corn. There was green alligators and (Dm) long-necked geese, some (G) humpty-backed camels and some (C) chimpanzees. Some cats and rats and elephants, but (Dm) sure as you're born, the (C) loveliest of all was the (G) Uni (C) corn.
Now God seen some sinnin', and it (Dm) gave Him pain. And He (G) said, "Stand back, I'm going to (C) make it rain." He said "Hey brother Noah, I'll (Dm) tell you what to do. (C) Build me a (G) floating (C) zoo." And take some of them green alligators, and (Dm) long-necked geese. Some (G) humpty-backed camels and some (C) chimpanzees. Some cats and rats and elephants, but (Dm) sure as you're born, (C) don't you forget my (G) Uni (C) corn."
Old Noah was there, to (Dm) answer the call. He (G) finished up making the Ark, just as the (C) rain started fallin'. He marched in the animals (Dm) two by two, and he (C) called out as (G) they went (C) through, “Hey Lord, I've got yer green alligators, and (Dm) long-necked geese.
Some (G) humpty-backed camels and some (C) chimpanzees. Some cats and rats and elephants, but (Dm) Lord I'm so forlorn, I (C) just can't see no (G) Uni (C) corn."
Old Noah looked out into the (Dm) driving rain. Them (G) Unicorns was hiding, (C) playing silly games. Kicking and splashing, while the (Dm) rain was pouring. (C) Oh, them silly (G) Uni (C) corns. There was green alligators, and (Dm) long-necked geese. Some (G) humpty-backed camels and some (C) chimpanzees. Noah cried "Close the doors, 'cause the (Dm) rain is pourin', and we (C) just can't wait for no (G) Uni (C) corns."
The Ark started movin', it (Dm) drifted with the tide. Them (G) Unicorns looked up from the (C) rock and they cried. And the waters came down and sorta (Dm) floated them away . . . and (C) that's why you've never see a unicorn, to this (G) very (C) day.
You'll see green alligators and (Dm) long-necked geese. Some (G) humpty-backed camels and some (C) chimpanzees. Some cats and rats and elephants, but (Dm) sure as you're born, you're (C) never gonna see no (G) Uni (C) corn.
(The Irish Rovers) (Artist Index) - (Main Index) - (Song Index) (This Song)
UP ON THE ROOF – (King/Coffin) – The Drifters/James Taylor (C0 or C5)
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(G) When this old world starts getting me (Em) down, and (C) people are just too (D) much for me to (G) face. I climb way up to the (Em) top of the stairs, and (C) all my cares just (D) drift right into (G) space.
(C) On the roof, it's peaceful as can be. And (G) there the world be (Em) low can't (C) bother (D) me. Let me tell you now
When (G) I come home feelin' (Em) tired and beat, I (C) go up where the (D) air is fresh and (G) sweet. I get away from the (Em) hustling crowd, and (C) all that rat-race (D) noise down in the (G) street.
(C) On the roof, the only place I know, where (G) you just have to (Em) wish to make it (D) so
Let's go up on the (G) roof.
(C) (D) (G)
(C) At night the stars put on a show for free, and (G) darling, you can (Em) share it all with (D) me. I keep a-tellin' you.
(G) Right smack dab in the (Em) middle of town I've (C) found a para (D) dise that's trouble (G) proof. And if (G) this world starts (Em) getting you down, there's (C) room enough for (D) two.
Up on the (G) roof (Em) (C) (D). Up on the (G) roof (Em) (C) (D).
Up on the (G) roof (Em) (C) (D) (G)
(The Drifters)(James Taylor) (Artist Index) - (Main Index) - (Song Index) (This Song)
VINCENT - Don McLean (C0)
TIP: To play the (Cm) just play (Bm) on the 3rd fret and ignore the top two strings.
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Starry, starry (G) night. Paint your palette (Am) blue and grey. Look out on a summer's day, with (D7) eyes that know the darkness in my (G) soul. Shadows on the hills. Sketch the trees and the (Am) daffodils. Catch the breeze and the winter chills, in (D7) colors on the snowy linen (G) land. (C) (G)
Now I under (Am) stand, (D7) what you tried to (G) say to me. (Em) How you suffered for your (Am7) sanity, (D7) how you tried to set them (Em) free. They would not listen, they did (A7) not know (Am7) how. (D7) Perhaps they'll listen (G) now.
Starry, starry (G) night. Flaming flowers that (Am) brightly blaze. Swirling clouds in violet haze, (D7) reflect in Vincent's eyes of China (G) blue. Colors changing hue, morning field of amber (Am) grain. Weathered faces lined in pain, are (D7) soothed beneath the artist's loving (G) hand. (C) (G)
Now I under (Am) stand, (D7) what you tried to (G) say to me. (Em) How you suffered for your (Am7) sanity, (D7) how you tried to set them (Em) free. They would not listen, they did (A7) not know (Am7) how. (D7) Perhaps they'll listen (G) now.
(G) For they could not (Am) love you. (D7) But still your love was (G) true. And when no (E) hope was left in sight, on that (Cm) starry, starry night, you (Em) took your life as (E7) lovers often (Am) do. But I (Am7) could have told you, Vincent, this (C) world was never meant for one as (D7) beautiful as (G) you.
Starry, starry (G) night. Portraits hung in (Am) empty halls. Frameless head on nameless walls, with (D7) eyes that watch the world and can't for (G) get. Like the strangers that you've met, the ragged men in the (Am) ragged clothes. The silver thorns of bloody rose, lie (D7) crushed and broken on the virgin (G) snow. (C) (G)
Now I think I (Am) know, (D7) what you tried to (G) say to me. (Em) How you suffered for your (Am7) sanity, (D7) how you tried to set them (Em) free. They would not listen, they're (A7) not listening (Am7) still. (D7) Perhaps they never (G-add) will.
(Don McLean) (Artist Index) - (Main Index) - (Song Index) (This Song)
VIVA LAS VEGAS – (Pomus/Shuman) – Elvis Presley/ZZ Top (C0)
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(G) Bright light city gonna set my soul, gonna set my soul on fire. There’s a whole lot of money that's ready to burn, so get those stakes up higher. There's a (Em) thousand pretty women, waitin' out there. They're all livin', devil may care. And I'm just the devil with love to spare.
(C) Viva Las (G) Vegas. (C) Viva Las (G) Vegas.
How I wish that, there were more, than twenty-four hours in the day. But even if there were forty more, I wouldn't sleep a minute away. Oh there's (Em) black jack and poker and the roulette wheel, a fortune won and lost on every deal. All you need's a strong heart and nerves of steel.
(C) Viva Las (G) Vegas, (C) Viva Las (G) Vegas. (C) Viva Las (G) Vegas, (C) Viva Las (G) Vegas.
(C) Viva Las Vegas with your, neon flashin' and your, one armbandits crashin', (G) all those hopes down the drain. (C) Viva Las Vegas turnin', day into nighttime turnin', night into daytime if you (A) see it once, you'll never come home a (D7) gain.
(G) I'm gonna keep on the run, I'm gonna have me some fun, if it costs me my very last dime. If I wind up broke, well I'll always remember that I, had a swingin' time. (Em) I'm gonna give it everything I've got, Lady Luck please let the dice stay hot, let me shoot a seven with every shot.
(C) Viva Las (G) Vegas. (C) Viva Las (G) Vegas. (C) Viva Las (G) Vegas. (C) Viva Las (G) Vegas. (C) Viva, (D7) Viva, Las (G) Vegas.
(Elvis Presley)(ZZ Top) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE VOICE – (Hayward) – Moody Blues (C0)
TIP: Emphasize the bass strings.
TIP: In the bridge, the (Bm7) is preceded by (D) so just add the pinky to the 4th fret/4th string and ignore the 5th string/1st fret.
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INTRO: (Em) (G) (Em) (C); (Em) (G) (Em) (C)
(Em) Won't you take me (G) back to school? I (C) need to learn the golden rule. (Em) Won't you lay it (G) on the line? I (C) need to hear it just one more time. (G) Oh, won't you (Am) tell me again? (G) Oh, can you (Dm7) feel it? (G) Oh, won't you (Am) tell me again, to (Em) night? (G)
(Em) Each and every (G) heart it seems, is (C) bounded by a world of dreams. (Em) Each and every (G) rising sun, is (C) greeted by a lonely one. (G) Oh, won't you (Am) tell me again? (G) Oh, can you (Dm7) feel it? (G) Oh, won't you (Am) tell me again, to (Em) night? (Am) To (Em) night.
Cuz (D) out on the (Am7) ocean of (D) life my love, there's (Bm7) so many (E7) storms we must (Am) rise above. Can you (F) hear the spirit calling, as it's (A) carried across the waves? You're (Dm) already (C) falling, it's (Am7) calling you (F) back to face the music, and the (A) song that is coming through. You're (Dm) already (C) falling, the (Bb) one that is (Am7) calling is (D) you.
(Em) Make a promise (G) take a vow, and (C) trust your feelings, it's easy now. (Em) Understand the (G) voice within, and (C) feel the change already beginning. (G) Oh, won't you (Am) tell me again? (G) Oh, can you (Dm7) feel it? (G) Oh, won't you (Am) tell me again, to (Em) night?
(G) Oh, won't you (Am) tell me again? (G) Oh, can you (Dm7) feel it? (G) Oh, won't you (Am) tell me again, to (Em) night? (Am) To (Em) night.
And (D) how many (Am7) words have I (D) got to say? And (Bm7) how many (E7) times will it (Am) be this way? With your (F) arms around the future, and your (A) back up against the past. You're (Dm) already (C) falling, it's (Am7) calling you (F) back to face the music, and the (A) song that is coming through. You're (Dm) already (C) falling, the (Bb) one that is (Am7) calling is (D) you.
(Em) Each and every (G) heart it seems, is (C) bounded by a world of dreams. (Em) And each and every (G) rising sun, is (C) greeted by a lonely one. (G) Oh, won't you (Am) tell me again? (G) Oh, can you (Dm7) feel it? (G) Oh, won't you (Am) tell me again, to (Em) night?
(G) Oh, won't you (Am) tell me again? (G) Oh, can you (Dm7) feel it? (G) Oh, won't you (Am) tell me again, to (Em) night? (Am) To (Em) night.
(G) Oh, can you (Dm7) feel it? (G) Oh, won't you (Am) tell me again, to (Em) night?
(The Moody Blues) (Artist Index) - (Main Index) - (Song Index) (This Song)
WABASH CANNONBALL – (Traditional) – Roy Acuff (C0)
TIP: Presented here in the key of G. The starting note for singing is D (open 4th string), and remember the melody climbs to a peak on "ocean". Can also be done in (A), (D), (E), and (E7) which is how Roy Acuff performed it.
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From the (G) wide Pacific ocean to the broad Atlantic (C) shore. She (D) climbs the flowery mountains, over (D7) hills and by the (G) shore. Although she's tall and handsome, and she's known quite well by (C) all. She's a (D) regular combination, the (D7) Wabash Cannon (G) ball.
Oh the (G) Eastern states are dandy, so the Western people (C) say. From (D) New York to St. Louis and Chi (D7) cago by the (G) way. To the hills of Minnesota where the rippling waters (C) fall, no
(D) chances to be taken on the (D7) Wabash Cannon (G) ball.
So, listen to the jingle, the rumble and the (C) roar, as she (D) glides along the woodland, over (D7) hills and by the (G) shore. Hear the mighty rush of the engine, hear the merry hobos (C) squall, to (D) rumble though the jungle, on the (D7) Wabash Cannon (G) ball.
Oh, here's old daddy Cleaton, let his name forever (C) be. And (D) long may he be remembered, in the (D7) courts of Tennes (G) see. For he is a good old rounder 'til the curtain round him (C) falls. He'll be (D) carried back to victory on the (D7) Wabash Cannon (G) ball.
I have rode the I.C. Limited, also the Royal (C) Blue. A (D) cross the Eastern counties, on (D7) Elkhorn Number (G) Two. I have rode these highball trains from coast to coast that's (C) all.
But I have (D) found no equal, on the (D7) Wabash Cannon (G) ball.
Oh, listen to the jingle, the rumble and the (C) roar, as she (D) glides along the woodland, over (D7) hills and by the (G) shore. Hear the mighty rush of the engine, hear the merry hobos (C) squall, to (D) rumble though the jungle, on the (D7) Wabash Cannon (G) ball.
(Roy Acuff) (Artist Index) - (Main Index) - (Song Index) (This Song)
WAITING IN THE WEEDS - (Henley/Smith) - The Eagles (C4)
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TIP: The intro is a delicate plucking (or picking) of the 2nd and 3rd strings.
TIP: The (D4) can be skipped if you wish.
TIP: The (Bm)(Bb+) is an important sequence. Instead of playing the (Bm) like a (C) you might find it easier to play from the (D) chord formation, playing the (Bm) by extending your pinky to the 3rd string/4th fret. Then, to get to (Bb+) just slide the pinky down one fret, keeping the ring finger where it is. Then lift the pinky to play the (D), replace for the (Bb+) and slide up for the (Bm).
Intro: (Gadd)
(G) It's comin' on, the (D4) end of Aug (Em) ust. (G) Another summer's (Gadd) promise, almost
(Em) gone. And though I (Gadd) heard some wise man (C) say, that every (G) dog will have his
(Em) day. He never (F) mentioned that these dog days get so (Am) long (D).
I don't know (G) when I realized, the dream was o (Em) ver. Well there was (G) no particular hour, no given (Em) day. You know it (Gadd) didn't go down in (C) flame, there was no (G) final scene no, frozen (Em) frame. (F) I just watched it slowly fade a (Am) way (D)(Dsus)(D).
And (Em) I've been waiting in the (G) weeds, waiting for my (Am) time to come, a (C) round again and (Em) hope is floating on the (G) breeze, carrying my (Am) soul high up, a (C) bove the ground and (Em) I've been keepin' to my (G) self, knowin' that the (Am) sea - sons are (C) slowly changing
(Em) you and though-you're with somebody (G) else, he'll never love you-like-I (Am) do (C).
(G) I've been biding time, with the (D4) crows and (Em) sparrows. (G) While peacocks prance and strut, upon the (Em) stage. If finding (Gadd) love is just a (C) dance, (G) proximity and
(Em) chance, you will ex (F) cuse me if I skip the masquer (Am) ade (D)(Dsus)(D).
(Em) And I've been waiting in the (G) weeds, waiting for the (Am) dust to settle (C) down along the, (Em) back roads running through the (G) fields, lying on the (Am) outskirts of, this
(C) lonesome town and I im (Em) agine sunlight in your (G) hair, you're at the county (Am) fair.
You're holding (C) hands and laughing (Em) and now the ferris wheel has (G) stopped. You're swinging on the (Bm) top, suspended (F#) there with him and (G) he's that darling of the (D) chic,
the flavor of the (Bm) week . . . is (F#) mel-tiinng, (G) down your pretty summer (D) dress, baby what a (F#) mess you're ma - (Bm) king.
(Bm) (Bb+) (D) (Bb+); (Bm) (Bb+) (D) (Bb+)
(Bm) I've been stumbling through some (Bb+) dark places. (D) Now I'm following the (Bb+) plow.
(Bm) I know I've fallen out of your (Bb+) good graces. (Am) It's alright (D) now.
(Em) I've been waiting in the (G) weeds, waiting for the (Am) summer rain, to (C) fall upon the
(Em) wild birds scattering the (G) seeds. Answering the (Am) calling of the (C) tide's eternal (Em) tune, the phases of the (G) moon, the chambers of the (Am) heart, the egg and (C) dart of small gray (Em) spiders spinning in the (G) dark, in spite of all the (Am) times the web is
(C) torn apart and (Em) I've been waiting in the (G) weeds, waiting for the (Am) time-to-come, a
(C) round again and (Em) hope is floating on the (G) breeze carrying my (Am) soul high up
a (C) bove the ground and (Em) I've been keeping to my (G) self, knowing that the (Am) sea - sons are (C) slowly changing (Em) you and though-you're with somebody (G) else, he'll never
love you-like-I (Am) do (C).
(Em)(G)(Am)(C) repeat and end with (Em)
(The Eagles) (Artist Index) - (Main Index) - (Song Index) (This Song)
WALK AWAY RENEE – (Lookofsky/Sansone) – The Cowsills
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INTRO: (D) (A) (E) (A)
(A) And when I (E) see the sign that (G), points One (Bm) Way. (Dm) The lot we (A) used to pass by (D), every (B7) day.
(A) Just walk (F#m) away Renee, you (D) won't see me follow (A) you back (E) home. (A) The empty (F#m) sidewalks on my, (D) block are not the (C#m) same. (D) You're not to (A) blame.
(A) From deep in (E) side the tears that (G), I'm forced to (Bm) cry. (Dm) From deep in (A) side the pain I (D), I chose to (B7) hide.
(A) Just walk (F#m) away Renee, you (D) won't see me follow (A) you back (E) home. (A) Now as the (F#m) rain beats down, up (D) on my weary (C#m) eyes. (D) For me it (A) cries.
Flute solo: (F#m) (A) (Gm) (D) (F#m) (D) (B7)
(A) Just walk (F#m) away Renee, you (D) won't see me follow (A) you back (E) home. Now (A) as the (F#m) rain beats down, up (D) on my weary (C#m) eyes. (D) For me it (A) cries.
(A) Your name and (E) mine inside a (G) heart, upon a (Bm) wall. (Dm) Still finds a (A) way to haunt me, (D) though they're so (B7) small.
(A) Just walk (F#m) away Renee, you (D) won't see me follow (A) you back (E) home. (A) The empty (F#m) sidewalks on my, (D) block are not the (C#m) same. (D) You're not to (A) blame.
(The Cowsills) (Artist Index) - (Main Index) - (Song Index) (This Song)
WALK OF LIFE – (Knopfler) – Dire Straits (C0)
TIP: Most people play (A) with the index-middle-ring fingers. But in this song there’s an (A)-(B)-(A)-(B) chord series. So for this song play (A) with the middle-ring-pinky fingers instead. This way, after playing (A) you can slide up the neck two frets to play (B) and slide back down again to play the second (A) in the series.
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INTRO: (E) (A) (B) (A) (B)
(E) Here comes Johnny singing oldies goldies: “Be-Bop-A-Lula, Baby What I Say.” Here comes Johnny singing “I Gotta Woman.” Down in the tunnels, trying to make it pay.
(A) He got the action, he got the motion, (E) yeah the boy can play. (A) Dedication, devotion,
(E) turning all the night time into the day. He do the song about the sweet lovin' (B) woman.
He do the (E) song about the (A) knife. He do the (E7) walk, (B) he do the walk of (A) life. (B) Yeah he do the walk of (E) life. (E) (A) (B) (A) (B)
(E) Here comes Johnny and he'll tell you the story. Hand me down my walkin' shoes. Here comes Johnny with the power and the glory. Backbeat, the talkin' blues.
(A) He got the action, he got the motion, (E) yeah the boy can play. (A) Dedication, devotion,
(E) turning all the night time into the day. He do the song about the sweet lovin' (B) woman.
He do the (E) song about the (A) knife. He do the (E7) walk, (B) he do the walk of (A) life. (B) Yeah he do the walk of (E) life. (E) (A) (B) (A) (B)
(E) Here comes Johnny singing oldies, goldies: “Be-Bop-A-Lula, Baby What I Say.” Here comes Johnny singing “I Gotta Woman.” Down in the tunnels, trying to make it pay.
(A) He got the action, he got the motion, (E) yeah the boy can play. (A) Dedication, devotion,
(E) turning all the night time into the day. And after all the violence and (B) double talk
There's just a (E) song in all the trouble and the (A) strife. You do the (E7) walk, (B) you do the walk of (A) life, (B) yeah he do the walk of (E) life.
(E) (A) (B) (A) (B); (E) (A) (B) (A) (B) [End with an (E)]
(Dire Straits) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE WANDERER – (Maresca) - Dion (C1 or C2)
TIP: The intro strum cadence is easy; just keep the (D) and add/lift pinky to 3rd string/4th fret!
TIP: When strumming the (D) wrap your thumb over the top string to round out the bottom.
TIP: Start singing on note (D chord, second string)
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INTRO: Strum (D)-(Bm) . . . (D)
(D) Oh, I'm the type of guy who will never settle down. Where pretty girls are will you know that I'm around. I (G) kiss'em and I love'em, 'cause to me they're all the same. I (D) hug'em and I squeeze'em, they don't even know my name. They call me the (A) wanderer, yeah, the (G) wanderer. I roam (D) around, around, around, around.
Well (D) there's Flo on my left arm, and there's Mary on my right. And Jenny is the girl that, I'll be with tonight. And (G) when she asks me which one I love the best. I’ll (D) tear open my shirt and show her Rosie on my chest. Cause I'm the (A) wanderer, yeah, the (G) wanderer. I roam (D) around, around, around, around.
Well I (A) roam from town to town. I go through life without a care. And I'm as happy as a clown. And with my (B7) two fists of iron, but I'm (E7) going on and (A7) on.
(D) Oh yeah, I'm the type of guy that likes to roam around. I'm never in one place, I roam from town to town. And (G) when I find myself, fallin' for some girl, I (D) hop right into that car of mine I drive around the world. Yeah I'm a (A) wanderer, yeah, the (G) wanderer. I roam (D) around, around, around around.
Yeah, I'm a (A) wanderer, yeah, the (G) wanderer. I roam (D) around, around, around, around.
(End with (D))
(Dion) (Artist Index) - (Main Index) - (Song Index) (This Song)
WAYFARING STRANGER – (Traditional) – Emmylou Harris (C0)
TIP: If strumming the song, play as indicated. But if picking this song, try this as a nice alternate to the lower register of the (F): In the verses that begin with "I'm going there . . . " at the first (F) play (Cm) but at the 5th fret instead of the third, then drop down to normal (Cm) before going to (C), then include a (CaddG). And at the second (F), play (Cm) at the third fret then drop down one fret and finish at (E).
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(NC) I am a (Am) poor, wayfaring stranger, while traveling (Dm) through, this world of (Am) woe. Yet there's no sick - ness, toil or danger, in that bright (Dm) world to which I (Am) go.
I'm going (F) there, to see my (C) father. I'm going (F) there, no more to (E) roam. I'm only (Am) go, -ing over Jordan. I'm only (Dm) go, -ing over (Am) home.
I know dark clouds, will gather round me. I know my (Dm) way, is rough and (Am) steep. Yet beauteous fields, lie just before me, where God's re (Dm) deemed, their vigils (Am) keep.
I'm going (F) there, to see my (C) mother. She said she'd (F) meet, me when I (E) come. I'm only (Am) go, -ing over Jordan. I'm only (Dm) go, -ing over (Am) home.
I want to wear, that crown of glory, when I get (Dm) home, to that good (Am) land. Well, I want to shout, Salvation's story, in concert (Dm) with, all the blood-washed (Am) band.
I'm going (F) there, to see my (C) Saviour. I'm going (F) there, no more to (E) roam. I'm only (Am) go, -ing over Jordan. I'm only (Dm) go, -ing over (Am) home.
Well I'm only (Dm) go, -ing over (Am) home.
(Traditional)(Emmylou Harris) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE WAYWARD WIND – (Newman/Lebowsky) - Patsy Cline (C1)
TIP: As the name implies, to play (CaddG) simply play (C) and add your pinky on the bottom string, 3rd fret.
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(G) Oh, the wayward wind, is a restless (C) wind. (CaddG) A restless (G) wind, that yearns to (D7) wander. And he was (G7) born, the next of (C) kin. (CaddG) The next of (G) kin, (D7) to the (C) wayward (G) wind.
(G) In a lonely shack by a railroad track, he spent his younger days. And I guess the sound of the outward bound, (D7) made him a slave, to his wandering (G) ways.
(G) Oh, the wayward wind, is a restless (C) wind. (CaddG) A restless (G) wind, that yearns to (D7) wander. And he was (G7) born, the next of (C) kin. (CaddG) The next of (G) kin, (D7) to the (C) wayward (G) wind.
(G) Oh, I met him there, in a border town. He vowed we'd never part. Though he tried his best to settle down, (D7) I'm now alone, with a broken (G) heart.
(G) Oh, the wayward wind, is a restless (C) wind. (CaddG) A restless (G) wind, that yearns to (D7) wander. And he was (G7) born, the next of (C) kin. (CaddG) The next of (G) kin, (D7) to the (C) wayward (G) wind.
(Patsy Cline) (Artist Index) - (Main Index) - (Song Index) (This Song)
WE CAN WORK IT OUT – (Lennon/McCartney) - The Beatles [C0]
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(G) Try to see it my way. Do I have to (F) keep on talking till (C) I can't go (G) on? While you see it your way, run the risk of (F) knowing that our love (C) may soon be (G) gone.
(C) We can work it (G) out. (C) We can work it (D) out.
(G) Think of what you're saying. You can get it (F) wrong and still you think (C) that it’s all (G) right. Think of what I'm saying. We can work it (F) out and get it straight, (C) or say good (G) night.
(C) We can work it (G) out. (C) We can work it (D) out.
(Em) Life is very short, and there's no (C) time (B7). For fussing and (Em) fighting, my friend. (C) (Em) I have always thought that it's a (C) crime (B7). So I will (Em) ask you once a (C) gain.
(G) Try to see it my way. Only time will (F) tell if I am right or (C) I am (G) wrong. While you see it your way, there's a chance that (F) we might fall apart be (C) fore too (G) long.
(C) We can work it (G) out. (C) We can work it (D) out.
(Em) Life is very short, and there's no (C) time (B7). For fussing and (Em) fighting, my friend. (C) (Em) I have always thought that it's a (C) crime (B7). So I will (Em) ask you once a (C) gain.
(G) Try to see it my way. Only time will (F) tell if I am right or (C) I am (G) wrong. While you see it your way, there's a chance that (F) we might fall apart be (C) fore too (G) long.
(C) We can work it (G) out. (C) We can work it (D) out. (G) (C) (G)
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
WE GOTTA GET OUT OF THIS PLACE - (Mann/Weil) - The Animals (C1)
TIP: The intro is the opening bass line, the third and fourth notes are one octave apart. If plucked in the middle register (the song is in D) the first is open 4th string and the next is 3rd fret/2nd string).
TIP: Where you see "(Bm5)" in the second line of each verse that's still a (Dm) and you can play either a standard (Dm) or the (Dm) at the 5th fret which looks like the (Bm) chord formation (see the 3rd diagram). A (C) precedes and follows it so your fingers are already in the right formation. Plus it sounds better at the 5th fret.
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INTRO: x 4
(Dm) In this dirty old (C) part of the city (Dm). When the sun re (C) fused to (Bm5) shine.
People tell me there (C) ain't no use in (Dm) tryin'. (C)
(Dm) Now my girl you're so (C) young and pretty (Dm). And one thing I (C) know is (Bm5) true.
You'll be dead be (C) fore your time is (Dm) due. (C)(Dm) I know. (C)
(Dm) Watch my daddy in (C) bed and dying (Dm). Watch his hair been (C) turning (Bm5) grey. He's been working and (C) slavin' his life a (Dm) way. (C) Oh yes I know. (Dm)(C)
He's been (Dm) workin' so hard. (C) (Dm) I've been workin' too (C) baby. (Dm) Every night and
(C) day. (Dm) yeah, yeah, yeah, yeah.
(D) We gotta get (G) out of this (A) place. (D) If it's the last thing we (E) ever (A) do.
(D) We gotta get (G) out of this (A) place. (Bm) Girl there's a better life for me and (D) you. (Em)(E)(A), (D)(Em)(E)(A)
(Dm) Now my girl your so (C) young and pretty (Dm). And one thing I (C) know is (Bm5) true.
You'll be dead be (C) fore your time is (Dm) due. (C)
(Dm) Watch my daddy in (C) bed a dying (Dm). Watch his hair been (C) turning (Bm5) grey. He's been workin' so (C) hard. (Dm) I've been workin' too (C) baby. (Dm) Every day (C) baby.
(Dm) yeah, yeah, yeah, yeah.
(D) We gotta get (G) out of this (A) place. (D) If it's the last thing we (E) ever (A) do.
(D) We gotta get (G) out of this (A) place. (Bm) Girl there's a better life for me and (D) you. (Em)(E)(A), (D)(Em)(E)(A)
(D) We gotta get (G) out of this (A) place. (D) If it's the last thing we (E) ever (A) do.
(D) We gotta get (G) out of this (A) place. (Bm) Girl there's a better life for me and (D) you. (Em)(E)(A), (D)(Em)(E)(A), (D)(Em)(E)(A)
(Animals) (Artist Index) - (Main Index) - (Song Index) (This Song)
WE'VE GOT TONIGHT - Bob Seger (C2)
TIP: The (D#) is just (D) played up one fret with the pinky extended to cover the 4th string/5th fret.
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Intro: (G)(D)(Em)(D); (G)(D)(Em)(D)
(G) I know it's late (C), I know you're (G) weary. I know your (Gadd) plans (C), don't include (G) me (D). Still here we (G) are (C), both of us (G) lonely. Longing for shelter (C), from all that we (G) see (D). Why should we (G) worry (C), no one will (G) care girl. Look at the (Gadd) stars (C), so far a (G) way. (D)
We've got to (G) night (C), who needs to (G) morrow? We've got tonight babe, (D) why don't you (G) stay?
Deep in my (G) soul (C), I've been so (G) lonely. All of my (Gadd) hopes (C), fading a (G) way (D). I've longed for (G) love (C), like everyone (G) else does. I know I'll keep searching (C), even after to (G) day (D). So there it (G) is girl (C), I've said it (G) all now. And here we are babe (C), what do you (G) say?
We've got to (G) night (C), who needs to (G) morrow? We've got tonight babe (D), why don't you (G) stay?
(Bb) I know it's late, I know you're (Gadd) wear (G) y. (Bb) I know your plans don't in (Gadd) clude (G) me. Still here we (C) are, (D#) both of us (Gadd) lone (G) ly. (C) Both of us (G) lonely. (C) (G) (D) [pause]
We've got to (G) night (C), who needs to (G) morrow? Let's make it (Gadd) last, (C) let's find a (G) way (D). Turn out the (G) light (C). Come take my (G) hand now. We've got to (Gadd) night (G) babe, (D) why don't you (G) stay?
(D) Ooooh we've got to (G) night (C), who needs to (G) morrow? Let's make it (Gadd) last (C), let's find a (G) way (D). Turn out the (G) light (C). Come take my (G) hand now. We've got to (Gadd) night (G) babe, (D) why don't you (G) stay?
(G) Whooo- (D) -ohhh. (G) Whooo- (D) -ohh. (D) Why don't you (G) stay?
(Bob Seger) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE WEDDING SONG - Paul Stookey (3)
TIP: Don't let all the "tips" bother you. This is an easy song to play, although it was never meant to be strummed. The notations in brackets with small case letters, like or are meant for those finger picking the song as a reminder to pluck a note or remove a finger. If you're just strumming then you can ignore these notations.
TIP: The intro is repeated at the end of each verse. (A7G) is simply (A7) with pinky on the bottom string (g note). The (A7sus4) is sandwiched between two (Am7)s and is struck just once so just keep the (Am7) position and put your pinky on the 2nd string/3rd fret.
TIP: To play the (CaddD) just keep the (C) formation and add pinky to 2nd string/3rd fret. In the second line - only time it occurs - you start with (CaddD) then go to (C) by removing the pinky, then to (Cmaj7) by removing the index finger. Easy.
TIP: It's important to add the bass (top string) when playing the (C) at the end of the verse after "love".
TIP: In the third verse there is a (Em)(C/B)(E7full)(Em) progression. Note the (C/B) and (E7) diagram. When moving from (Em) to (C/B) you just add the index finger to 2nd string/1st fret. Then to play the (E7) you can keep your index finger as is and put your pinky on 2nd string/3rd fret while removing your ring finger (but it also sounds just fine if you leave the ring finger where it is in the (Em) position as you're going right back to that chord anyway). Suggest you rehearse this line a couple of times.
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INTRO: (G)-(Gadd), (A7)-(A7G), (Am7)-(A7sus4)-(Am7)-(G)(G)(G)...
(G) He is (Gadd) now to be among you, at the (D) calling of your hearts. (CaddD) Rest (C) assured this (Cmaj7) trou (D) badour, is (G) acting on (Gadd) His (G) part. The (Gadd) union of your (D) spirits here, has (CaddD) caused Him to re (Gadd) main. For (Em) whenever two or (D) more of you (NC) are (C) gath ered in His (D) name, there is (C) love [linger]. There is (G) love (A7)-(A7G), (Am7)-(A7sus4)-(Am7)-(G).
Well a (Gadd) man shall leave his (D) mother, and a (CaddD) woman leave her (Gadd) home.
(G) They shall tra vel (Gadd) on to where the (D) two shall be (NC) as (C) one. (CaddD) As it (Gadd) was in the be (D) ginning, is (CaddD) now and til the (Gadd) end. (Em) Woman draws her (D) life from man (NC) and (C) gives it back a (D) gain. And there is (C) love [linger]. There is (G) love (A7)-(A7G), (Am7)-(A7sus4)-(Am7)-(G).
Well then (C) what's to be the reason for (D) becoming man and (G) wife? Is it (C) love that brings you here or (D) love that brings you (G) life? For if (Gadd) loving is the (D) answer, then (CaddD) who's the giving (Gadd) for? Do (Em) you believe (C-B) in (E7-full) something that (Em) you've (D) never seen (NC) be (C) fore? Oh there is love [linger]. Oh there's (G) love (A7)-(A7G), (Am7)-(A7sus4)-(Am7)-(G).
Oh the (Gadd) marriage of your (D) spirits here, has (CaddD) caused Him to re (Gadd) main.
For (Em) whenever two or (D) more of you (NC) are (C) gath ered in His (D) name.
There is (C) love [linger]. Ah there's (G) love (A7)-(A7G), (Am7)-(A7sus4)-(Am7)-(G).
(Paul Stookey) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE WEIGHT – (Robertson) – The Band (C5)
TIP: (CaddD) is just (C) with a pinky added to the 3rd fret/2nd string.
TIP: Can also be performed with (A), (C#m), and (D).
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(G) I pulled into (Bm) Nazareth, was (C) feelin' about half past (G) dead. I just need some (Bm) place, where I (C) can lay my (G) head. "Hey, mister, can you (Bm) tell me, where a (C) man might find a (G) bed?" He just grinned and (Bm) shook my hand, (C) "No", was all he (G) said.
(G-add) Take a load off (C) Fannie. (G-add) take a load for (C) free. (G-add) Take a load off (C) Fannie. And, and, (CaddD) and, you put the load right on (G) me. (Em) (C)
(G) I picked up my (Bm) bag, I went (C) lookin' for a place to (G) hide. When I saw Carmen and the (Bm) Devil, (C) walkin' side by (G) side. I said "Hey (Bm) Carmen, come (C) on let's go down (G) town." She said "I (Bm) gotta go, but my (C) friend can stick a (G) round."
(G-add) Take a load off (C) Fannie. (G-add) take a load for (C) free. (G-add) Take a load off (C) Fannie. And, and, (CaddD) and, you put the load right on (G) me. (Em) (C)
(G) Go down Miss (Bm) Moses, there's (C) nothin' you can (G) say. It's just ol' (Bm) Luke, and Luke's (C) waitin' on the Judgement (G) Day. "Well Luke my (Bm) friend, what a (C) bout young Anna (G) Lee?" He said, "Do me a (Bm) favor son, won’tcha (C) stay an' keep Anna Lee (G) company?"
(G-add) Take a load off (C) Fannie. (G-add) take a load for (C) free. (G-add) Take a load off (C) Fannie. And, and, (CaddD) and, you put the load right on (G) me. (Em) (C)
(G) Crazy Chester (Bm) followed me, and he (C) caught me in the (G) fog. He said, "I will (Bm) fix your rack, if (C) you'll take Jack, my (G) dog." I said, "Wait a minute (Bm) Chester, you (C) know I'm a peaceful (G) man." He said, "That's (Bm) okay boy, won't you (C) feed him when you (G) can."
(G-add) Take a load off (C) Fannie. (G-add) take a load for (C) free. (G-add) Take a load off (C) Fannie. And, and, (CaddD) and, you put the load right on (G) me. (Em) (C)
(G) Catch a (Bm) Cannonball now, it'll (C) take me down the (G) line. My bag is (Bm) sinkin' low and I (C) do believe it's (G) time. To get back to Miss (Bm) Fannie, you know (C) she's the only (G) one. Who sent me (Bm) here, with her re (C) gards for every (G) one.
(G-add) Take a load off (C) Fannie. (G-add) take a load for (C) free. (G-add) Take a load off (C) Fannie. And, and, (CaddD) and, you put the load right on (G) me.
(The Band) (Artist Index) - (Main Index) - (Song Index) (This Song)
WELCOME TO MY WORLD - (Hathcock) - Jim Reeves/Elvis Presley (C0)
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(G) Welcome to my (C) world, (D) won't you come on (G) in? Miracles I (C) guess, still (D) happen now and (G) then. Step into my (C) heart, (D) leave your cares be (G) hind. Welcome to
my (C) world, (D) built with you in (G) mind (C)(G).
(D) Knock and the door will (G) open. (D) Seek and you will (G) find. (D) Ask and you'll be
(G) given, the (A7) key to this (A) world of (D) mine.
(G) I'll be waiting (C) here, (D) with my arms un (G) furled. Waiting just for (C) you.
(D) Welcome to my (G) world (C)(G).
(D) Knock and the door will (G) open. (D) Seek and you will (G) find. (D) Ask and you'll be
(G) given, the (A7) key to this (A) world of (D) mine.
(G) I'll be waiting (C) here, (D) with my arms un (G) furled. Waiting just for (C) you.
(D) Welcome to my (G) world.
Waiting just for (C) you. (D) Welcome to my (G) world (C)(G).
(Jim Reeves)(Elvis Presley) (Artist Index) - (Main Index) - (Song Index) (This Song)
WHAT A WONDERFUL WORLD – (Weiss/Douglas) – Louis Armstrong (C1)
TIP: You have to play the full (E7) as depicted in the chord diagram or the song won’t sound right. It’s just (E) with the pinky added as indicated. If fingerpicking try playing the higher register (F) as (Bm on 5) or (D on 5)
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(G) I see (C) trees of (CaddG) green, (F) red roses (C) too. (Dm) I see them (Em) bloom, (E7) for me and (Am) you. And I (F) think to myself, (G) “What a (G7) wonderful (C) world.”
(G) I see (C) skies of (CaddG) blue, and (F) clouds of (C) white. The (Dm) bright blessed (Em) day, the (E7) dark sacred (Am) night. And I (F) think to myself, (G) “What a (G7) wonderful (C) world.”
The (G) colors of the rainbow, so (C) pretty in the sky. Are (G) also on the faces, of (C) people going by. I see (Am) friends shaking (Em) hands, saying (Am) “How do you (Em) do?” (Am) They're really (Em) saying: (Dm7) “I (Am) love (G) you.”
I hear (C) babies (CaddG) crying. (F) I watch them (C) grow. (Dm) They'll learn much (Em) more, than (E7) I'll never (Am) know. And I (F) think to myself, (G) “What a (G7) wonderful (C) world.”
Yes I (F) think to myself, (G) “What a (G7) wonderful (C) world. (F)(C) Oh yes.
(Louis Armstrong) (Artist Index) - (Main Index) - (Song Index) (This Song)
WHAT AM I GONNA DO WITH THE REST OF MY LIFE – Merle Haggard (C1)
TIP: The opening verse is played quite slowly, the second verse a little more up-tempo, and the last line sadly.
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I can (D) make it, for a day or two, with (Em) out you. And (A) maybe, I can make it, through the (D) night. I can smoke, and I can drink, and (D7) prob’ly be alright, till the (G) morning. But (D) what am I gonna do, with the (A) rest, of my (D) life?
I've got (G) things that I can do. I've got places I can go to this (D) evening. I've got (A) whiskey I can drink, that'll help me not to think about you (D) leaving. Yes I can (G) smoke and I can drink, prob’ly be alright till the (D) morning. But what am I gonna do with the (A) rest of my (D) life.
What am I gonna do, with the (A) rest of my (D) life (Gadd) (D).
(Merle Haggard) (Artist Index) - (Main Index) - (Song Index) (This Song)
WHATEVER HAPPENED TO RANDOLPH SCOTT – (Reid) - The Statler Brothers (C3)
TIP: Play “lively.”
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Intro: (G) (C) (D) (G)
(G) Everybody knows when you go to the show you (C) can't take the kids (G) along. You've gotta read the paper and know the code of (A7) “G”, “PG”, and (D) “R”, and “X”. And you (G) gotta know what the movie's about be (C) fore you even (G) go. Tex (C) Ritter's gone and (G) Disney's (E7) dead and the (A7) screen is (D) filled with (G) sex.
(G) Whatever happened to (B7) Randolph Scott, (C) ridin' the trail a (G) lone? Whatever happened to Gene, and Tex, and (A7) Roy, and Rex, the Du (D) rango Kid? Oh, (G) whatever happened to (B7) Randolph Scott, his (C) horse plain as could (G) be? (C) Whatever happened to (G) Randolph (E7) Scott has (A7) happened to the (D) best of (G) me.
(G) Everybody's tryin to make a comment a (C) bout our doubts and (G) fears. True Grit's the only movie I've really (A7) understood in (D) years. You (G) gotta take your analyst along to (C) see if it's fit to (G) see. (C) Whatever happened to (G) Randolph (E7) Scott has (A7) happened to the (D) indus (G) try.
(G) Whatever happened to (B7) Johnny Mack Brown and (C) Alan Rocky (G) Lane? Whatever happened to Lash LaRue? I'd (A7) love to see them (D) again. (G) Whatever happened to (B7) Smiley Burnette, Tim (C) Holt, and Gene Aut (G) ry? (C) Whatever happened to (G) all of (E7) these has (A7) happened to the (D) best of (G) me. (C) Whatever happened to (G) Randolph (E7) Scott has (A7) happened to the (D) indus (G) try. (G)
(The Statler Brothers) (Artist Index) - (Main Index) - (Song Index) (This Song)
WHEN THE MAN COMES AROUND – Johnny Cash (C1)
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(Spoken) “And I heard, as it were, the noise of thunder. One of the four beasts saying: "Come and see." And I saw. And behold, a white horse.”
(C) There's a man, goin' round, takin' names. And he decides, who to free, and who to blame. Everybody, won't be treated, all the same. There'll be a golden ladder, reaching (Am) down (F). When the (G) man comes a (C) round.
The hairs, on your arm, will stand up. At the terror, in each sip, and in each sup. Will you partake of that last offered cup, or disappear into the potter's (Am) ground (F)? When the (G) man comes a (C) round.
(CaddG) Hear the trumpets, hear the pipers. One hundred million angels singing. Multitudes are marching, to the (F) big (C) kettle (G) drum. (G7) Voices callin', voices (G) cryin'. (G7) Some are born and some are (G) dyin'. It's (G7) Alpha and Omega's Kingdom (C) come.
And the (F) whirlwind, is in the (C) thorn tree. The virgins, are all trimming their wicks. The (F) whirlwind, is in the (C) thorn tree. It's hard for thee to kick against the pricks.
Till Armageddon, no Shalam, no Shalom. Then the father hen, will call his chickens home. The wise men will bow down before the throne. And at his feet, they'll cast their golden (Am) crowns (F). When the (G) man comes a (C) round.
Whoever, is unjust, let him be, unjust still. Whoever is righteous, let him be righteous still. Whoever, is filthy, let him be filthy still. Listen to the words long written (Am) down (F), when the (G) man comes a (C) round.
(CaddG) Hear the trumpets, hear the pipers. One hundred million angels singing. Multitudes are marching to the (F) big (C) kettle (G) drum. (G7) Voices callin', voices (G) cryin'. (G7) Some are born and some are (G) dyin'. It's (G7) Alpha and Omega's Kingdom (C) come.
And the (F) whirlwind, is in the (C) thorn tree. The virgins, are all trimming their wicks. The (F) whirlwind, is in the (C) thorn tree. It's hard for thee to kick against the pricks.
In measured hundredweight, and penny (Am) pound (F). When the (G) man comes a (C) round. (G)(C)
(Spoken) “And I heard a voice in the midst of the four beasts, and I looked and behold: A pale horse. And his name, that sat on him, was Death. And Hell followed with him.”
(Johnny Cash) (Artist Index) - (Main Index) - (Song Index) (This Song)
WHEN YOU’RE NEXT TO ME – (Levy) – Mitch & Mickey [KEY OF D] (C2)
TIP: The version that follows is in the key of (D) which is probably a little easier to play than the version in the key of (G) which is also presented.
TIP: If the rapid (G)(D) chord changes between the (D) and (A) are too much, just play the (D) straight through to the first (A).
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INTRO: (D)(G)(D)(A); (D)(G)(D)(Gm); (D)(F#m)(G)(D); (D)(G)(D)(A)
When I’m (D) stan-(G)(D)-ding (A) next to (D) you (G)(D), (A) there’s a (G) song to (D) sing. I know (G) every (D) thing’s feeling (A) right. When I’m (D) stan-(G)(D)-ding (A) next to (D) you (G)(D), (A) steeple (G) bells (D) ring, only (G) good (D) things, do I (A) see. When you’re next to (D) me (G) (D).
(A) When I (D) hol-(G)(D)-ld your (A) hand in (D) mine (G)(D), (A) different (G) world (D) wakes, a new (G) morning (D) breaks, with the (A) sun. When I (D) hol-(G)(D)-ld your (A) hand in (D) mine (G)(D), (A) children's (G) dreams take (D) flight, through a (G) star lit (D) night. That’s what I (A) see. When you’re next to (D) me (G). (D)
This (G) love for you I’m feeling, has a (Bm) power that is (D) healing. It can (Bb) mend the darkest hour, with (D) glorious (A) light.
When I (D) ta-(G)(D)-ste your (A) lips so (D) sweet (G)(D), (A) I see (G) beggars (D) dine, and the (G) sands of (D) time, up and (A) stop. When I (D) ta-(G)(D)-ste your (A) lips so (D) sweet (G)(D), (A) black and (G) white (D) bend, every (G) dove (D) lands, at your (A) feet. When you’re next to (D) me (G). (D)
This (G) love for you I’m feeling, has a (Bm) power that is (D) healing. It can (Bb) mend the darkest hour, with (D) glorious (A) light.
When I’m (D) ly-(G)(D)-ing (A) next to (D) you (G)(D), (A) I feel (G) moonbeams (D) burn. I see (G) rainbows (D) turning to (A) gold. When I’m (D) ly-(G)(D)-ing (A) next to (D) you (G)(D),(A) I hear (G) angels (D) play. I see (G) sweeter (D) days. I see (G) rivers (D) wind, through the (G) end of (D) time. I see (G) hatred (D) fall, from the (G) highest (D) hill. I see (G) God’s good (D) grace, shining (G) in-(Gadd)-nn (G) your (D) eyes. That’s what I (A) see. When you’re next to (D) me (G)(D)(G)(D)(G)(D)(G)(D).
(Mitch & Mickey) (Artist Index) - (Main Index) - (Song Index) (This Song)
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WHEN YOU’RE NEXT TO ME – (Levy) – Mitch & Mickey [KEY OF G] (C1)
TIP: To play the (CaddG) just add the pinky to the bottom string/3rd fret.
TIP: The (Cm) is not easy to play or transition to from the (G) that precedes it. (Cm) is just (Bm) moved up one fret and with the pink added above the ring finger on the 5th fret. The top string in the 3rd fret can be ignored.
TIP: If the rapid (C)(G) chord changes between the (G) and (D) are too much, just play the (G) straight through to the first (D).
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INTRO: (G)(C)(G)(D); (Em)(C)(D)(C); (Bm)(Gadd)(D)(C); (D)(C)(G)(D)
When I’m (G) stan-(C)(G)-ding (D) next to (G) you (C)(G), (D) there’s a (C) song to (G) sing, I know (C) every (G) thing’s feeling (D) right. When I’m (G) stan-(C)(G)-ding (D) next to (G) you (C)(G), (D) steeple (C) bells (G) ring, only (C) good (G) things, do I (D) see. When you’re next to (G) me (C) (G)(D).
When I (G) hol-(C)(G)-ld your (D) hand in (G) mine (C)(G), (D) different (C) world (G) wakes, a new (C) morning (G) breaks, with the (D) sun. When I (G) hol-(C)(G)-ld your (D) hand in (G) mine (C)(G), (D) children's (C) dreams take (G) flight, through a (C) star lit (G) night. That’s what I (D) see. When you’re next to (G) me (C)(G).
This (C) love for you I’m feeling, has a (CaddG) power that (C) is (G) healing. It can (Cm) mend the darkest hour, with (G) glor-or-(Em)-orious (D) light.
When I (G) ta-(C)(G)-ste your (D) lips so (G) sweet (C)(G), (D) I see (C) beggars (G) dine, and the (C) sands of (G) time up and (D) stop. When I (G) ta-(C)(G)-ste your (D) lips so (G) sweet (C)(G), (D) black and (C) white (G) bend, every (C) dove (G) lands, at your (D) feet. When you’re next to (G) me (C). (G)
This (C) love for you I’m feeling, has a (CaddG) power that (C) is (G) healing. It can (Cm) mend the darkest hour, with (G) glor-or-(Em)-orious (D) light.
When I’m (G) ly-(C)(G) ing (D) next to (G) you (C)(G), (D) I feel (C) moonbeams (G) burn. I see (C) rainbows (G) turning to (D) gold. When I’m (G) ly-(C)(G) ing (D) next to (G) you (C)(G), (D) I hear (C) angels (G) play, I see (C) sweeter (G) days, I see (C) rivers (G) wind, through the (C) end of (G) time, I see (C) hatred (G) fall, from the (C) highest (G) hill. I see (C) God’s good (G) grace, shining (C) in-(CaddG)-nnn your (G) eyes. That’s what I (D) see. When you’re next to (G) me (C)(G)(C)(G)(C)(G).
(Mitch & Mickey) (Artist Index) - (Main Index) - (Song Index) (This Song)
WHERE DID OUR LOVE GO - (Holland/Dozier/Holland) - The Supremes (C1)
TIP: The (Emsus4) and (Asus) chords are very easy (and both can be omitted if you'd rather). The (Asus) is just one finger on the 2nd fret/3rd string. And (Asus) will always come after a (Dm) so all you do is stay on the (Dm) and move your index finger from bottom string/1st fret to the position above the middle finger on the 2nd fret/4th string. Easy!
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Intro: Clapping . . . or you can strum (C)
(C) Baby baby. Baby don't (G) leave me. Ooh please don't (Dm) leave me, all (Asus) by my (G) self. (Emsus4) I've got this (C) yearning, burning yearning feelin' in (G) side me.
Ooh deep in (Dm) side me, and (Asus) it hurts so (Gadd) bad.
(Emsus4) You came into my (C) heart. So tender (G) ly. With a burning (Dm) love, that (Asus) stings like a (G) bee. (Emsus4) Now that I sur (C) render, so helpless (G) ly.
You now wanna (Dm) leave. Ooh (Asus) you wanna (Gadd) leave me.
(Emsus4) Ooh (C) baby baby. Where did our (G) love go? Ooh don't you (Dm) want me?
Don't (Asus) you want me no (G) more?
(G)(C), (C)(G), (G)(Dm), (Asus)(G)
(Emsus4) Ooh (C) baby baby. Where did our (G) love go? And all your (Dm) promises, of (Asus) a love forever (G) more? (Emsus4) I've got this (C) yearning, burning, yearning, feelin' in (G) side me. Ooh deep in (Dm) side me, and (Asus) it hurts so (Gadd) bad.
(Emsus4) Before you won my (C) heart, you were a perfect (G) guy. But now that you (Dm) got me,
you (Asus) wanna leave me be (G) hind.
(C) Baby baby. Baby don't (G) leave me. Ooh please don't (Dm) leave me, all (Asus) by my (Gadd) self. (Emsus4) Ooh (C) baby baby. Where did our (G) love go? (Dm)(Asus)(Gadd)(C)
(The Supremes) (Artist Index) - (Main Index) - (Song Index) (This Song)
WHERE HAVE ALL THE FLOWERS GONE? - (Seeger) – Peter, Paul & Mary/Pete Seeger (C2)
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(G) Where have all the (Em) flowers gone, (C) long time (D7) passing? (G) Where have all the (Em) flowers gone, (C) long time a (D) go? (G) Where have all the (Em) flowers gone? (C) Young girls have picked them (D7) everyone. (C) Oh, when (D7) will they (G) ever learn? (C) Oh, when (G) will (D) they ever (G) learn?
(G) Where have all the (Em) young girls gone, (C) long time (D7) passing? (G) Where have all the (Em) young girls gone, (C) long time a (D) go? (G) Where have all the (Em) young girls gone? (C) Gone for husbands (D7) everyone. (C) Oh, when (D7) will they (G) ever learn? (C) Oh, when (G) will (D) they ever (G) learn?
(G) Where have all the (Em) husbands gone, (C) long time (D7) passing? (G) Where have all the (Em) husbands gone, (C) long time a (D) go? (G) Where have all the (Em) husbands gone? (C) Gone for soldiers (D7) everyone. (C) Oh, when (D7) will they (G) ever learn? (C) Oh, when (G) will (D) they ever (G) learn?
(G) Where have all the (Em) soldiers gone, (C) long time (D7) passing? (G) Where have all the (Em) soldiers gone, (C) long time a (D) go? (G) Where have all the (Em) soldiers gone? (C) Gone to graveyards (D7) everyone. (C) Oh, when (D7) will they (G) ever learn? (C) Oh, when (G) will (D) they ever (G) learn?
(G) Where have all the (Em) graveyards gone, (C) long time (D7) passing? (G) Where have all the (Em) graveyards gone, (C) long time a (D) go? (G) Where have all the (Em) graveyards gone? (C) Covered with flowers (D7) everyone. (C) Oh, when (D7) will they (G) ever learn? (C) Oh, when (G) will (D) they ever (G) learn?
(G) Where have all the (Em) flowers gone, (C) long time (D7) passing? (G) Where have all the (Em) flowers gone, (C) long time a (D) go? (G) Where have all the (Em) flowers gone? (C) Young girls have picked them (D7) everyone. (C) Oh, when (D7) will they (G) ever learn? (C) Oh, when (G) will (D) they ever (G) learn?
(Pete Seeger)(Peter, Paul and Mary) (Artist Index) - (Main Index) - (Song Index) (This Song)
WHERE WERE YOU (WHEN THE WORLD STOPPED TURNING) – Alan Jackson (C2)
TIP: Presented here as Alan wrote it, in the key of . The song can also be played in the key of using (G)(D)(C) and (Em), or in the key of using (A)(E)(D) and (F#m).
TIP: Never forget . . .
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(C) Where were you when the world stopped turning, (G) on that September (C) day? Were you out in the yard, with your wife and children or (G) working on some stage in L. (C) A? Did you (F) stand there in shock, at the (C) site of that black smoke, (F) risin’ against that blue (C) sky. Did you (F) shout out in anger in (C) fear for your neighbor, or (Em) did you just sit down and (F) cry? (G)
Did you (C) weep for the children, who lost their dear loved ones, and (G) pray for the ones who don't (C) know? Did you rejoice for the people who walked from the rubble, and (G) sob for the ones left be (C) low? Did you (F) burst out with pride for the (C) red white and blue, and the (F) heroes who died, just (C) doin’ what they do? Did you (F) look up to heaven for (C) some kind of answer, and (Em) look at yourself, and (F) what really matters?
I'm just a singer of (C) simple songs, I'm not a, (F) real political (C) man. I watch (F) CNN but I'm not (C) sure I can tell you, the (Em) difference in Iraq and (F) Iran. But I know Jesus and (C) I talk to God, and I re (F) member this from when I was (C) young: (F) Faith hope and love are some (C) good things he gave us, (G) and the greatest is (F) love.
(C) Where were you when the world stopped turning, (G) that September (C) day? Teaching a class full of innocent children or (G) driving down some cold inter (C) state? Did (F) you feel guilty cause (C) you're a survivor? In a (F) crowded room did you feel a (C) lone? Did you (F) call up your mother and (C) tell her you loved her? Did you (Em) dust off that bible at (F) home? (G)
Did you (C) open your eyes and hope it never happened? (G) Close your eyes and not go to (C) sleep? Did you notice the sunset, the first time in ages? (G) Speak with some stranger on the (C) street? Did you (F) lay down at night and (C) think of tomorrow? (F) Go out and buy you a (C) gun? Did you (F) turn off that violent old (C) movie you're watching, and (Em) turn on "I Love Lucy" re (F) runs? Did you go to a church and hold (C) hands with some strangers? (F) Stand in line and give your own (C) blood? Did (F) you just stay home and cling (C) tight to your family?
Thank (Em) God you had somebody to (F) love.
I'm just a singer of (C) simple songs, I'm not a, (F) real political (C) man. I watch (F) CNN but I'm not (C) sure I can tell you, the (Em) difference in Iraq and (F) Iran. But I know Jesus and (C) I talk to God, and I re (F) member this from when I was (C) young: (F) Faith hope and love are some (C) good things he gave us, (G) and the greatest is (F) love.
I'm just a singer of (C) simple songs, I'm not a (F) real political (C) man. I watch (F) CNN but I'm not (C) sure I can tell you, the (Em) difference in Iraq and (F) Iran. But I know Jesus and (C) I talk to God, and I re (F) member this from when I was (C) young: (F) Faith hope and love are some (C) good things he gave us, (G) and the greatest is (F) love.
And the (G) greatest is (F) love. (G) And the (G) greatest is (F) love. (G)
(C) Where were you when the world stopped turning, (G) on that September (C) day?
(Alan Jackson) (Artist Index) - (Main Index) - (Song Index) (This Song)
WHICH WAY DOES THAT OLD PONY RUN - Lyle Lovett (C1)
TIP: There is a pause after "cowboy" in the first line which is necessary to maintain the proper cadence for the (G) in "best".
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INTRO: (slowly) (C)(G) ; (C)(G)
(C) When I was a very young (G) man. I was a (C) cowboy. The (G) best in the land. But then she settled me (G7) down with a (C) touch of her (A7) hand. Now I'm (G) begging you (D) mister: Tell (C) me if you (G) can:
Which (C) way does that old pony (G) run? Which (C) way does that old pony (G) run? And how (Gadd) much is that (G7) saddle and a (C) straight shooting (A7) gun? Which (G) way does that (D) old pony (G) run?
Now a (C) young girl she don't know when she's (G) lying. But a (C) woman, great God, she
(G) knows how it's done. So mama before I (G7) go, there's just one (C) thing on my (A7) mind: Which (G) way does that (D) old pony (G) run?
Which (C) way does that old pony (G) run? Which (C) way does that old pony (G) run? And how (Gadd) much is that (G7) saddle and a (C) straight shooting (A7) gun? Which (G) way does that (D) old pony (G) run?
So this (C) good life you know I must (G) leave. Your new (C) car and your color t (G) v. But what's riches to (G7) you just ain't (C) riches to (A7) me, and if (G) you're staying out (D) here then I'm (C) headed back (G) east.
Which (C) way does that old pony (G) run? Which (C) way does that old pony (G) run? And how (Gadd) much is that (G7) saddle and a (C) straight shooting (A7) gun? Which (G) way does that (D) old pony (G) run?
(Lyle Lovett) (Artist Index) - (Main Index) - (Song Index) (This Song)
WHITE RABBIT – (Slick) – Jefferson Airplane (C0)
TIP: The intro (the base thump) is a little tough. You'll need to play a complete (F#) (shown) including the pinky on the 5th string/4th fret and your thumb over the top string at the 2nd fret (or at least deadining the top string). Then you slide all of it up one fret for the (F#3) including the pinky and thumb (not shown) and returning back down one fret again. If this is too difficult you can play a treble version emphasizing the 2nd and 4th strings.
TIP: Because the song opens on a sharp it's tough to find the the right note to begin the song. It's the (2nd string/2nd fret).
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INTRO: (F#)(F#3)(F#)
(F#) One pill makes you larger, and (G) one pill makes you small, and the (F#) ones that mother gives you, don't do (G) anything at all. Go ask (A) Alice, (C) when she's (D) ten feet (A) tall.
And if (F#) you go chasing rabbits, and (G) you know you're going to fall. Tell 'em a (F#) hookah smoking caterpillar, has (G) given you the call. Call (A) Alice, (C) when (D) she was just (A) small.
(E) When men on the chessboard, get up and (A) tell you where to go. And you've (E) just had some kind of mushroom, and your (A) mind is moving slow. Go ask (F#) Alice, I think she'll know. When logic, and proportion, have (G) fallen sloppy dead. And the (F#) White Knight is talking backwards, and the (G) Red Queen's: "Off with her head!" Re (A) member, (C) what the (D) dormouse (A) said: (E) "Keep your (A) head. (E) "Keep your (A) head. (E) "Keep your (A) head.
(Jefferson Airplane) (Artist Index) - (Main Index) - (Song Index) (This Song)
WHO’LL STOP THE RAIN – (Fogerty) - Creedence Clearwater Revival [C3]
TIP: The beauty of John Fogerty’s music is, for the most part, he keeps it simple and easy to place. This a robust song so emphasize the bass strings when strumming, and add a pinky on top string when playing the (C).
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(G) (Em) (G)
Long as I remem (Em) ber, the (C) rain been coming (G) down. Clouds of mystery pour (Em) in, con (C) fusion on the (G) ground. (C) Good men through the (G) ages, (C) trying to find the (G) sun. (C) And I wonder, (D) still I wonder, (C) who'll stop the (G) rain?
(G) I went down Virgin (Em) ia, seeking (C) shelter from the (G) storm. Caught up in the
(Em) fable, I (C) watched the tower (G) grow. (C) Five year plans and (G) new deals, (C) wrapped in golden (G) chains, (C) And I wonder, (D) still I wonder, (C) who'll stop the (G) rain?
(C)-(G)-(D) (Am)-(C)-(Em) (Em)-(D)-(G)
(G) Heard the singers play (Em) ing, (C) how we cheered for (G) more. The crowd had rushed togeth (Em) er, (C) tryin' to keep (G) warm. (C) Still the rain kept (G) pourin', (C) falling on my (G) ears. (C) And I wonder, (D) still I wonder, (C) who'll stop the (Em) rain?
(G)-(Em) (G)-(Em) etc. end with (G)
(CCR) (Artist Index) - (Main Index) - (Song Index) (This Song)
WHY DON'T WE GET DRUNK AND SCREW - Jimmy Buffett (C5)
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I (D) really do a (D7) ppreciate the (G) fact you’re sittin’ (D) here. Your voice, it sounds so wonderful, but your (E7) face don’t look too (A7) clear. So (G) bar maid bring a pitcher, (D) another round o’ brew. Honey, (G) why don't we (A) get drunk and (D) screw?
(G) Why don’t we get drunk and (D) screw? (E7) I just bought a water bed, it’s filled (A7) up for me and you. They (G) say you are a snuff queen. Honey (D) I don’t think that's true. So, (G) why don’t we (A) get drunk and (D) screw?
(G) Why don’t we get drunk and (D) screw? (E7) I just bought a water bed, it's filled (A7) up for me and you. They (G) say you are a snuff queen. Honey (D) I don’t think that’s true. So, (G) why don't we (A) get drunk and (D) screw?
(Jimmy Buffett) (Artist Index) - (Main Index) - (Song Index) (This Song)
WILBURY TWIST - (Lynne/Petty/Harrison/Dylan) - The Traveling Wilburys (C0)
TIP: There are two versions of this song with just slight variations. The one here is the one with the video that included John Candy. (In the other version the finishing
. . . (G/A)-(G)-(G)-(G)-(G) is replaced by an (F#) which is also fairly easy to play: . . . (G/A)-(F#)-(F#)-(F#)-(G). The intro is a rapid sequence emphasizing the top 3 bass strings, playing (G) and then just lifting your finger off the 5th string and replacing it again in stacatto fashion.
TIP: The (Gadd)(CaddD)(Gadd) is meant to emulate the run of notes right after the horn. If you play a (Gadd) with your middle finger on the top string and pinky on the bottom, instead of coming off the (Gadd) to play the (CaddD) just keep your ring and pinky on the bottom two strings and move your top two fingers down one string. The pinky on the bottom string with the (CaddD) won't matter.
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INTRO: (G)-(G/A)-(G)-(G/A)-(G)-(G)-(G)-(G); (G)-(G/A)-(G)-(G/A)-(G)-(G)-(G)-(G);
(G)-(G/A)-(G)-(G/A)-(G)-(G)-(G)-(G); (G)-(G/A)-(G)-(G/A)-(G)-(G)-(G)-(G);
(G) You put your hand on your head (hand on your head). Put your foot in the air (foot in the air). Then you (C) hop around the room (hop around the room). In your (G) underwear (in your underwear). (D) There ain't never been nothin quite like this. (G) Come on baby it's the Wilbury Twist. (G)-(G/A)-(G)-(G/A)-(G)-(G)-(G)-(G); (G)-(G/A)-(G)-(G/A)-(G)-(G)-(G)-(G)
(G) Lift your other foot up (other foot up). Fall on your ass (fall on your ass). (C) Get back up (get back up). Put your (G) teeth in a glass (teeth in a glass). (D) There ain't never been nothin quite like this. It's a (G) magical thing called the Wilbury Twist.
(D). . . (C). . . . (G) Everybody's trying to do the Wilbury Twist. (Gadd). . .(CaddD)-(Gadd)
(F) China, Belgium, France, Japan, (C) Thailand, Poland, Pakistan. (G) Everybody's trying to do the Wilbury Twist. (Gadd). . .(CaddD)-(Gadd)
(G) Roll up your rug (roll up your rug). Dust your broom (dust your broom). (C) Ball the jack (ball the jack). (G) Howl at the moon (at the moon). (D) Ain't ever been nothin quite like this. (G) Everybody's talking bout the Wilbury Twist.
(G)-(G/A)-(G)-(G/A)-(G)-(G)-(G)-(G), (G)-(G/A)-(G)-(G/A)-(G)-(G)-(G)-(G),
(G)-(G/A)-(G)-(G/A)-(G)-(G)-(G)-(G), (G)-(G/A)-(G)-(G/A)-(G)-(G)-(G)-(G),
(D) . . . . (C) . . . . (G) Everybody's trying to do the Wilbury Twist. (Gadd). . .(CaddD)-(Gadd)
(F) Puerto Rico, USA, (C) England, Cam-er-roon, Norway. (G) Everybody's trying to do the Wilbury Twist. (Gadd) . . .(CaddD)-(Gadd)
(G) Turn your lights down low (turn your lights down low). Put your blindfold on (put your blindfold on). (C) You'll never know (you'll never know). When your (G) friends have gone (when your friends have gone). (D) It could be years before you're missed. (G) Everybody's trying to do the Wilbury Twist. (G)-(G/A)-(G)-(G/A)-(G)-(G)-(G)-(G), (G)-(G/A)-(G)-(G/A)-(G)-(G)-(G)-(G)
(G) It's a different dance (a different dance). For you all to do (for you all to do). (C) Spin your body (very versatile). Like a (G) screw (spin your body like a screw). (D) Better not forget it on your shopping list. (G) You can stop and buy one it's the Wilbury Twist. (D) Ain't never been nothing quite like this. (G) Better come and get it it's the Wilbury Twist. (D) I guess by now you've got the gist. (G) Everybody's crazy bout the Wilbury Twist.
(G)-(C)-(G)-(C)-(G)-(G)-(G/A)-(G)
(Traveling Wilburys) (Artist Index) - (Main Index) - (Song Index) (This Song)
WILD WORLD – Cat Stevens
TIP: Cat turns some one syllable words into two, with the chord coming in between. Just go with it. (Cmaj7) is just (C) without the index finger on the lower string.
TIP: There’s a a little guitar riff in the chorus indicated by the (F)(F)-(G) and (G)(G)-(C). You actually hit the lead-in chord something like 7 times and then the trailing chord once. Like (F)(F)(F)(F)(F)(F)(F)-(G). Just fake it.
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(Am) Now that I've (D7) lost everything to you- (G) -ou, you say you (Cmaj7) wanna start something new- (F) -ew. And it's (Dm) breakin' my heart you're (E) leavin,' baby, I'm grievin.' (Am) But if you wanna (D7) leave, take good care- (G) -air. Hope you have a (Cmaj7) lot of nice things to wear- (F) -air. But then a (Dm) lot of nice things turn (E) bad out (G7) there. (C)
CHORUS:
(C) Oh, (G) baby, baby, it's a (F) wild world. (F)(F)-(G) (G) It's hard to get (F) by just upon a (C) smile. (G)(G)-(C) (C) Oh, (G) baby, baby, it's a (F) wild world. (F)(F)-(G) (G) And I'll always re (F) member you like a (C) child, girl. [one strum each]: (Dm) (E)
(Am) You know I've seen a (D7) lot of what the world can do- (G) –ooh. And it's (Cmaj7) breakin' my heart in two- (F) –ooh, because I (Dm) never wanna see you (E) sad, girl. Don't be a bad girl. (Am) But if you wanna (D7) leave, take good care – (G) -air. Hope you make a (Cmaj7) lot of nice friends out there- (F) –air. Just re (Dm) member there's a lot of bad, (E) and be (G7) ware.
(C) Oh, (G) baby, baby, it's a (F) wild world. (G) It's hard to get (F) by just upon a (C) smile. [strum] (G)(G)-(C) (C) Oh, (G) baby, baby, it's a (F) wild world. (F)(F)-(G) (G) And I'll always re (F) member you like a (C) child, girl. [one strum each]: (Dm) (E)
(Am) (D7) (G) (Cmaj7) (F) (Dm7)
(E) Baby, I love you. (Am) But if you wanna (D7) leave, take good care – (G) -air. Hope you make a (Cmaj7) lot of nice friends out there- (F) –air. Just re (Dm) member there's a lot of bad, (E) and be (G7) ware.
(C) Oh, (G) baby, baby, it's a (F) wild world. (G) It's hard to get (F) by just upon a (C) smile. [strum] (G)(G)-(C) (C) Oh, (G) baby, baby, it's a (F) wild world. (F)(F)-(G) (G) And I'll always re (F) member you like a (C) child, girl. (C)
(Cat Stevens) (Artist Index) - (Main Index) - (Song Index) (This Song)
WILL THE CIRCLE BE UNBROKEN – (Traditional) – Johnny Cash/Nitty Gritty Dirt Band (C4 or C5)
TIP: There are several versions of this old standard. The lyrics here are the ones popularized by Johnny Cash and the Carter family, and also by the Nitty Gritty Dirt Band.
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I was (G) standin’, by my win (G7) dow, on a (C) dark and cloudy (G) day. When I saw that, hearse come roll (Em) in’, for to (G) carry my (D) mother (G) away.
Will the circle, be unbrok (G7) en, by and (C) by, Lord, by and (G) by. There’s a better, home a wait (Em) in’, in the (G) sky, Lord, (D) in the (G) sky.
Oh I told the, undertak (G7) er, under (C) taker please drive (G) slow. For this body, you are haul (Em) in’, Lord I (G) hate to (D) see her (G) go.
Will the circle, be unbrok (G7) en, by and (C) by, Lord, by and (G) by. There’s a better, home a wait (Em) in’, in the (G) sky, Lord, (D) in the (G) sky.
Well I followed, close behind (G7) her. I tried to (C) hold up and be (G) brave. But I could not, hide my sor (Em) row, when they (G) laid her (D) in the (G) grave.
Will the circle, be unbrok (G7) en, by and (C) by, Lord, by and (G) by. There’s a better, home a wait (Em) in’, in the (G) sky, Lord, (D) in the (G) sky.
I went back home, my home was lone (G7) some, for my (C) mother she was (G) gone. Saw my brothers, and sisters (Em) crying. What a (G) home, so (D) sad and (G) alone.
Will the circle, be unbrok (G7) en, by and (C) by, Lord, by and (G) by. There’s a better, home a wait (Em) in’, in the (G) sky, Lord, (D) in the (G) sky.
We sang the, songs of child (G7) hood, hymns of (C) faith, that made us (G) strong. Ones that Mother, Maybelle taught (Em) us. Hear the (G) angels (D) sing a (G) long.
Will the circle, be unbrok (G7) en, by and (C) by, Lord, by and (G) by. There’s a better, home a wait (Em) in’, in the (G) sky, Lord, (D) in the (G) sky.
Oh will the circle, be unbrok (G7) en, by and (C) by, Lord, by and (G) by. There’s a better, home a wait (Em) in’ . . . [slow down and/or pick notes] in the (G) sky, Lord, [strum] (D) in the
(C) sky (C)(C)(G).
(Traditional)(Johnny Cash)(NGDB) (Artist Index) - (Main Index) - (Song Index) (This Song)
WILL YOU STILL LOVE ME TOMORROW – (Coffin/King) – Carole King/Linda Ronstadt
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(C) Tonight you're mine com (Am) plete (Dm) ly. (G)-(C) You give your (Am) love so (Dm) sweet (G) ly. To (E) night the (E7) light of (Am) love is in your eyes, (Dm7) but will you (G) love me tomor (C) row?
Is this a lasting (Am) treas (Dm) ure? (G)-(C) Or just a mo (Am) ment's (Dm) pleas (G) ure? Can (E) I, be (E7) lieve, the (Am) magic of your sighs? (Dm7) Will you still (G) love me tomor (C) row?
(F) Tonight with words unspok (Em) en, (F) you said that I'm the only (C) one. (F) But will my heart be bro (Em) ken, when the (Am) night (when the night), meets the (D7) morning (Dm7) sun (G7)?
(C) I'd like to know that (Am) your (Dm) love, (G)-(C) is love I (Am) can be (Dm) sure (G) of. So (E) tell me (E7) now and I (Am) won't ask again, (Dm7) will you still (G) love me tomor (C) row?
(Dm7) Will you still (G) love me to (C) morrow? (Dm7) Will you still (G) love me tomor (C) row?
(Carole King)(Linda Ronstadt) (Artist Index) - (Main Index) - (Song Index) (This Song)
WISH YOU WERE HERE – (Gilmour/Waters) - Pink Floyd
TIP: As a classic Pink Floyd song with a memorable opening sequence of notes it helps if you can pick out some of the notes.
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Intro: Pick first complete series of notes, with double-note slide, but without any chords . . . then pick first 4 notes and add (Em), 4 more and (D), then the top 3 notes and the chord sequence:
(D) (G) (Em) (D) (G) (D), pick D notes to . . . (G)
(C) So, so you think you can (D) tell, heaven from (Am) hell? Blue skies from (G) pain? Can you tell a green (D) field, from a cold steel (C) rail? A smile from a (Am) veil? Do you think you can (G) tell?
Did they get you to (C) trade, your heroes for (D) ghosts? Hot ashes for (Am) trees? Hot air for a (G) cool breeze? Cold comfort for (D) change. And did you ex (C) change, a walk-on part in the (Am) war, for a lead role in a (G) cage?
[Pick with chords (Em) (D) (three times) then pick to (G) and continue...]
(C) How I wish, how I wish you were (D) here. We're just (Am) two lost souls swimming in a fishbowl (G) year after year. (D) Running over the same old ground, what have we (C) found -the same old (Am) fears? Wish you were (G) here.
Pick (Em), pick (D), pick, (Em), pick (D) slow to and finish with (G).
(Pink Floyd) (Artist Index) - (Main Index) - (Song Index) (This Song)
WONDERFUL TONIGHT – Eric Clapton
TIP: One of the easiest songs to pick. Play it slowly.
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(G) It's late in the (D) evening; (C) she's wondering what (D) clothes to wear. (G) She puts on her (D) make up and (C) brushes her (D) long blonde hair. (C) And then she (D) asks me, (G) "Do I look (G-add) al (Em) right?" And I say, (C) "Yes, you look (D) wonderful to (G) night."
We go to a (D) party and (C) everyone (D) turns to see, (G) this beautiful (D) lady that's (C) walking a (D) round with me. (C) And then she (D) asks me, (G) "Do you feel
(G-add) al (Em) right?" And I say, (C) "Yes, I feel (D) wonderful to (G) night."
I feel (C) wonderful, be (D) cause I see, the (G) love light in (D) your (Em) eyes. And the (C) wonder of it (D) all is that you (C) just don't real (D) ize how much I (G) love you.
(D) (C) (D) (G) (D) (C) (D)
(G) It's time to go (D) home now and (C) I've got an (D) aching head. (G) So I give her the (D) car keys and (C) she helps (D) me to bed. (C) And then I (D) tell her, (G) as I turn out (G-add) the (Em) light, I say, "My (C) darling, you were (D) wonderful to (G) night.
Oh my (C) darling, you were (D) wonderful to (G) night."
(Eric Clapton) (Artist Index) - (Main Index) - (Song Index) (This Song)
WONDERFUL WORLD - (Cooke/Albert/Adley) - Sam Cooke/James Taylor
TIP: James Taylor and Art Garfunkel also do a rendition of this song but few people sing as smoothly as J.T. and nobody sings as smoothly as Art. So the Sam Cooke version is presented here.
TIP: Regarding the part that goes "(D7sus2) this (D7) would (G) be", move from the (C) to the (D7sus2) by holding (only) your index finger in place and moving your middle finger down one string. Then plant the ring finger to get to the (D7), then lift the top two fingers and slide the ring finger up one fret to complete the (G), not striking the top two strings at all.
TIP: In the bridge, to move from the (D7sus2) to the (A3) just lift the index finger.
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INTRO: (G)(Em), (G)(Em)
(G) Don't know much about (Em) history. (Am7) Don't know much bi (D) ology. (G) Don't know much about a (Em) science book. (Am7) Don't know much about the (D) French I took. (G) But I do know that (C) I love you. (G) And I know that if (C) you love me too, what a (Em) wonderful (C) world (D7sus2) this (D7) would (G) be.
(G) Don't know much about ge (Em) ography. (Am7) Don't know much trigon (D) ometry. (G) Don't know much about (Em) algebra. (Am7) Don't know what a slide (D) rule is for. (G) But I do know one and (C) one is two. (G) And if this one could (C) be with you, what a (Em) wonderful (C) world (D7sus2) this (D7) would (G) be.
Now (D) I don't claim to (G) be an 'A' student. (D) But I'm trying to (G) be. 'Cause (Em) maybe by being an (C) "A" student baby, (Dsus2) I could win (A3) your (Dsus2) love for (D7) me.
(G) Don't know much about the (Em) middle ages. (Am7) Look at the pictures and I (D) turn the pages. (G) Don't know nothing 'bout no (Em) rise and fall. (Am7) Don't know nothin' 'bout
(D) nothing at all. (G) Girl it's you that I've been (C) thinking of. (G) And if I could only
(C) win your love, what a (Em) wonderful (C) world (D7sus2) this (D7) would (G) be.
(G) La ta ta ta ta ta (Em) history. (Am7) Mmmmmm . . . (D) biology. (G) La ta ta ta ta ta
(Em) science book. (Am7) Mmmmmm . . . (D) French I took. (G) But I do know that (C) I love you. (G) And I know that if (C) you love me too, what a (Em) wonderful (C) world (D7sus2) this
(D7) would (G) be.
(Sam Cooke)(James Taylor)(Artist Index) - (Main Index) - (Song Index) (This Song)
THE WRECK OF THE EDMUND FITZGERALD - Gordon Lightfoot
TIP: There’s very little to this song – only 4 easy chords with no chorus and only an instrumental bridge. At the end of each verse you’ll see a notation for either an (UP) or a (DOWN). This serves two purposes. First, it’s a vocal guide when singing as to whether the last note goes up or down. Second, at the end of each verse you’ll be playing the (D) chord. When (UP) is indicated strike the strings with a downward motion emphasizing the bottom three strings and the high D note (2nd string/3rd fret). When you see (DOWN) strike the 5th, 4th, and 3rd strings (i.e., A-D-G) which will emphasize the low D note.
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Intro: (D) (Am) (C) (G) (D) . . . repeat (D) several times . . .
The legend lives on from the (Am) Chippewa on down of the (C) big lake they (G) call Gitche (D) Gumee (DOWN). The lake, it is said, never (Am) gives up her dead when the (C) skies of No (G) vember turn (D) gloomy (DOWN). With a load of iron ore twenty-six (Am) thousand tons more than the (C) Edmund Fitz (G) gerald weighed (D) empty (DOWN), that big ship and true was a (Am) bone to be chewed when the (C) gales of No (G) vember came (D) early (UP).
The ship was the pride of the A (Am) merican side coming (C) back from some (G) mill in Wis (D) consin (DOWN). As the big freighters go it was (Am) bigger than most with a (C) crew and the (G) Captain well (D) seasoned (UP). Concluding some terms with a (Am) couple of steel firms when they (C) left fully (G) loaded for (D) Cleveland (DOWN). And later that night when the (Am) ships bell rang, could it (C) be the north (G) wind they'd been (D) feeling (UP)?
(D) (Am) (C) (G) (D) - (C) (G) (D)
The wind in the wire made a (Am) tattletale sound and a (C) wave broke (G) over the (D) railing (DOWN). And every man knew, as the (Am) Captain did, too, t'was the (C) witch of No (G) vember come (D) stealing (UP). The dawn came late and the (Am) breakfast had to wait when the (C) gales of No (G) vember came (D) slashing (UP). When afternoon came it was (Am) freezing rain in the (C) face of a (G) hurricane (D) westwind (UP).
(D) (Am) (C) (G) (D) - (C) (G) (D)
When supper time came the old (Am) cook came on deck saying (C) fellas it's (G) too rough to (D) feed ya(DOWN). At 7 p.m. a main (Am) hatchway caved in he said (C) fellas it's (G) been good to (D) know ya. (UP) The Captain wired in he had (Am) water coming in and the (C) good ship and (G) crew was in (D) peril (DOWN). And later that night when his (Am) lights went out of sight came the (C) wreck of the (G) Edmund Fitz (D) gerald. (UP)
(D) (Am) (C) (G) (D) - (C) (G) (D)
Does anyone know where the (Am) love of God goes when the (C) waves turn the (G) minutes to (D) hours (DOWN). The searchers all say they'd have (Am) made Whitefish Bay if they'd (C) put fifteen (G) more miles be (D) hind her (UP). They might have split up or they (Am) might have capsized. They (C) may have broke (G) deep and took (D) water (DOWN). And all that remains is the (Am) faces and the names of the (C) wives and the (G) sons and the (D) daughters (UP).
(D) (Am) (C) (G) (D) - (C) (G) (D)
Lake Huron rolls, Su (Am) perior sings, in the (C) ruins of her (G) icewater (D) mansion (DOWN). Old Michigan steams like a (Am) young man's dreams, the (C) islands and (G) bays are for (D) sportsmen (UP). Farther below Lake On (Am) tario takes (C) in what Lake (G) Erie can (D) send her (DOWN). And the iron boats go as the (Am) mariners all know with the (C) gales of No (G) vember re (D) membered (UP).
(D) (Am) (C) (G) (D) - (C) (G) (D) (D) (Am) (C) (G) (D) - (C) (G) (D)
In a musty old hall in De (Am) troit they prayed in the (C) Maritime (G) Sailors' Ca (D) thedral (DOWN). The church bell chimed, 'til it rang (Am) 29 times for each (C) man on the (G) Edmund Fitz (D) gerald (UP).
The legend lives on from the (Am) Chippewa on down of the (C) big lake they (G) call
Gitche (D) Gumee (DOWN). Superior, they said, never (Am) gives up her dead when the (C) gales of No (G) vember come (D) early (UP).
(D) (Am) (C) (G) (D) - (C) (G) (D) (D) (Am) (C) (G) (D) (C) (twice as many strums as normal) (G) (twice as many strums as normal, slowing at the end, ending with a one-strum) (D)
(Gordon Lightfoot) (Artist Index) - (Main Index) - (Song Index) (This Song)
WRECK THIS HEART - Bob Seger
Tip: There's only one tricky bit and it comes in the bridge and involves a made-up chord called the (F-D) which is nothing more than (F) with your pinky added to the 2nd string/3rd fret. You'll come off a (G) and then to the (F-D). Play it like a regular (F) and add your pinky since the next chord is the (F) and all you have to do is lift off the pinky to get there.
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Intro: (G)(C), (G)(C), (G)(C), (G)(C)
I feel a (G) cold wind blowin' all (C) over me, I feel the (G) dark clouds startin' to (C) form. The (G) trees are bare, the (C) grass is brown. Another (D) early winter Michigan (C) storm. (G) Everything I do is just a (C) little wrong. (G) Every day for me is the (C) same. Every (G) one I know is getting (C) in my face and I (D) only got myself to (C) blame.
I think I'm gonna (G) wreck (F) this (C) heart. (G) Wreck (F) this (C) heart. (G) Wreck (F) this (C) heart, after a (G) while.
(G)(C), (G)(C)
The (G) big boss tells me my (C) work is off, my (G) wife wants me to come (C) home. I (G) miss my kids, I (C) miss my dog. I've been (D) spendin' too much time a (C) lone. I've got (G) bills to pay, (C) promises to keep, and it's (G) all hangin' over my (C) head. I got (G) miles to go be (C) fore I sleep. I'd (D) rather be with her in (C) stead.
I think I'm gonna (G) wreck (F) this (C) heart. (G) Wreck (F) this (C) heart. (G) Wreck (F) this (C) heart, after a (G) while.
(G)(C), (G)(C)
There's (A) time to work, (F) time to live. There's (C) only so much time a (G) round. And if you (F-D) lean too (F) far over the wishing well, you (C) might fall in and (G) drown.
(G)(C), (G)(C); (G)(C), (G)(C)
Am I (G) talkin to fast, am I (C) hard to hear? Have you (G) understood a word that I've (C) said? Let me (G) put it, to you, (C) this way, and (D) under-line in (C) red.
Order me a (G) case of your (C) southern soul, and (G) let me out to (G) night. I need a (G) good long ride on your (C) rodeo, and (D) everything will be al (C) right.
And then I'm gonna (G) wreck (F) this (C) heart. (G) Wreck (F) this (C) heart. (G) Wreck (F) this (C) heart, after a (G) while.
(G)(C), (G)(C)
I'm gonna (G) wreck (F) this (C) heart. (G) Wreck (F) this (C) heart. (G) Wreck (F) this (C) heart, after a (G) while.
(G)(C), (G)(C); (G)(C), (G)(C)
(Bob Seger) (Artist Index) - (Main Index) - (Song Index) (This Song)
WRITTEN IN STONE - (Schlitz/McAnnally) - Randy Travis (C0)
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(D) I'm gonna take you down to the riverside, where the water runs slow and wide. There's a
(G) big ol' rock, out in the middle, and I took my hammer and chisel, and (D) worked all night so you could see, just how much you mean to me. I (G) carved your name right next to mine, and it'll be there til the end of time. (A) And my love will (G) last at least that (A) long.
It's written in (G) stone how I feel for you. It's written in (D) stone what I want to do.
Spend my (C) life and life hereafter loving (D/A) you. And darling if we (G) live to be a hundred
or if we don't (D) make it half that long, I want you to (C) know how I feel for you is written in (D) stone.
There's a place on the edge of town, when I was a kid I found. (G) Two names on a stone together, lying side by side forever. (D) And it was then and there I knew, if I ever thought a love was true, (G) I'd surely want to write it down, on something that would be around. (A) When all the spoken (G) words have come and (A) gone.
It's written in (G) stone how I feel for you. It's written in (D) stone what I want to do.
Spend my (C) life and life hereafter loving (D/A) you. And darling if we (G) live to be a hundred
or if we don't (D) make it half that long, I want you to (C) know what I feel for you is written in (D) stone.
(A) And when this (G) life has come and (A) gone . . . our love will still (A) be written in
(G) stone how I feel for you. Written in (D) stone what I want to do. Spend my (C) life and life hereafter loving (D/A) you. And darling if we (G) live to be a hundred or if we don't (D) make it half that long, I want you to (C) know how I feel for you is written in (D) stone.
I want you to (C) know how I feel for you is written in (D) stone. Is (C) written in (D) stone. Is (G) written in (D) stone.
(Randy Travis) (Artist Index) - (Main Index) - (Song Index) (This Song)
YELLOW SUBMARINE – (Lennon/McCartney) - The Beatles [C2]
TIP: (Cmaj7) is just (C) without the ring finger.
TIP: The (G)(Em) (C)-(D7) bit is “the band playing.”
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(G) In the (D) town where I was (G) born, (Em) lived a (Am) man who (Cmaj7) sailed to (D) sea. (G) And he (D) told us of his (G) life, (Em) in the (Am) land of (Cmaj7) submar (D) ines. (G) So we (D) sailed on to the (G) sun, (Em) till we (Am) found a sea of (D) green. (G) And we (D) lived beneath the (G) waves, in our (Am) yellow submar (D) ine.
(G) We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine. (G-add) We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine.
(G) And our (D) friends are all (G) aboard, (Em) many (Am) more of them (Cmaj7) live next (D) door. (G) And the (D) band begins to (G) play. (G)(Em) (C)-(D)
(G) We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine. (G-add) We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine.
As we (D) live, a life of (G) ease. (Em) Every (Am) one of us, has (Cmaj7) all we (D) need. (G) Sky of (D) blue and sea of (G) green. In our (Am) yellow submar (D) ine.
(G) We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine. (G-add) We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine.
(G) We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine. (G-add) We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine. (G)
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
YOU ARE MY SUNSHINE – (Davis/Mitchell) – Traditional
TIP: Can also be played in (G), (C), and (D)
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The other (A) night dear, as I lay sleeping, I dreamed I (D) held you in my (A) arms. When I a (D) woke dear, I was mis (A) taken. So I hung my (E) head and I (A) cried.
You are my sunshine, my only sunshine. You make me (D) happy when skies are (A) gray. You'll never (D) know dear, how much I (A) love you. Please-don't-take, my (E) sunshine a (A) way.
I'll always (A) love you and make you happy, if you will (D) only say the (A) same. But if you (D) leave me, and love a (A) nother, you'll regret-it- (E) all some (A) day.
You are my sunshine, my only sunshine. You make me (D) happy when skies are (A) gray. You'll never (D) know dear, how much I (A) love you. Please-don't-take, my (E) sunshine a (A) way.
You told me (A) once dear, you really loved me. And no one (D) else could, come be (A) tween. But now you've (D) left me, and love a (A) nother. You have shattered (E) all of my (A) dreams.
You are my sunshine, my only sunshine. You make me (D) happy when skies are (A) gray. You'll never (D) know dear, how much I (A) love you. Please-don't-take, my (E) sunshine a (A) way.
In all my (A) dreams dear, you seem to leave me. When I a (D) wake my, poor heart (A) pains. So when you (D) come back, and make me (A) happy. I'll forgive, you (E) dear, I'll take the (A) blame.
You are my sunshine, my only sunshine. You make me (D) happy when skies are (A) gray. You'll never (D) know dear, how much I (A) love you. Please-don't-take, my (E) sunshine a (A) way.
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
YOU CAN'T ALWAYS GET WHAT YOU WANT - (Richards/Jagger) - The Rolling Stones
TIP: The first two verses are the same, the first is the sung acapella by a womens choir (if you know the song, you know what I'm talking about). Then there's a short solo guitar intro. So if you don't want sing two identical verses, skip the first.
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CHOIR: I (D) saw her today at the re (G) ception. A (D) glass of wine in her (G) hand. I (D) knew she would meet her con (G) nection. At her (D) feet was a footloose (G) man. Now you (D) can't always get what you (G) want. You (D) can't always get what you (G) want. You (D) can't always get what you (G) want. But if you (E) try sometime, (G) you find, you get what you (D) need.
INTRO: (G)(D)(G)(D)(G)
I (D) saw her today at the re (G) ception. A (D) glass of wine in her (G) hand. I (D) knew, she would meet her con (G) nection. At her (D) feet, was, a footloose (G) man.
You (D) can't always get what you (G) want. You (D) can't always get what you (G) want. You
(D) can't always get what you (G) want. But if you (E) try sometimes, well (G) you might find, you get what you (D) need. Ahhh-(G) ahhh. Yeah- (D) -ahh. (G)
And I (D) went down, to the demon (G) stration, to (D) get my, fair share, of a (G) buse. Singing, (D) "We're, gonna vent, our frus (G) tration. If we (D) don't, we're gonna blow a 50-amp (G) fuse"
You (D) can't always get what you (G) want. You (D) can't always get what you (G) want. You
(D) can't always get what you (G) want. But if you (E) try sometimes, well you (G) just might find, you get what you (D) need. Yeah (G) baby. Uhh - (D) -huh. (G)
I (D) went down, to the Chelsea (G) drugstore, to (D) get your, prescription (G) filled. I was
(D) standing in line, with Mr. (G) Jimmy, and (D) man, did he look, pretty (G) ill. We
de (D) cided, that we would have a (G) soda. My (D) favorite, flavor, cherry (G) red. I (D) sung my song, to Mr. (G) Jimmy. Yeah, and he (D) said one word to me, and that was (G) "dead". I said to him:
You (D) can't always get what you (G) want. You (D) can't always get what you (G) want. You
(D) can't always get what you (G) want. But if you (E) try sometimes, you (G) just might find, you get what you (D) need. Ohhh (G) yes. (D) (G)
You get what you (D) need. Oh (G) baby. Oh, (D) yes (G).
I (D) saw her today at the re (G) ception. In her (D) glass, was, a bleeding (G) man. She was
(D) practiced at the art of de (G) ception. Well I could (D) tell, by her, blood-stained
(G) hands.
You (D) can't always get what you (G) want. You (D) can't always get what you (G) want. You
(D) can't always get what you (G) want. But if you (E) try sometimes, you (G) just might find, you must might find, you get what you (D) need. Ahhh-(G) ahhh. Yeah- (D) -ahh. (G)
You (D) can't always get what you (G) want. You (D) can't always get what you (G) want. You
(D) can't always get what you (G) want. But if you (E) try sometimes, you (G) just might find, you just might find, you get what you (D) need. (G)(D)(G)(D)(G)(D)
(The Rolling Stones) (Artist Index) - (Main Index) - (Song Index) (This Song)
YOUR CHEATIN’ HEART - Hank Williams
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Your cheatin' (C) heart, will (C7) make you (F) weep (Fm6). You'll cry and (G7) cry, and try to (C) sleep. But sleep won't come, the (C7) whole night (F) through (Fm6). Your cheatin' (G7) heart, will tell on (C) you.
When (C7) tears come (F) down, like falling (C) rain. You'll toss a (D7) round, and call my (G7) name. You'll (C) walk the (C7) floor, the way I (F) do (Fm6). Your cheatin' (G7) heart, will tell on (C) you.
When (C7) tears come (F) down, like falling (C) rain. You'll toss a (D7) round, and call my (G7) name. You'll (C) walk the (C7) floor, the way I (F) do (Fm6). Your cheatin' (G7) heart, will tell on (C) you.
(Hank Williams) (Artist Index) - (Main Index) - (Song Index) (This Song)
YOUR WILDEST DREAMS – (Hayward) – Moody Blues
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INTRO: (G) (C) (D); (G) (C) (D)
(G) Once upon a (C) time, once when you were (D) mine. (G) I remember (C) skies, reflected in your (D) eyes. I (F) wonder where you (C) are. I (F) wonder if you (C) think about me. (G) Once upon a (C) time, in your (D) wildest (G) dreams. (C)(C)(D)
(G) Once the world was (C) new, our bodies felt the (D) morning dew that (G) greets the brand new (C) day. We couldn't tear our (D) selves away, I (F) wonder if you (C) care. I (F) wonder if you (C) still remember, (G) once upon a (C) time, in your (D) wildest (G) dreams. (C)(G)
And when the music (C) plays. And when the words are (D7) touched with sorrow. (G) When the music (C) plays, I hear the sound I (D7) had to follow. (G) Once upon a (D7) time.
(G) Once beneath the (C) stars, the universe was (D) ours. (G) Love was all we (C) knew, and all I knew was (D) you. I (F) wonder if you (C) know. I (F) wonder if you (C) think about it. (G) Once upon a (C) time, in your (D) wildest (G) dreams.
(G) Ahhhh (C). Ahhh (D). (G) Ahhhh (C). Ahhh (D). (F) Ahhh (C). (F) Ahhh (C). (G) Ahhh(C)(D7)
(G)(C)(G)
And when the music (C) plays. And when the words are (D7) touched with sorrow. (G) When the music (C) plays. . . And (G) when the music plays, I (C) hear the sound I (D7) had to follow. (G) Once upon a (D7) time.
(G) Once upon a (C) time. Once when you were (D) mine, (G) I remember (C) skies, mirrored in your (D) eyes. I (F) wonder where you (C) are. I (F) wonder if you (C) think about me. (G) Once upon a (C) time, in your (D) wildest (G) dreams.
In your (D) wild (D7) est (G) dreams. In your (D) wildest (G) dreams.
(The Moody Blues) (Artist Index) - (Main Index) - (Song Index) (This Song)
YOU’RE SIXTEEN – (Sherman) - Ringo Starr
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(G7) You come (C) on like a dream, (E7) peaches and cream. (F) Lips like strawberry (C) wine. You're six (D7) teen, you're (G7) beautiful, and you're (C) mine (G7).
(G7) You're all (C) ribbons and curls, (E7) ooh, what a girl. (F) Eyes that sparkle and (C) shine. You're six (D7) teen, you're (G7) beautiful, and you're (C) mine. (All (F) mine, mine, (C) mine).
(E7) You're my baby, you're my pet. (A7) We fell in love on the night we met. You (D7) touched my hand, my heart went pop. (G7) Ooh, when we kissed, I could not stop.
(G7) You walked (C) out of my dreams, (E7) and into my arms. (F) Now you're my angel di (C) vine. You're six (D7) teen, you're (G7) beautiful, and you're (C) mine.
(E7) You're my baby, you're my pet. (A7) We fell in love on the night we met. You (D7) touched my hand, my heart went pop. (G7) Ooh, when we kissed, I could not stop.
You walked (C) out of my dreams, (E7) and into my arms. (F) Now you're my angel di (C) vine. You're six (D7) teen, you're (G7) beautiful, and you're (C) mine.
You're six (D7) teen, you're (G) beautiful, and you're (C) mine.
(Ringo Starr) (Artist Index) - (Main Index) - (Song Index) (This Song)
YOU’RE THE REASON GOD MADE OKLAHOMA – (Pinkard/Collins) – David Frizell & Dottie West
TIP: There’s a key shift prior to the last verse that includes a (B) which some find difficult to play. This one is manageable though as it is preceded by the (E) and your fingers are (kind of) already in the right formation. Just drop down two string-sets as you move up the fretboard and add the pinky to the 2nd string/4th fret.
Can also be played with (C), (F) and(G7)
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(D) There's a full moon (G) over (D) Tulsa. I hope that it's (A) shining on (D) you. The nights are getting cold in (G) Cherokee (D) country. There's a Blue Norther (A) passing (D) through. I remember green eyes and a (G) ranchers (D) daughter. But remember is (A) all that I (D) do. Losing you left a (G) pretty good (D) cowboy, with nothing to (A) hold on (D) to. (G) Sundown came and I drove to town, and drank a drink or two.
(D) You're the reason God (G) made Okla (D) homa. You're the reason God (G) made Okla (D) homa. And I'm sure (A) missing (D) you. I'm sure (A) missing (D) you.
(D) Here the city lights (G) outshine the (D) moon. I was just now (A) thinking of (D) you. Sometimes when the wind blows you can (G) see the (D) mountains. And all the way to (A) Mali (D) bu. Everyone's a star here in (G) L.A. (D) County. You ought to see the (A) things that they (D) do. All the cowboys down on the (G) Sunset (D) Strip, wish that they could (A) be like (D) you. (G) The Santa Monica Freeway, sometimes makes a country girl blue.
(D) You're the reason God (G) made Okla (D) homa. You're the reason God (G) made Okla (D) homa. And I'm sure (A) missing (D) you. I'm sure (A) missing (D) you.
(E) [key shift]
(E) I work ten hours on a (A) John Deere (E) tractor, just thinking of you (B) all day (E) long. I've got a calico cat and a (A) two-room (E) flat, on a street in (B) West L. (E) A.
You're the reason God (A) made Okla (E) homa. You're the reason God (A) made Okla (E) homa. And I'm sure (B) missing (E) you. I'm sure (B) missing (E) you.
(Dottie West) (Artist Index) - (Main Index) - (Song Index) (This Song)
YOU’VE GOT TO HIDE YOUR LOVE AWAY – (Lennon/McCartney) - The Beatles [C0 or C4]
TIP: Don’t be scared off by the Dsus series. This sequence is the “lilt” you hear in the song and is easy to play. The lilt starts with playing (D). Once you have (D) simply add your pinky to the bottom string, third fret to play (Dsus). Then lift the pinky to return to (D), and then lift the middle finger to play (Dsus2). Return to normal (D), briefly, to complete the lilt. Easy!
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Intro: Strum (G) a few times to get the proper rhythm.
(G) Here I (D) stand, (F) head in (G) hand. (C) Turn my face to the (F) wall (C). (G) If she's (D) gone I (F) can't go (G) on, (C) feelin' two foot (F) small (C) (D). (G) Every (D) where (F) people (G) stare, (C) each and every (F) day (C). (G) I can (D) see them (F) laugh at (G) me, (C) and I hear them (F) say (C) (D). (Dsus2) (D)
(G) Hey you've got to (C) hide your love a (D) way (Dsus) (D) (Dsus2) (D).
(G) Hey you've got to (C) hide your love a (D) way (Dsus) (D) (Dsus2) (D).
(G) How can (D) I (F) even (G) try. (C) I can never (F) win (C). (G) Hearing (D) them, (F) seeing (G) them, (C) in the state I'm (F) in (C) (D). (G) How could (D) she (F) say to (G) me, (C) “Love will find a (F) way (C).” (G) Gather (D) round (F) all you (G) clowns. (C) Let me hear you (F) say (C) (D).
(G) Hey you've got to (C) hide your love a (D) way (Dsus) (D) (Dsus2) (D).
(G) Hey you've got to (C) hide your love a (D) way (Dsus) (D) (Dsus2) (D).
(G) (D) (G)
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
CHRISTMAS SONGS
THE ANGELS CRIED – (Jackson) – Alan Jackson and Allison Krauss (C1)
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They (D) came from near, they (A) came from far, (Bm) following a (A) distant star, to (G) where He lay. Not (D) being sure, of (A) what it meant, but (Bm) knowing it, was (A) heaven sent, they (G) made their way. And the (Em) creatures gathered round, and (G) didn't make a sound, and the (D) an (C) gels (Gadd) cried.
The (D) angels knew, what (A) was to come, the (Bm) reason God, had (A) sent his son, from (G) up above. It (D) filled their hearts, with (A) joy to see, and (Bm) knowing of, his (A) destiny, came (G) tears of love. And the (Em) creatures gathered round, and (G) didn't make a sound, and the (D) an (C) gels (Gadd) cried.
I've (D) often thought, a (A) bout that night, and (Bm) wondered if, they (A) realized, that (G) star so bright, was (D) sent to tell, (A) all the land, the (Bm) son of God, would (A) soon become, the (G) son of man. And the (Em) creatures gathered round, and (G) didn't make a sound, and the (D) an (C) gels (Gadd) cried. And the (D) an (C) gels (Gadd) cried. And the
(D) an (C) gels (G) cried. (D)
(Main Index) - (Christmas Song Index) (This Song)
ANGELS WE HAVE HEARD ON HIGH – (Smart/Traditional) - Traditional Carol (C3)
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(G) Angels we have (D) heard (D7) on (G) high, sweet (D) ly (G) sing (D) ing (G) o’er the plains. And the moun (D) tains in (D7) re (G) ply, ech (D) o (G) ing (D) their (G) joyous strains.
(G) Glo (E) (Am) (D) (G) (C) (D) ria. (G) In (D) ex (G) cel (C) sis (G) De (D) o. (G) Glo (E) (Am) (D) (G) (C) (D) ria. (G) In (D) ex (G) cel (C) sis (G) De (D7) (G) o.
(G) Shepherds, why (D) this ju (D7) bil (G) ee? Why (D) your (G) joy (D) ous (G) songs prolong? What the glad (D) some tid (D7) ings (G) be? (G) Which (D) in (G) spire (D) your (G) heav’nly song?
(G) Glo (E) (Am) (D) (G) (C) (D) ria. (G) In (D) ex (G) cel (C) sis (G) De (D) o. (G) Glo (E) (Am) (D) (G) (C) (D) ria. (G) In (D) ex (G) cel (C) sis (G) De (D7) (G) o.
(G) Come to Beth (D) le hem (D7) and (G) see, Christ (D) whose (G) birth (D) the (G) angels sing. Come adore (D) on ben (D7) ded (G) knee, (G) Christ (D) the (G) Lord (D) the (G) newborn King.
(G) Glo (E) (Am) (D) (G) (C) (D) ria. (G) In (D) ex (G) cel (C) sis (G) De (D) o. (G) Glo (E) (Am) (D) (G) (C) (D) ria. (G) In (D) ex (G) cel (C) sis (G) De (D7) (G) o.
(G) See him in (D) a man (D7) ger (G) laid, whom (D) the (G) choirs (D) of (G) angels praise. Mary, Jo (D) seph, lend (D7) your (G) aid, (G) while (D) our (G) hearts (D) in (G) love we raise.
(G) Glo (E) (Am) (D) (G) (C) (D) ria. (G) In (D) ex (G) cel (C) sis (G) De (D) o. (G) Glo (E) (Am) (D) (G) (C) (D) ria. (G) In (D) ex (G) cel (C) sis (G) De (D7) (G) o.
(Main Index) - (Christmas Song Index) (This Song)
AWAY IN A MANGER – Traditional Carol (C1 or C0)
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A (D) way in a manger, no (G) crib for a (D) bed. The (A) little Lord Je (A7) sus laid (G) down his sweet (D) head. The stars in the bright sky looked (G) down where He (D) lay. The (A7) little Lord (D) Jesus a (A7) sleep on the (D) hay.
The cattle are lowing, the (G) poor baby (D) wakes. But (A) little Lord Je (A7) sus no (G) crying he (D) makes. I love the Lord Jesus, look (G) down from the (D) sky. And (A7) stay by my (D) cradle 'till (A7) morning is (D) nigh.
Be near me Lord Jesus, I (G) ask Thee to (D) stay. Close (A) by me for (A7) ever, and (G) love me I (D) pray. Bless all the dear Children in (G) thy tender (D) care. And (A7) fit us for (D) heaven to (A7) live with Thee (D) there.
(Main Index) - (Christmas Song Index) (This Song)
CHILDREN GO WHERE I SEND THEE - Traditional (C0 or C5 or higher)
NOTE: There are two versions here. The first is for one singer just wailing away. Then there is the Sing-a-Long version for 3 or more persons.
TIP: The traditional carol actually has twelve verses, all of them appearing here in the first version. Perhaps the most popular rendition is by Peter, Paul and Mary who only did the first ten (which appear in the sing-a-long version afterwards).
TIP: I'm presenting it here in the key of D, which is easier to play than the original key of (E) as PPM performs it which includes the (B7) some have a problem with. Can also be played in the key of (G) using (G), (C), (D7) which is also easy to play.
TIP: The (D) appearing several times in the first "introductory" lyrics is meant to be strummed once, until the part that begins with "I'm gonna send them . . . " which is then played normally.
TIP: The short bridge [(D) born - (G) born - (D) born] between the 5x5 and 6x6, again between 8x8 and 9x9, and at the end of the song is sung in an ascending key.
SOLO VERSION
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Children, (D) go where I send thee. (D) How shall I send thee?
(D) I'm gonna send thee one by one. One for the little bitty baby. Who was born, (G) born,
(D) born in (A) Bethle (D) hem. He was born, (G) born, (D) born in (A) Bethle (D) hem.
Children, (D) go where I send thee. (D) How shall I send thee?
(D) I'm gonna send thee two by two. Two for Paul and Silas. One for the little bitty baby. Who was born, (G) born, (D) born in (A) Bethle (D) hem. He was born, (G) born, (D) born in (A) Bethle (D) hem.
Children, (D) go where I send thee. (D) How shall I send thee? (D) I'm gonna send thee three by three. (D) Three for the Hebrew children. Two for Paul and Silas. (D) One for the little bitty baby. Who was born, (G) born, (D) born in (A) Bethle (D) hem. He was born, (G) born, (D) born in (A) Bethle (D) hem.
Children, (D) go where I send thee. (D) How shall I send thee? (D) I'm gonna send thee four by four. Four for the four that stood at the door. Three for the Hebrew children. Two for Paul and Silas. One for the little bitty baby. Who was born, (G) born, (D) born in (A) Bethle (D) hem.
He was born, (G) born, (D) born in (A) Bethle (D) hem.
Children, (D) go where I send thee. (D) How shall I send thee? (D) I'm gonna send thee five by five. Five for the gospel preachers. Four for the four that stood at the door. Three for the Hebrew children. Two for Paul and Silas. One for the little bitty baby. Who was born, (G) born, (D) born in (A) Bethle (D) hem.
And he was (D) born - (A) born - (D) born, born in (A) Bethle (D) hem.
Children, (D) go where I send thee. (D) How shall I send thee? (D) I'm gonna send thee six by six
Six for the six that never got fixed. Five for the gospel preachers. Four for the four that stood at the door. Three for the Hebrew children. Two for Paul and Silas. One for the little bitty baby. Who was born, (G) born, (D) born in (A) Bethle (D) hem. He was born, (G) born, (D) born in (A) Bethle (D) hem.
Children, (D) go where I send thee. (D) How shall I send thee? (D) I'm gonna send thee seven by seven. Seven for the seven that never got to heaven. Six for the six that never got fixed. Five for the gospel preachers. Four for the four that stood at the door. Three for the Hebrew children. Two for Paul and Silas. One for the little bitty baby. Who was born, (G) born,
(D) born in (A) Bethle (D) hem. He was born, (G) born, (D) born in (A) Bethle (D) hem.
Children, (D) go where I send thee. (D) How shall I send thee? (D) I'm gonna send thee eight by eight. Eight for the eight that stood at the gate. Seven for the seven that never got to heaven. Six for the six that never got fixed. Five for the gospel preachers. Four for the four that stood at the door. Three for the Hebrew children. Two for Paul and Silas. One for the little bitty baby. Who was born, (G) born, (D) born in (A) Bethle (D) hem.
And he was (D) born - (A) born - (D) born, born in (A) Bethle (D) hem.
Children, (D) go where I send thee. (D) How shall I send thee? (D) I'm gonna send thee nine by nine. Nine for the nine all dressed so fine. Eight for the eight that stood at the gate. Seven for the seven that never got to heaven. Six for the six that never got fixed. Five for the gospel preachers. Four for the four that stood at the door. Three for the Hebrew children. Two for Paul and Silas. One for the little bitty baby. Who was born, (G) born, (D) born in
(A) Bethle (D) hem. He was born, (G) born, (D) born in (A) Bethle (D) hem.
Children, (D) go where I send thee. (D) How shall I send thee? (D) I'm gonna send thee ten by ten
Ten for the ten commandments. Nine for the nine all dressed so fine. Eight for the eight that stood at the gate. Seven for the seven that never got to heaven. Six for the six that never got fixed. Five for the gospel preachers. Four for the four that stood at the door. Three for the Hebrew children. Two for Paul and Silas. One for the little bitty baby. Who was born, (G) born, (D) born in (A) Bethle (D) hem. He was born, (G) born, (D) born in (A) Bethle (D) hem.
Children, (D) go where I send thee. (D) How shall I send thee? (D) I'm gonna send thee eleven by eleven. Eleven for the eleven deriders. Ten for the ten commandments. Nine for the nine all dressed so fine. Eight for the eight that stood at the gate. Seven for the seven that never got to heaven. Six for the six that never got fixed. Five for the gospel preachers. Four for the four that stood at the door. Three for the Hebrew children. Two for Paul and Silas. One for the little bitty baby. Who was born, (G) born, (D) born in (A) Bethle (D) hem. He was born, (G) born, (D) born in (A) Bethle (D) hem.
Children, (D) go where I send thee. (D) How shall I send thee? (D) I'm gonna send thee twelve by twelve. Twelve for the twelve Apostles. Eleven for the eleven deriders. Ten for the ten commandments. Nine for the nine all dressed so fine. Eight for the eight that stood at the gate. Seven for the seven that never got to heaven. Six for the six that never got fixed. Five for the gospel preachers. Four for the four that stood at the door. Three for the Hebrew children. Two for Paul and Silas. One for the little bitty baby. Who was born, (G) born, (D) born in
(A) Bethle (D) hem.
And he was (D) born - (A) born - (D) born, born in . . . (A) Bethle . . . (D) hem.
(Main Index) - (Christmas Song Index) (This Song)
~~~~~~~~~~~~~~~~~~~
GROUP SING-A-LONG! This is for 3 or more persons and mirrors the Peter, Paul, and Mary Christmas concert, where [1] is Peter, [2] is Paul, [3] is Mary, and [4] is the choir. So divvy up the singing parts accordingly.
If there are only 3 persons then ignore the part for [4].
If there are more than 4, then one person each sings the part of [1], [2], and [3], and everybody else assumes the role of [4].
[1-3] means singer [1] and singer [3]; not singers [1],[2], and [3]. Sing only when you see your number.
Finally, a non-guitar playing singer to serve in the role as page scroller.
When the primary singer [1] and chorus [4} are alternating the "born"s, the [4] sings in the primary key while the [1] sings an upper harmony note. Listen to the video to see what I'm trying to convey. Easy.
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[1-2-3] Children (D) go where I send thee.
[4] (D) How shall I send thee?
[1] (D) I'm gonna send thee one by one.
[1-4] One for the little bitty baby. He was born, (G) born, (D) born in (A) Bethle (D) hem.
[4] He was born,
[1] born,
[4] (G) born,
[1] born,
[1-4] (D) born in (A) Bethle (D) hem.
[2] Well children (D) go where I send thee.
[4] (D) How shall I send thee?
[2] (D) I'm gonna send thee two by two.
[2-4] Two for Paul and Silas.
[1] One for the little bitty baby.
[1-2-4] He was born, (G) born, (D) born in (A) Bethle (D) hem.
[4] He was born,
[1-2-3] born,
[4] (G) born,
[1-2-3] born
[1-2-3-4] (D) born in (A) Bethle (D) hem.
[3] Children, (D) go where I send thee.
[4] (D) How shall I send thee?
[3] (D) I'm gonna send thee three by three.
[3-4] Three for the Hebrew children.
[2-4] Two for Paul and Silas.
[1-4] One for the little bitty baby.
[1-2-3-4] He was born, (G) born, (D) born in (A) Bethle (D) hem.
[4] He was born,
[1-2-3] born,
[4] (G) born,
[1-2-3] born,
[4] (D) born in (A) Bethle (D) hem.
[1-2-3] Children (D) go where I send thee.
[4] (D) How shall I send thee?
[1-2-3] (D) I'm gonna send thee four by four. Four for the four that stood at the door.
[3] Three for the Hebrew children.
[2] Two for Paul and Silas.
[1] One for the little bitty baby.
[1-2-3] He was born,
[4] born,
[1-2-3] (G) born,
[4] born,
[1-2-3-4] (D) born in (A) Bethle (D) hem.
[4] Children (D) go where I send thee.
[1-2-3] (D) How shall I send thee?
[4] I'm gonna send thee five by five.
[1-2-3] Five for the five that
[4] stayed alive.
[1-2-3] Four for the four that
[4] stood at the door.
[3] Three for the Hebrew
[4] children.
[2] Two for Paul and
[4] Silas.
[1] One for the little bitty
[4] baby.
[1-2-3] Who was born,
[4] born,
[1-2-3] (G) born,
[4] born,
[1-2-3-4] (D) born in (A) Bethle (D) hem.
[4] (ascending) He was (D) born - (A) born - (D) born, born in (A) Bethle (D) hem.
[1-2-3] Children (D) go where I send thee.
[4] (D) How shall I send thee?
[1] I'm gonna send thee six by six
[1-4] Six
[1] for the six that never got fixed.
[1-4] Five
[1] for the five that stayed alive.
[1-4] Four
[1] for the four that stood at the door.
[1-4] Three
[1] for the Hebrew children.
[1-4] Two
[1] for Paul and Silas.
[1-4] One
[1] for the little bitty baby.
[4] Who was born,
[1] born
[4] (G) born
[1] born
[1-4] (D) born in (A) Bethle (D) hem.
[2] Children (D) go where I send thee.
[4] (D) How shall I send thee?
[2] I'm gonna send thee seven by seven.
[2-4] Seven
[2] for the seven that never got to heaven.
[2-4] Six
[2] for the six that never got fixed.
[2-4] Five
[2] for the five that stayed alive.
[2-4] Four
[2] for the four that stood at the door.
[2-4] Three
[2] for the Hebrew children.
[2-4] Two
[2] for Paul and Silas.
[2-4] One
[2] for the little bitty baby.
[4] Who was born,
[2] born
[4] (G) born
[2] born
[2-4] (D) born in (A) Bethle (D) hem.
[3] Children (D) go where I send thee.
[4] (D) How shall I send thee?
[3] I'm gonna send thee eight by eight
[3-4] Eight
[3] for the eight that stood at the gate,
[3-4] Seven
[3] for the seven that never got to heaven.
[3-4] Six
[3] for the six that never got fixed.
[3-4] Five
[3] for the five that stayed alive.
[3-4] Four
[3] for the four that stood at the door.
[3-4] Three
[3] for the Hebrew children.
[3-4] Two
[3] for Paul and Silas.
[3-4] One
[2] for the little bitty baby.
[4] Who was born,
[3] born
[4] (G) born
[3] born
[3-4] (D) born in (A) Bethle (D) hem.
[4] (ascending) He was (D) born - (A) born - (D) born, born in (A) Bethle (D) hem.
[1-2-3] Children (D) go where I send thee.
[4] (D) How shall I send thee?
[1-2-3-4] I'm gonna send thee nine by nine
[1-2-3-4] Nine
[1-2-3] for the nine all dressed so fine.
[1-2-3-4] Eight
[1-2-3] for the eight that stood at the gate,
[1-2-3-4] Seven
[1-2-3] for the seven that never got to heaven.
[1-2-3-4] Six
[1-2-3] for the six that never got fixed.
[1-2-3-4] Five
[1-2-3] for the five that stayed alive.
[1-2-3-4] Four
[1-2-3] for the four that stood at the door.
[1-2-3-4] Three
[1-2-3] for the Hebrew children.
[1-2-3-4] Two
[1-2-3] for Paul and Silas.
[1-2-3-4] One
[1-2-3] for the little bitty baby.
[1-2-3] He was born,
[4] born
[1-2-3] (G) born
[4] born
[1-2-3-4] (D) born in (A) Bethle (D) hem.
[4] He was born,
[1-2-3] born
[4] (G) born
[1-2-3] born
[1-2-3-4] (D) born in (A) Bethle (D) hem.
[1-2-3] Well children (D) go where I send thee.
[4] (D) How shall I send thee?
[1-2-3-4] Wellllll...... (D) I'm gonna send thee ten by ten. (D) Ten for the ten commandments. (D) Nine for the nine all dressed so fine. (D) Eight for the eight that stood at the gate. Seven for the seven that never got to heaven. Six for the six that never got fixed. Five for the five that stayed alive. Four for the four that stood at the door. Three for the Hebrew children. Two for Paul and Silas. One for the little bitty baby. Who was born, (G) born, (D) born in (A) Bethle (D) hem.
[4] (ascending) He was (D) born - (A) born - (D) born . . .
[1-2-3] born in . . . (A) Bethle . . . (D) hem.
[4] In (G) Beth (Gadd) le . . .
[1-2-3-4] . . . (D) hem.
(Main Index) - (Christmas Song Index) (This Song)
DECK THE HALLS – Traditional Carol (C1)
TIP: Much easier to fingerstyle in G.
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(C) Deck the halls with boughs of holly. (G7) Fa-la-la-la (C) la, la-la (G7) la (C) la. (C) 'Tis the season to be jolly. (G7) Fa-la-la-la (C) la, la-la (G7) la (C) la. (G) Don we now our (C) gay appa (G7) rel. (C) Fa-la-la, (Am) la-la-la, (G) la (D7) la (G) la. (C) Troll the ancient Yuletide carol. (F) Fa-la-la-la (C) la, la-la (G7) la (C) la.
(C) See the blazing Yule before us. (G7) Fa-la-la-la (C) la, la-la (G7) la (C) la. (C) Strike the harp and join the chorus. (G7) Fa-la-la-la (C) la, la-la (G7) la (C) la. (G) Follow me in (C) merry meas (G7) ure. (C) Fa-la-la, (Am) la-la-la, (G) la (D7) la (G) la. (C) While I tell of Yuletide treasure. (F) Fa-la-la-la (C) la, la-la (G7) la (C) la.
(C) Fast away the old year passes. (G7) Fa-la-la-la (C) la, la-la (G7) la (C) la. (C) Hail the new ye lads and lasses. (G7) Fa-la-la-la (C) la, la-la (G7) la (C) la. (G) Sing we joyous (C) all togeth (G7) er. (C) Fa-la-la, (Am) la-la-la, (G) la (D7) la (G) la. (C) Heedless of the wind and weather. (F) Fa-la-la-la (C) la, la-la (G7) la (C) la.
(Main Index) - (Christmas Song Index) (This Song)
DO YOU HEAR WHAT I HEAR – (Menotti) (C0)
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Said the (C) night wind to the (G) little (C) lamb: Do you see what (F) I (C) see? 'Way up in the sky, (G) little (C) lamb. Do you see what (F) I (C) see? A (Am) star, a star, (Em) dancing in the night, with a (F) tail as (G) big as a (Am) kite. With a (F) tail as (G7) big as a (C) kite.
Said the little lamb to the (G) shepherd (C) boy: Do you hear what (F) I (C) hear? Ringing thru the sky, (G) shepherd (C) boy. Do you hear what (F) I (C) hear? A (Am) song, a song, (Em) high above the tree, with a (F) voice as (G) big as the (Am) sea. With a (F) voice as (G7) big as the (C) sea.
Said the shepherd boy to the (G) mighty (C) king: Do you know what (F) I (C) know? In your palace warm, (G) mighty (C) king. Do you know what (F) I (C) know? A (Am) child, a child, (Em) shivers in the cold. Let us (F) bring Him (G) silver and (Am) gold. Let us (F) bring Him (G7) silver and (C) gold.
Said the king to the people (G) every (C) where: Listen to what (F) I (C) say. Pray for peace, people (G) every (C) where. Listen to what (F) I (C) say. The (Am) child, the child, (Em) sleeping in the night. He will (F) bring us (G) goodness and (Am) light. He will (F) bring us (G7) goodness and (C) light.
(Main Index) - (Christmas Song Index) (This Song)
THE FIRST NOEL – Traditional English Carol (C1)
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The (G) first No (D) el, the (C) Angel did (G) say. Was to (C) certain poor (Bm) shepherds in (C) fields as they (G) lay. In fields where (D) they lay (C) keeping their (G) sheep, on a (C) cold winter's (Bm) night that (C) was so (G) deep.
(G) Noel, No (Bm) el, No (C) el, No (G) el (D).
(C) Born is the (Bm) King of (C)-(D) Is (C) ra (G) el.
Theyyyy looked (D) up, and (C) saw a (G) star, shining (C) in the (Bm) East be (C) yond them (G) far. And to the (D) earth it (C) gave great (G) light, and (C) so it con (Bm) tinued both (C) day and (G) night.
(G) Noel, No (Bm) el, No (C) el, No (G) el (D)
(C) Born is the (Bm) King of (C)-(D) Is (C) ra (G) el.
And by the (D) light of (C) that same (G) star, (C) three Wise men (Bm) came from (C) country (G) far. To seek for a (D) King (C) was their in (G) tent, and to (C) follow the (Bm) star where (C) ever it (G) went.
(G) Noel, No (Bm) el, No (C) el, No (G) el (D)
(C) Born is the (Bm) King of (C)-(D) Is (C) ra (G) el.
This star drew (D) nigh (C) to the north (G) west, o'er (C) Bethle (Bm) hem it (C) took its (G) rest. And there it (D) did (C) both pause and (G) stay, right (C) o'er the (Bm) place where (C) Jesus (G) lay.
(G) Noel, No (Bm) el, No (C) el, No (G) el (D)
(C) Born is the (Bm) King of (C)-(D) Is (C) ra (G) el.
Then entered (D) in (C) those Wise men (G) three, full (C) reverent (Bm) ly up (C) on their (G) knee. And offered (D) there (C) in His pres (G) ence, their (G) gold and (Bm) myrrh and (C) frankin (G) cense.
(G) Noel, No (Bm) el, No (C) el, No (G) el (D)
(C) Born is the (Bm) King of (C)-(D) Is (C) ra (G) el.
Then let us (D) all (C) with one a (G) ccord. Sing (C) praises to (Bm) our (C) heavenly (G) Lord, that hath (D) made (C) Heaven and earth of (G) nought. And (G) with his (Bm) blood (C) mankind has (G) bought.
(G) Noel, No (Bm) el, No (C) el, No (G) el (D)
(C) Born is the (Bm) King of (C)-(D) Is (C) ra (G) el.
(Main Index) - (Christmas Song Index) (This Song)
GOD REST YE MERRY GENTLEMEN – Traditional (C1)
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God (Am) rest ye merry gentlemen, (Em) let (Am) nothing you dis (E) may. Re (Am) member, Christ, our Saviour (Em) was (Am) born on Christmas (E) day. To (G7) save us all from (C) Satan's power when (Am) we were gone a (D) stray.
Oh (C) tidings of (E) comfort and (Am) joy, comfort and (D) joy. Oh (C) tidings of (E) comfort and (Am) joy.
In Bethlehem, in Israel, (Em) this (Am) blessed Babe was (E) born. And (Am) laid within a manger (Em) up (Am) on this blessed (E) morn. On (G7) which His Mother (C) Mary, did (Am) nothing take in (D) scorn.
Oh (C) tidings of (E) comfort and (Am) joy, comfort and (D) joy. Oh (C) tidings of (E) comfort and (Am) joy.
From God our Heavenly Father, (Em) a (Am) blessed Angel (E) came. And (Am) unto certain shepherds (Em) brought (Am) tidings of the (E) same. How (G7) that in (C) Bethlehem was born the (Am) Son of God by (D) name.
Oh (C) tidings of (E) comfort and (Am) joy, comfort and (D) joy. Oh (C) tidings of (E) comfort and (Am) joy.
"Fear not then," said the Angel, (Em) "Let (Am) nothing you a (E) fright. This (Am) day is born a Saviour (Em) of (Am) a pure Virgin (E) bright. To (G7) free all those who (C) trust in Him from (Am) Satan's power and (D) might."
Oh (C) tidings of (E) comfort and (Am) joy, comfort and (D) joy. Oh (C) tidings of (E) comfort and (Am) joy.
The shepherds at those tidings, (Em) re (Am) joiced with much in (E) mind. And (Am) left their flocks a-feeding (Em) in (Am) tempest, storm and (E) wind. And (G7) went to Bethle (C) hem straightway, the (Am) Son of God to (D) find.
Oh (C) tidings of (E) comfort and (Am) joy, comfort and (D) joy. Oh (C) tidings of (E) comfort and (Am) joy.
And when they came to Bethlehem, (Em) where (Am) our dear Saviour (E) lay. They (Am) found Him in a manger, (Em) where (A) oxen feed on (E) hay. His (G7) Mother Mary (C) kneeling down, un (Am) to the Lord did (D) pray.
Oh (C) tidings of (E) comfort and (Am) joy, comfort and (D) joy. Oh (C) tidings of (E) comfort and (Am) joy.
Now to the Lord sing praises, (Em) all (Am) you within this (E) place. And (Am) with true love and brotherhood, (Em) each (Am) other now em (E) brace. This (G7) holy tide of (C) Christmas all (Am) others doth de (D) face.
Oh (C) tidings of (E) comfort and (Am) joy, comfort and (D) joy. Oh (C) tidings of (E) comfort and (Am) joy.
(Main Index) - (Christmas Song Index) (This Song)
GOOD KING WENCESLAS – Traditional (C5)
TIP: Slow down your playing/singing for the last line of each verse.
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(G) Good King Wen (D) ces (G) las looked out, (C) on the Feast (D7) of (G) Stephen. When the snow (D) lay (G) 'round about, (C) deep and crisp (D7) and (G) even. Brightly shone the moon (D) that (Em) night, (C) though the frost (D7) was (G) cruel. When a (Em) poor (D) man (Em) came in (D) sight, (G) gath'ring win (D7) ter (Em) fu (C) (G) el.
(G) "Hither, page, (D) and (G) stand by me, (C) if thou know'st (D7) it, (G) telling. Yonder peas (D) ant, (G) who is he? (C) Where and what (D7) his (G) dwelling?" "Sire, he lives a good (D) league (Em) hence, (C) underneath (D7) the (G) mountain. Right a (Em) gainst (D) the (Em) forest (D) fence, (G) by Saint Ag (D7) nes' (Em) foun (C) (G) tain."
(G) "Bring me flesh (D) and (G) bring me wine. (C) Bring me pine (D7) logs (G) hither. Thou and I (D) shall (G) see him dine. (C) When we bear (D7) them (G) thither." Page and monarch, forth (D) they (Em) went, (C) forth they went (D7) to (G) gether. Through the (Em) rude (D) wind's (Em) wild lam (D) ent, (G) and the bit (D7) ter (Em) weath (C) (G) er.
(G) "Sire, the night (D) is (G) darker now, (C) and the wind (D7) blows (G) stronger. Fails my heart, (D) I (G) know not how, (C) I can go (D7) no (G) longer." "Mark my footsteps good, (D) my (Em) page, (C) tread thou in (D7) them (G) boldly. Thou shall (Em) find (D) the (Em) winter's (D) rage, (G) freeze thy blood (D7) less (Em) co (C) ld (G) ly."
(G) In his mas (D) ter's (G) steps he trod, (C) where the snow (D7) lay (G) dinted. Heat was in (D) the (G) very sod, (C) which the Saint (D7) had (G) printed. Therefore, Christian men, (D) be (Em) sure, (C) wealth or rank (D7) po (G) ssessing. Ye, who (Em) now (D) will (Em) bless the (D) poor, (G) shall yourselves (D7) find (Em) ble (C) ess (G) ing.
(Main Index) - (Christmas Song Index) (This Song)
GRANDMA GOT RUN OVER BY A REINDEER – (Brooks) (C4)
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(G) Grandma got run over by a reindeer, walking home from our house Christmas (C) eve. You can say there's no such thing as (G) Santa, but (D) as for me and Grandpa, we be (G) lieve.
(Em) She'd been drinking too much egg (D) nog. And we'd begged her not to (G) go. But she forgot her medi (C) cation, and she (D) staggered out the door into the (G) snow. (Em) When we found her Christmas mor (D) nin', at the scene of the a (G) ttack. She had hoof prints on her (C) forehead,
and in (D) criminating claw marks on her (G) back. (D) (C)
(G) Grandma got run over by a reindeer, walking home from our house Christmas (C) eve. You can say there's no such thing as (G) Santa, but (D) as for me and Grandpa, we be (G) lieve.
(Em) Now were all so proud of Grand (D) pa. He's been takin' this so (G) well. See him in there watching (C) football. Drinkin' (D) beer and playin' cards with cousin (G) Mel. (Em) It's not Christmas without Grand (D) ma. All the family's dressed in (G) black. And we just can't help but (C) wonder, should we (D) open up her gifts or send them (G) back? (D) (C)
(G) Grandma got run over by a reindeer, walking home from our house Christmas (C) eve. You can say there's no such thing as (G) Santa, but (D) as for me and Grandpa, we be (G) lieve.
(Em) Now the goose is on the ta (D) ble, and the pudding made of (G) fig. And a blue and silver (C) candle, that would (D) just have matched the hair in Grandma's (G) wig. (Em) I've warned all my friends and neigh (D) bors. Better watch out for your (G) selves. They should never give a
(C) license, to a (D) man who drives a sleigh and plays with (G) elves (D) (C)
(G) Grandma got run over by a reindeer, walking home from our house Christmas (C) eve. You can say there's no such thing as (G) Santa, but (D) as for me and Grandpa, we be (G) lieve. (D) (C)
(G) Grandma got run over by a reindeer, walking home from our house Christmas (C) eve. You can say there's no such thing as (G) Santa, but (D) as for me and Grandpa, we be (G) lieve.
(Main Index) - (Christmas Song Index) (This Song)
HALLELUJAH - (Cohen) - Cloverton
TIP: Presented in both the key of (C) and (G).
[KEY of C]
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Intro: (C)(Am); (C)(Am);
(C) I've heard about this (Am) baby boy who's (C) come to earth to (Am) bring us joy.
And (F) I just want to sing (G) this song (C) to ya (G).
It (C) goes like this: the (F) fourth, the (G) fifth, the (Am) minor fall and the (F) major
(G) lift. With every breath I'm (E7) singing Halle (Am) lujah.
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu (C) jah. (C)(Am)(C)(Am)
A (C) couple came to (Am) Bethlehem. Ex (C) pecting child they (Am) searched the inn.
To (F) find a place for You (G) were coming (C) soon (G).
There (C) was no room for (F) them to (G) stay. So (Am) in a manger (F) filled with (G) hay
God's only Son was (E7) born oh Halle (Am) lujah.
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu (C) jah. (C)(Am)(C)(Am)
The (C) shepherds lift their (Am) flocks by night. To (C) see this baby (Am) walked in light.
A (F) host of angels led (G) them all (C) to You (G).
It (C) was just as the (F) angels (G) said, you'll (Am) find Him in a (F) manger (G) bed.
Emannuel and (E7) Savior, Halle (Am) lujah.
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu (C) jah. (C)(Am)(C)(Am)
A (C) star shown bright up (Am) in the east, to (C) Bethlehem the (Am) wise men three.
Came (F) many miles and jour (G) neyed long to (C) see You (G)?
And (C) to the place at (F) which You (G) were, their (Am) frankincense and (F) gold and (G) myrrh.
They gave to You and (E7) cried out Halle (Am) lujah.
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu (C) jah.
(C)(Am)(C)(Am), (F)(G)(C)(G), (C)(F)(G)(Am)(F)(G), (G)(E7)(Am)
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu (C) jah. (C)(Am)(C)(Am)
I (C) know You came to (Am) rescue me. This (C) baby boy would (Am) grow to be.
A (F) man and one day die (G) for me and (C) you (G).
My (C) sins would drive the (F) nails in (G) You. That (Am) rugged cross was (F) my cross (G) too.
Still every breath You (E7) drew was Halle (Am) lujah.
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu . . .
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu . . .
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu . . .
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu (C) jah. (C)(Am)(C)(Am)(C)
(Main Index) - (Christmas Song Index) (This Song)
HALLELUJAH - (Cohen) - Cloverton
TIP: If left uncapo'd, it's the key of (G). If you capo at the 4th fret it will be in the key of (C), as originally intended, and also sounds quite pretty.
TIP: If more than one guitarist is present, have one play the version above, uncapo'd, and the other play the version below (capo'd at the 4th fret). Both will be playing in (C) an octave apart. Sounds pretty.
[Key of (G) (uncapo'd)] [Key of (C) capo 4th fret]
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Intro: (G)(Em); (G)(Em);
(G) I've heard about this (Em) baby boy who's (G) come to earth to (Em) bring us joy.
And (C) I just want to sing (D) this song (G) to ya (D)?
It (G) goes like this: the (C) fourth, the (D) fifth, the (Em) minor fall and the (C) major
(D) lift. With every breath I'm (B7) singing Halle (Em) lujah.
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu (G) jah. (G)(Em)(G)(Em)
A (G) couple came to (Em) Bethlehem. Ex (G) pecitng child they (Em) searched the inn.
To (C) find a place for You (D) were coming (G) soon (D).
There (G) was no room for (C) them to (D) stay. So (Em) in a manger (C) filled with
(D) hay God's only Son was (B7) born oh Halle (Em) lujah.
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu (G) jah. (G)(Em)(G)(Em)
The (G) shepherds lift their (Em) flocks by night. To (G) see this baby (Em) walked in light.
A (C) host of angels led (D) them all (G) to You (D).
It (G) was just as the (C) angels (D) said, you'll (Em) find Him in a (C) manger (D) bed.
Emannuel and (B7) Saviour, Halle (Em) lujah.
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu (G) jah. (G)(Em)(G)(Em)
A (G) star shown bright up (Em) in the east, to (G) Bethlehem the (Em) wise men three.
Came (C) many miles and jour (D) need long to (G) see you (D)?
And (G) to the place at (C) which You (D) were, their (Em) frankincense and (C) gold and (D) myrrh.
They gave to You and (B7) cried out Halle (Em) lujah.
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu (G) jah.
(G)(Em)(G)(Em), (C)(D)(G)(D), (G)(C)(D)(Em)(C)(D), (D)(B7)(Em)
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu (G) jah. (G)(Em)(G)(Em)
I (G) know You came to (Em) rescue me. This (G) baby boy would (Em) grow to be.
A (C) man and one day die (D) for me and (G) you (D).
And (G) sins would drive the (C) nails in (D) You. That (Em) rugged cross was (C) my cross
(D) too. Still every breath You (B7) drew was Halle (Em) lujah.
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu . . .
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu . . .
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu . . .
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu (G) jah. (G)(Em)(G)(Em)(G)
(Main Index) - (Christmas Song Index) (This Song)
HARK! THE HERALD ANGELS SING – (Wesley/Mendelssohn) (C3)
TIP: There are a couple of one-syllable words which are sung with two syllables and have a chord change in the middle. For example, in the first line, the word “sing” in “angels sing” is sung in two syllables. It enters on the (G) but changes to the (D). It’s chorded as “ (G)... angels si-(D)-ing.”
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(G) Hark! The herald angels si-(D)-ing: (G) "Glory to the new (D7) born (G) King!" Peace on earth, and mercy mi-(D)-ld. God and sinners re (A7) con (D) ciled. (G) Joyful all ye (D7) na (G) tions ri-(D)-ise. (G) Join the triumph (D7) of (G) the ski-(D)-ies. (C) With angelic (Am) host (E7) pro (Am) claim: (D7) "Christ is (G) born in Beth (D) le (G) hem." (C) Hark! The herald (Am) an (E7) gels (Am) sing: (D7) “Glory (G) to the new (D7) born (G) King!"
(G) Christ, by highest heaven ador (D) ed. (G) Christ the everlast (D7) ing (G) Lord. Late in time behold him co-(D)-me. Offspring of the fav (A7) ored (D) One. (G) Veiled in flesh, the (D7) God (G) head see-(D)-ee. (G) Hail incarnate (D7) de (G) ity-(D)-y. (C) Pleased as man with (Am) men (E7) to (Am) dwell. (D7) Jesus, (G) our Eman (D) u (G) el. (C) Hark! The herald (Am) an (E7) gels (Am) sing: (D7) “Glory (G) to the new (D7) born (G) King!"
(G) Hail! The heaven-born Prince of Pe-(D)-ace! (G) Hail! the son of right (D7) eous (G) ness. Light and life to all he bri-(D)-ings. Risen with healing in (A7) his (D) wings. (G) Mild he lays His (D7) glor (G) y by-(D)-y. (G) Born that man no (D7) more (G) may die-(D)-ie. (C) Born to raise the (Am) sons (E7) of (Am) earth. (D7) Born to (G) give them sec (D) ond (G) birth. (C) Hark! The herald (Am) an (E7) gels (Am) sing: (D7) “Glory (G) to the new (D7) born (G) King!"
(Main Index) - (Christmas Song Index) (This Song)
HAVE A HOLLY JOLLY CHRISTMAS – (Marks) (C0)
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Have a (C) holly, jolly Christmas, it's the best time of the (G7) year. I don't know if there'll be snow, but have a cup of (C) cheer. Have a holly, jolly Christmas, and when you walk down the (G7) street, say hello to friends you know and everyone you (C) meet.
(F) Hey, ho, the (Em) mistletoe, (F) hung where you can (C) see. (Dm) Somebody's (Am) waiting there, (D7) kiss her once for (G7) me.
Have a (C) holly, jolly Christmas and in case you didn't (G7) hear. Oh, by golly have a (C) holly, jolly (D7) Christmas (G7) this (C) year.
(Main Index) - (Christmas Song Index) (This Song)
HAVE YOURSELF A MERRY LITTLE CHRISTMAS – (Martin/Blane)
TIP: (Fmaj7) is just (F) without the mini-bar on the lower two strings (i.e. without the Eb note), and ignoring the pinky on the string second from the top. In other words, play (C) with the middle and ring fingers moved down one string.
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(C) Have your (Am7) self a (Dm7) merry little Christ (G7) mas. (C) Let your (Am7) heart be (Dm7) light (G7). (C) From now (Am) on our (Dm7) troubles will be (G7) out of (E7) sight (A7) (D7) (G7). (C) Have your (Am7) self a (Dm7) merry little Christ (G7) mas. (C) Make the (Am7) Yuletide (Dm7) gay (G7). (C) From now (Am) on our (Dm7) troubles will be (E7) miles a (Am) way. (C7)
(C) Here were are as in (G) olden days, happy (Dm7) golden days of (G) yore. (Am) Faithful friends who are (Em) dear to us, gather (G) near to us (D7) once (G7) more.
(C) Through the (Am7) years we (Dm7) all will be to (G7) gether, (C) if the (Am7) Fates al (Dm7) low (G7). (C) Hang a (Am) shining (Dm7) star upon the (E7) highest (Am) bough (C). And (Fmaj7) have your (Am) self a (Dm7) merry little (G7) Christmas (C) now. (F) (C)
(Main Index) - (Christmas Song Index) (This Song)
HERE COMES SANTA CLAUS (Autry/Haldeman) (C0 or C1)
TIP: It helps to think of the Griswolds.
TIP: To play the (C) (CaddD) (C) series in “Here comes Santa Claus” just play (C) and add your pinky to the 2nd string, 3rd fret, and then remove it again.
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(C) Here comes (CaddD) Santa (C) Claus. Here comes (CaddD) Santa (C) Claus. (G7) Right down Santa Claus Lane. Vixen and Blitzen and all his reindeer are (C) pulling on the reins. (F) Bells are ringing, (Em) children singing. (G7) All is merry and (C) bright. (F) Hang your stockings and (C) say your (Am) prayers, 'cause (G7) Santa Claus comes to (C) night.
(C) Here comes (CaddD) Santa (C) Claus. Here comes (CaddD) Santa (C) Claus. (G7) Right down Santa Claus Lane. He's got a bag that is filled with toys for the (C) boys and girls again. (F) Hear those sleigh bells (Em) jingle jangle. (G7) What a beautiful (C) sight. (F) Jump in bed, cover (C) up your (Am) head, ‘cause (G7) Santa Claus comes (C) tonight.
(C) Here comes (CaddD) Santa (C) Claus. Here comes (CaddD) Santa (C) Claus. (G7) Right down Santa Claus Lane. He'll come around when chimes ring out, it's (C) Christmas time again. (F) Peace on earth will (Em) come to all, (G7) if we just follow the (C) light. (F) So let's give thanks to the (C) Lord a (Am) bove, 'cause (G7) Santa Claus comes (C) tonight.
(C) Here comes (CaddD) Santa (C) Claus. Here comes (CaddD) Santa (C) Claus. (G7) Right down Santa Claus Lane. Vixen and Blitzen and all his reindeer are (C) pulling on the reins. (F) Bells are ringing, (Em) children singing. (G7) All is merry and (C) bright. (F) Hang your stockings and (C) say your (Am) prayers, 'cause (G7) Santa Claus comes to (C) night.
(Main Index) - (Christmas Song Index) (This Song)
I SAW MOMMY KISSING SANTA CLAUS – (Conn)
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(C) I (G7) saw (C) Mommy (Am) kissing (Em) Santa (C) Claus underneath the mistletoe last (G) night. She didn't see me (G7) creep down the (C) stairs to have a peep. She (D7) thought that I was tucked up in my (G7) bedroom fast asleep.
Then, (C) I (G7) saw (C) Mommy (Am) tickle (Em) Santa (Am) Claus (C) underneath his (C7) beard so snowy (F) white (A7). Oh, what a (F) laugh it would have (B7) been if (C) Daddy had (A7) only (Dm) seen (G7) Mommy (C) kissing (F) Santa Claus (G7) last (C) night (Fm) (C).
(Main Index) - (Christmas Song Index) (This Song)
I SAW THREE SHIPS – Traditional (C2)
TIP: Playing the (A4) is just “ring finger management,” lifting and replacing to bring out the B note.
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(A) I saw three (A4) ships (A) come sailing (A4) in, on (A) Christmas Day, on (E) Christmas Day. I (A) saw three (A4) ships (A) come sailing (A4) in, on (A) Christmas Day in the (E) morn (A) ing.
And what was (A4) in (A) those ships all (A4) three, on (A) Christmas Day, on (E) Christmas Day. And (A) what was (A4) in (A) those ships all (A4) three, on (A) Christmas Day in the (E) morn (A) ing.
The Virgin (A4) Mary (A) and Christ were (A4) there, on (A) Christmas Day, on (E) Christmas Day. The (A) Virgin (A4) Mary (A) and Christ were (A4) there, on (A) Christmas Day in the (E) morn (A) ing.
Pray whither (A4) sailed (A) those ships all (A4) three? on (A) Christmas day, on (E) Christmas day. Pray (A) whither (A) sailed those ships all (A4) three? on (A) Christmas day in the (E) morn (A) ing.
They sailed in (A4) to (A) Bethle (A4) hem, on (A) Christmas day, on (E) Christmas day. They sailed in (A4) to (A) Bethlehem, on (A) Christmas day in the (E) morn (A) ing.
And all the (A4) bells (A) on earth shall (A4) ring, on (A) Christmas day, on (E) Christmas day. And all the (A4) bells (A) on earth shall (A4) ring, on (A) Christmas day in the (E) morn (A) ing.
And all the (A4) Angels (A) in Heaven shall (A4) sing, on (A) Christmas day, on (E) Christmas day. And all the (A4) Angels (A) in Heaven shall (A4) sing, on (A) Christmas day in the (E) morn (A) ing.
And all the (A4) souls (A) on earth shall (A4) sing, on (A) Christmas day, on (E) Christmas day. And all the (A4) souls (A) on earth shall (A4) sing, on (A) Christmas day in the (E) morn (A) ing.
Then let us (A4) all re (A) joice, a (A4) main, on (A) Christmas day, on (E) Christmas day. Then let us (A4) all re (A) joice, a (A4) main, on (A) Christmas day in the (E) morn (A) ing.
(Main Index) - (Christmas Song Index) (This Song)
IT CAME UPON A MIDNIGHT CLEAR – (Sears/Willis) (C2)
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It (C) came up (F) on a (C) midnight clear, that (F) glorious (D7) song of (G7) old. From (C) angels (F) bending (C) near the earth, to (F) touch their (G7) harps of (C) gold. "Peace (E7) on the earth, good (Am) will to men, from (G) heavens all (D7) gracious (G) King!" The (C) world in (F) solemn (C) stillness lay, to (F) hear the (G7) angels (C) sing.
Still (C) through the (F) cloven (C) skies they come, with (F) peaceful (D7) wings un (G7) furled.
And (C) still their (F) heavenly (C) music floats, o'er (F) all the (G7) weary (C) world. A (E7) bove its sad and (Am) lowly plains, they (G) bend on (D7) hovering (G) wing. And (C) ever (F) o'er its (C) Babel sounds, the (F) blessed (G7) angels (C) sing.
O (C) ye be (F) neath life's (C) crushing load, whose (F) forms are (D7) bending (G7) low. Who (C) toil a (F) long the (C) climbing way, with (F) painful (G7) steps and (C) slow. Look (E7) now, for glad and (Am) golden hours. Come (G) swiftly (D7) on the (G) wing. Oh (C) rest be (F) side the (C) weary road, and (F) hear the (G7) angels (C) sing.
For (C) lo! the (F) days are (C) hastening on, by (F) prophets (D7) seen of (G7) old. When (C) with the (F) ever (C) circling years, shall (F) come the (G7) time fore (C) told. When (E7) the new heaven and (Am) earth shall own, the (G) Prince of (D7) Peace, their (G) King. And the (C) whole (F) world send (C) back the song, which (F) now the (G7) angels (C) sing.
(Main Index) - (Christmas Song Index) (This Song)
JINGLE BELLS (Pierpont) (C0)
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(G) Dashing through the snow, in a one horse open (C) sleigh. (Am) O'er the fields we (D7) go, (D) laughing all the (G) way. Bells on bob-tails ring, making spirits (C) bright. What (Am) fun it is to (D) ride and sing a (D7) sleighing song to (G) night.
Oh, jingle bells, jingle bells, jingle all the way. (C) Oh, what fun it is (G) to ride in a (A7) one horse open (D7) sleigh. (G) Jingle bells, jingle bells, jingle all the way. (C) Oh, what fun it is (G) to ride in a (D) one horse (D7) open (G) sleigh.
(G) A day or two ago, I thought I'd take a (C) ride. And (Am) soon Miss Fanny (D7) Bright was (D) seated by my (G) side. The horse was lean and lank, misfortune seemed his (C) lot. We (Am) got into a (D) drifted bank and (D7) then we got up (G) sot.
Oh, jingle bells, jingle bells, jingle all the way. (C) Oh, what fun it is (G) to ride in a (A7) one horse open (D7) sleigh. (G) Jingle bells, jingle bells, jingle all the way. (C) Oh, what fun it is (G) to ride in a (D) one horse (D7) open (G) sleigh.
(G) A day or two ago, the story I must (C) tell. I (Am) went out on the (D7) snow, and (D) on my back I (G) fell. A gent was riding by, in a one-horse open (C) sleigh. He (Am) laughed as there I (D) sprawling lie, but (D7) quickly drove a (G) way.
Oh, jingle bells, jingle bells, jingle all the way. (C) Oh, what fun it is (G) to ride in a (A7) one horse open (D7) sleigh. (G) Jingle bells, jingle bells, jingle all the way. (C) Oh, what fun it is (G) to ride in a (D) one horse (D7) open (G) sleigh.
(G) Now the ground is white. Go it while you're (C) young. (Am) Take the girls to (D7) night, and (D) sing this sleighing (G) song. Just get a bob-tailed bay, two-forty as his (C) speed. (Am) Hitch him to an (D) open sleigh, and (D7) crack! you'll take the (G) lead.
Oh, jingle bells, jingle bells, jingle all the way. (C) Oh, what fun it is (G) to ride in a (A7) one horse open (D7) sleigh. (G) Jingle bells, jingle bells, jingle all the way. (C) Oh, what fun it is (G) to ride in a (D) one horse (D7) open (G) sleigh.
(Main Index) - (Christmas Song Index) (This Song)
JOLLY OLD SAINT NICHOLAS – (Hanby) (C0)
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(G) Jolly ol' Saint (D7) Nicholas, (Em) lean your ear this (G) way. (C) Don't you tell a (G) single soul (A7) what I'm going to (D7) say. (G) Christmas Eve is (D7) coming soon, (Em) now you dear old (G) man. (C) Whisper what you'll (G) bring to me. (D7) Tell me if you (G) can.
(G) When the clock is (D7) striking twelve, (Em) when I'm fast (G) asleep. (C) Down the chimney, (G) broad and black, (A7) with your pack you'll (D7) creep. (G) All the stockings (D7) you will find (Em) hanging in a (G) row. (C) Mine will be the (G) shortest one, (D7) you'll be sure to (G) know.
(G) Bobby wants a (D7) pair of skates, (Em) Suzy wants a (G) sled. (C) Nellie wants a (G) picture book, (A7) yellow, blue, and (D7) red. (G) Now I think I'll (D7) leave to you, (Em) what to give the (G) rest. (C) Choose for me, dear (G) Santa Claus, (D7) you will know the (G) best.
(Main Index) - (Christmas Song Index) (This Song)
JOY TO THE WORLD – (Watts/Handel) (C0)
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(C) Joy to the world, the Lord (G7) is (C) come. Let (F) earth re (G7) ceive her (C) King. Let eve (F) ry (C) heart, prepare (F) Him (C) room. And heaven and nature sing. And (G7) heaven and nature sing. And (C) heaven, (F) and (C) heaven, (F) and (C) na (G7) ture (C) sing.
(C) Joy to the world, the Sav (G7) ior (C) reigns. Let (F) men their (G7) songs em (C) ploy. While fie (F) lds and (C) floods, rocks, (F) hills and (C) plains. Repeat the sounding joy, re (G7) peat the sounding joy. Re (C) peat, (F) re (C) peat, (F) the (C) sound (G7) ing (C) joy.
(C) He rules the world with truth (G7) and (C) grace. And (F) makes the (G7) nations (C) prove. The glor (F) ies (C) of, His right (F) eous (C) ness. And wonders of His love. And (G7) wonders of His love. And (C) won (F) ders, (C) won (F) ders, (C) of (G7) His (C) love.
(Main Index) - (Christmas Song Index) (This Song)
LITTLE DRUMMER BOY - (Davis/Onorati/Simeone) (C0)
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(D) Come they told me, Pa (A7) rup a pum (D) pum. A new born king to see, Pa (A7) rup a pum
(D) pum. (A) Our finest gifts we bring, (G) Pa (D) rup a pum (A) pum. To lay be (D) fore the King, (G) Pa (D7) rup a pum (G) pum, rup a pum (D) pum, rup a pum (A) pum. (D) So to honour Him
Pa (A7) rup a pum (D) pum. (A7) When we (D) come.
(D) Baby Jesus, Pa (A7) rup a pum (D) pum. I am a poor boy too, Pa (A7) rup a pum (D) pum.
(A) I have no gifts to bring, (G) Pa (D) rup a pum (A) pum. That's fit to (D) give our King,
(G) Pa (D7) rup a pum (G) pum, rup a pum (D) pum, rup a pum (A) pum. (D) Shall I play for you,
Pa (A7) rup a pum (D) pum, (A7) on my (D) drum?
Mary nodded, Pa (A7) rup a pum (D) pum. The ox and lamb kept time, Pa (A7) rup a pum (D) pum.
(A) I played my best for Him, (G) Pa (D) rup a pum (A) pum. I played my (D) best for him, (G) Pa (D7) rup a pum (G) pum, rup a pum (D) pum, rup a pum (A) pum. (D) Then He smiled at me,
Pa (A7) rup a pum (D) pum. (A) Me and my (D) drum. (A) Me and my (D) drum. (A) Rup a pum
(D) pum.
(Main Index) - (Christmas Song Index) (This Song)
O COME, ALL YE FAITHFUL – (Reading) (C0)
TIP: Prepare for lots of chord changes in this carol, nearly one for each syllable. There are also several one-syllable words which are sung with more than one syllable and have multiple chords. For example, in the third stanza, the one word “in” in the phrase “in the highest” is sung in three syllables and has three chords. The phrase is chorded as “(D) in-(G)-nn-(Em)-nn” (Am) the (D) highest.”
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Oh, (G) come, all ye (D) faithful, (G) joy (D) ful (G) and (C) tri (G) um (D) phant. (Em) Oh come, (D) ye, (A7) oh, (D) co-(G)-me (D) ye (G) to (D) Be-(A7)-eth le (D) hem. (G) Come (Am) and (G) be (D7) hold (G) him, (D) born (G) the (Em) king (Am) of (D) angels.
(D) Oh, (G) come, (D) let (G) us (D7) a (G) dore him. Oh, come, (D) let (G) us (D7) a (G) dore
(D) him. (G) Oh, (D7) come, (G) let (D) us (A7) a (D) dore (G) hi-(C)-im. (G) Chri-(D7)-ist
(G) the Lord.
(G) Sing, choirs of (D) angels, (G) sing (D) in (G) ex (C) ul (G) ta (D) tion. (Em) Sing, (D) all (A7) ye (D) ci (G) ti (D) zens (G) of (D) heav (A7) en a (D) bove. (G) Glor (Am) y (G) to (D7) Go-(G)-d, (D) in-(G)-nn-(Em)-nn (Am) the (D) highest.
(D) Oh, (G) come, (D) let (G) us (D7) a (G) dore him. Oh, come, (D) let (G) us (D7) a (G) dore (D) him. (G) Oh, (D7) come, (G) let (D) us (A7) a (D) dore (G) hi-(C)-im. (G) Chri-(D7)-ist (G) the Lord.
(G) Yea, Lord, we (D) greet thee. (G) Born (D) this (G) hap (C) py (G) morn (D) ing. (Em) Je (D) sus, (A7) to (D) Thee-(G)-ee(D)-ee (G) be (D) glo (A7) ry giv (D) en. (G) Word (Am) of (G) the (D7) Fath (G) er, (D) now (G) in (Em) flesh (Am) a (D) ppearing.
(D) Oh, (G) come, (D) let (G) us (D7) a (G) dore him. Oh, come, (D) let (G) us (D7) a (G) dore (D) him. (G) Oh, (D7) come, (G) let (D) us (A7) a (D) dore (G) hi-(C)-im. (G) Chri-(D7)-ist (G) the Lord.
(Main Index) - (Christmas Song Index) (This Song)
O HOLY NIGHT – (Adam) (C0)
TIP: (A4) comes after (Am). Just lift the index finger from (Am).
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O holy (C) night, the (F) stars are brightly (C) shining. It is the night of the (G) dear (G7) Saviors (C) birth (G). (C) Long lay the world in (F) sin and error (C) pining, till He ap (Em) peared and the soul (Am) felt (A4) its (Em) worth. A (G) thrill of hope, the (C) weary soul rejoices. For (G) yonder breaks a (C) new and glorious morn.
(Am) Fall on your (Em) knees, O (Dm) hear the angel (Am) voices! O (C) ni (G7) ght di (C) vine (F), O (C) night (G) when Christ was (C) born! O (G7) night, di (C) vine (C7), O (F) night (G7), o night di (C) vine!
(C) Led by the light of (F) faith serenely (C) beaming, with glowing hearts by His (G) cra (G7) dle we (C) stand (G). (C) So led by light of a (F) star sweetly (C) gleaming. Here came the (Em) wise men from Or (Am) i (A4) ent (Em) land. The (G) King of kings, lay (C) thus in lowly manger. In (G) all our trials born (C) to be our friend!
(Am) Fall on your (Em) knees, O (Dm) hear the angel (Am) voices! O (C) ni (G7) ght di (C) vine (F), O (C) night (G) when Christ was (C) born! O (G7) night, di (C) vine (C7), O (F) night (G7), o night di (C) vine!
(C) Truly He taught us to (F) love one a (C) nother. His law is love and His (G) Gos (G7) pel is (C) peace (G). (C) Chains shall He break for the (F) slave is our (C) brother, and in His (Em) Name all oppress (Am) ion (A4) shall (Em) cease. Sweet (G) hymns of joy, in (C) grateful chorus raise we. Let (G) all within us (C) praise His holy Name!
(Am) Fall on your (Em) knees, O (Dm) hear the angel (Am) voices! O (C) ni (G7) ght di (C) vine (F), O (C) night (G) when Christ was (C) born! O (G7) night, di (C) vine (C7), O (F) night (G7), o night di (C) vine!
(Main Index) - (Christmas Song Index) (This Song)
O LITTLE TOWN OF BETHLEHEM – (Brooks/Redner) (C0)
TIP: The (D)(Abdim)(D) is easy. To play the (Abdim) simply lift the ring finger and slide down one fret. Reverse to get back to (D). (F#) is regular (F) just played up a fret. As for (A6), if you have small fingers try playing it like you would an (A) but with four fingers on the same fret, and then just lift the index and pinky to play (A7). Otherwise play a barre.
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O (D) little (Abdim) town (D) of Bethle (Em) hem. How (D) still we (A7) see thee (D) lie. Above thy (B7) deep and (Em) dreamless sleep, the (D) silent (A6) stars (A7) go (D) by. Yet in thy dark streets (F#) shineth, the (G) everlasting (F#) Light. The (D) hopes and (Abdim) fears (D) of all the (Em) years, are (D) met in (A6) thee (A7) to (D) night.
For Christ is (Abdim) born (D) of Mar (Em) y, and (D) gathered (A7) all a (D) bove. While mortals (B7) sleep, the (Em) angels keep, their (D) watch of (A6) wonder (A7) ing (D) love. O morning stars to (F#) gether, pro (G) claim the holy (F#) birth. And (D) praises (Abdim) sing (D) to God the (Em) King, and (D) peace to (A6) men (A7) on (D) earth.
How silent (Abdim) ly, how (D) silent (Em) ly, the (D) wondrous (A7) gift is (D) given. So God im (B7) parts to (Em) human hearts, the (D) blessings (A6) of (A7) His (D) heaven. No ear may hear His (F#) coming, but (G) in this world of (F#) sin. Where (D) meek souls (Abdim) will (D) receive him (Em) still, the (D) dear Christ (A6) en (A7) ters (D) in.
O holy (Abdim) Child (D) of Bethle (Em) hem, de (D) scend to (A7) us, we (D) pray. Cast out our (B7) sin and (Em) enter in. Be (D) born to (A6) us (A7) to (D) day. We (D) hear the Christmas (F#) angels, the (G) great glad tidings (F#) tell. O (D) come to (Abdim) us, (D) abide with (Em) us, our (D) Lord E (A6) mman (A7) u (D) el. (G) A (D) men.
(Main Index) - (Christmas Song Index) (This Song)
RUDOLPH THE RED-NOSED REINDEER – (Marks) (C0)
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You know (Am) Dasher, and (Bm) Dancer, and (Am) Prancer, and Vix (G) xen. (Am) Comet, and (Bm) Cupid, and (Am) Donder, and Blitz (G) en. (Em) But do you re (A7) call the most (C) famous (A7) reindeer of (D) all?
(Gadd) Rudolph, the red-nosed reindeer, had a very shiny (D) nose. And if you ever saw him, you would even say it (G) glows. All of the other reindeer, used to laugh and call him (D) names. They never let poor Rudolph, join in any reindeer (G) games. (G7)
(C) Then one foggy (G) Christmas Eve, (Am) Santa (D) came to (G) say: (D) "Rudolph with your nose so (D7) bright, (Em) won't you (A7) guide my (D) sleigh tonight?"
(Gadd) Then all the reindeer loved him, as they shouted out with (D) glee: “Rudolph the red-nosed reindeer, you'll go down in histor (G) y!”
(Main Index) - (Christmas Song Index) (This Song)
SANTA CLAUS IS COMING TO TOWN – (Gillespie/Coots) (C0)
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You (C) better watch (C7) out, you (F) better not (Fm) cry. (C) Better not (C7) pout, I'm (F) telling you (Fm) why. (C) Santa (Am) Claus is (Dm) coming (G7) to (C) town (G7).
He's (C) making a (C7) list, and (F) checking it (Fm) twice. (C) Gonna find (C7) out who's (F) naughty and (Fm) nice. (C) Santa (Am) Claus is (Dm) coming (G7) to (C) town.
He (C7) sees you when you're (F) sleeping, he (C7) knows when you're (F) awake. He (D7) knows if you've been (G) bad or good, so be (D7) good for goodness (G) sake.
With (C) little tin (C7) horns and (F) little toy (Fm) drums. (C) Rooty toot (C7) toots and
(F) rummy tum (Fm) tums. (C) Santa (Am) Claus is (Dm) coming (G7) to (C) town.
Oh, you (C) better watch (C7) out. You (F) better not (Fm) cry. (C) Better not (C7) pout, I'm (F) telling you (Fm) why. (C) Santa (Am) Claus is (Dm) coming (G7) to (C) town.
(Main Index) - (Christmas Song Index) (This Song)
SILVER AND GOLD – (Marks) (C0)
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(C) Silver and (Am) gold, (Dm) silver and (G7) gold. (C) Ev'ryone (Am) wishes for (Dm) silver and (G7) gold. (C) How do you (Em) measure its (Am) worth? (D7) Just by the pleasure it (G) gives (Dm) here on (G7) earth.
(C) Silver and (Am) gold, (Dm) silver and (G7) gold. (C) Mean so much (C7) more when I (F) see (A7). (Dm) Silver and (D7) gold décor (C) a (Am7) tions, on (Dm) ev'ry (G7) Christmas (C) tree.
(C) Silver and (Am) gold, (Dm) silver and (G7) gold. (C) Mean so much (C7) more when I (F) see (A7). (Dm) Silver and (D7) gold décor (C) a (Am7) tions, on (Dm) ev'ry (G7) Christmas (C) tree.
(Main Index) - (Christmas Song Index) (This Song)
SILENT NIGHT – (Gruber) (C0)
TIP: The (D7) is optional.
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(G) Silent night, holy night. (D) All is (D7) calm, (G) all is bright. (C) Round yon virgin, (G) mother and child. (C) Holy infant so (G) tender and mild. (D) Sleep in (D7) heavenly (G) peace. Sleep in (D) heaven (D7) ly (G) peace.
(G) Silent night, holy night. (D) Shepherds (D7) quake, (G) at the sight. (C) Glories stream from (G) heaven afar. (C) Heavenly hosts sing (G) alleluia. (D) Christ the (D7) Savior is (G) born. Christ the (D) Savior (D7) is (G) born.
(G) Silent night, holy night. (D) Son of (D7) God, (G) love's pure light. (C) Radiant beams from (G) Thy holy face. (C) With the dawn of (G) redeeming grace. (D) Jesus (D7) Lord at Thy (G) birth. Jesus (D) Lord at (D7) Thy (G) birth.
(Main Index) - (Christmas Song Index) (This Song)
SILVER BELLS – (Livingston/Evans) (C0)
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City (A) sidewalks, busy sidewalks, dressed in (D) holiday style. In the (E7) air there's a feeling of (A) Christmas. Children laughing, people passing, meeting (D) smile after smile. And on (E7) every street corner you'll (A) hear.
(A) Silver bells, (D) silver bells. (E7) It's Christmas time in the (A) city. Ring-a-ling, (D) hear them sing. (E7) Soon it will be Christmas (A) day.
Strings of (A) street lights, even stop lights, blink a (D) bright red and green, as the (E7) shoppers rush home with their (A) treasures. Hear the snow crunch, see the kids bunch. This is (D) Santa's big scene. And a (E7) bove all this bustle you'll (A) hear.
(A) Silver bells, (D) silver bells. (E7) It's Christmas time in the (A) city. Ring-a-ling, (D) hear them sing. (E7) Soon it will be Christmas (A) day
(Main Index) - (Christmas Song Index) (This Song)
THE TWELVE DAYS OF CHRISTMAS – Traditional English/French Carol (C1)
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On the (C) first day of Christmas my (G7) true love sent to (C) me: a par (F) tridge (C) in a (G7) pear (C) tree.
On the (C) second day of Christmas my (G7) true love sent to (C) me: (G7) two turtle doves and a (C) par (F) tridge (C) in a (G7) pear (C) tree.
On the (C) third day of Christmas my (G7) true love sent to (C) me: (G7) three French hens, two turtle doves, and a (C) par (F) tridge (C) in a (G7) pear (C) tree (F)(C).
On the (C) fourth day of Christmas my (G7) true love sent to (C) me: (G7) four calling birds,
three French hens, two turtle doves, and a (C) par (F) tridge (C) in a (G7) pear (C) tree F)(C).
On the (C) fifth day of Christmas my (G7) true love sent to (C) me: five (D) gold (D7) en (G) rings, (C) four calling birds, (F) three French hens, (G7) two turtle doves, and a (C) par (F) tridge (C) in a (G7) pear (C) tree.
On the (C) sixth day of Christmas my (G7) true love sent to (C) me: (G7) six geese a laying, (C) five (D) gold (D7) en (G) rings, (C) four calling birds, (F) three French hens, (G7) two turtle doves, and a (C) par (F) tridge (C) in a (G7) pear (C) tree (F) (C).
On the (C) seventh day of Christmas my (G7) true love sent to (C) me: (G7) seven swans a swimming, six geese a laying, (C) five (D) gold (D7) en (G) rings, (C) four calling birds, (F) three French hens, (G7) two turtle doves, and a (C) par (F) tridge (C) in a (G7) pear (C) tree (F) (C).
On the (C) eighth day of Christmas my (G7) true love sent to (C) me: (G7) eight maids a milking, seven swans a swimming, six geese a laying, (C) five (D) gold (D7) en (G) rings, (C) four calling birds, (F) three French hens, (G7) two turtle doves, and a (C) par (F) tridge (C) in a (G7) pear (C) tree (F) (C).
On the (C) ninth day of Christmas my (G7) true love sent to (C) me: (G7) nine ladies dancing, eight maids a milking, seven swans a swimming, six geese a laying, (C) five (D) gold (D7) en (G) rings, (C) four calling birds, (F) three French hens, (G7) two turtle doves, and a (C) par (F) tridge (C) in a (G7) pear (C) tree (F) (C).
On the (C) tenth day of Christmas my (G7) true love sent to (C) me: (G7) ten Lords a leaping, nine ladies dancing, eight maids a milking, seven swans a swimming, six geese a laying, (C) five (D) gold (D7) en (G) rings, (C) four calling birds, (F) three French hens, (G7) two turtle doves, and a (C) par (F) tridge (C) in a (G7) pear (C) tree (F) (C).
On the (C) eleventh day of Christmas my (G7) true love sent to (C) me: (G7) eleven pipers piping, ten Lords a leaping, nine ladies dancing, eight maids a milking, seven swans a swimming, six geese a laying, (C) five (D) gold (D7) en (G) rings, (C) four calling birds, (F) three French hens, (G7) two turtle doves, and a (C) par (F) tridge (C) in a (G7) pear (C) tree (F) (C).
On the (C) twelfth day of Christmas my (G7) true love sent to (C) me: (G7) twelve drummers drumming, eleven pipers piping, ten Lords a leaping, nine ladies dancing, eight maids a milking, seven swans a swimming, six geese a laying, (C) five (D) gold (D7) en (G) rings, (C) four calling birds, (F) three French hens, (G7) two turtle doves, and a (C) par (F) tridge (C) in a (G7) pear (C) tree (F) (C).
(Main Index) - (Christmas Song Index) (This Song)
THERE'S ALWAYS TOMORROW - (Marks) (C1)
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There's (C) always to (Am) morrow for (F) dreams to come (G) true. Believe in your (G7) dreams, come what (C) may (G). There's (C) always to (Am) morrow with (F) so much to (G) do, and so little (G7) time in a (C) day.
We (F) all, pretend, the (Em) rainbow has an end, and (F) you'll be there my (D7) friend, some
(G7) day (G).
There's (C) always to (Am) morrow for (F) dreams to come (G) true. Tomorrow is (G7) not far
a (C) way.
We (F) all, pretend, the (Em) rainbow has an end, and (F) you'll be there my (D7) friend, some
(G7) day (G).
There's (C) always to (Am) morrow for (F) dreams to come (G) true. Tomorrow is (G7) not far
a (C) way.
(Main Index) - (Christmas Song Index) (This Song)
UP ON THE HOUSETOP – (Hanby) (C0)
[pic][pic][pic][pic]
(D) Up on the housetop, reindeer paws. (G) Out jumps (D) good old (A) Santa Claus. (D) Down thru' the chimney with lots of toys. (G) All for the (D) little one’s, (A7) Christmas (D) joys.
(G) Ho, ho, ho! (D) Who wouldn't go! (A7) Ho, ho, ho! (D) Who wouldn't go! Up on the housetop,
(G) click, click, click. (D) Down thru' the chimney with (A7) good Saint (D) Nick.
(D) First comes the stocking of little Nell. (G) Oh dear (D) Santa, (A) fill it well. (D) Give her a dolly that laughs and cries. (G) One that will (D) open and (A7) shut her (D) eyes.
(G) Ho, ho, ho! (D) Who wouldn't go! (A7) Ho, ho, ho! (D) Who wouldn't go! Up on the housetop,
(G) click, click, click. (D) Down thru' the chimney with (A7) good Saint (D) Nick.
(D) Next comes the stocking of little Will. (G) Oh just (D) see what a (A) glorious fill. (D) Here is a hammer and lots of tacks, (G) also a (D) ball and a (A7) whip that (D) cracks.
(G) Ho, ho, ho! (D) Who wouldn't go! (A7) Ho, ho, ho! (D) Who wouldn't go! Up on the housetop,
(G) click, click, click. (D) Down thru' the chimney with (A7) good Saint (D) Nick.
(Main Index) - (Christmas Song Index) (This Song)
WE WISH YOU A MERRY CHRISTMAS – Traditional Carol (C0)
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We (G) wish you a merry (C) Christmas. We (A7) wish you a merry (D7) Christmas. We (G) wish you a merry (C) Christmas, and a (Am) happy (D7) New (G) Year.
Good (G) tidings to (D) you, where (A7) ever you (D) are. Good (G) tidings for Christmas, and a (Am) happy (D7) New (G) Year.
We (G) all want some figgy (C) pudding. We (A7) all want some figgy (D7) pudding. We (G) all want some figgy (C) pudding, and a (Am) cup of (D7) good (G) cheer.
Good (G) tidings to (D) you, where (A7) ever you (D) are. Good (G) tidings for Christmas, and a (Am) happy (D7) New (G) Year.
We (G) won't go until we (C) get some. We (A7) won't go until we (D7) get some. We (G) won't go until we (C) get some, so (Am) bring it (D7) out (G) here.
Good (G) tidings to (D) you, where (A7) ever you (D) are. Good (G) tidings for Christmas, and a (Am) happy (D7) New (G) Year.
We (G) wish you a merry (C) Christmas. We (A7) wish you a merry (D7) Christmas. We (G) wish you a merry (C) Christmas, and a (Am) happy (D7) New (G) Year.
Good (G) tidings to (D) you, where (A7) ever you (D) are. Good (G) tidings for Christmas, and a (Am) happy (D7) New (G) Year.
(Main Index) - (Christmas Song Index) (This Song)
WHAT CHILD IS THIS - (Dix) (C2)
TIP: (C) can be played in place of the (CaddG) which just adds the high G note.
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What (Am) child is this who (G) laid to rest, on (Am) Mary's lap is (E) sleeping. Whom (Am) angels greet with (G) anthems sweet, while (Am) shepherds (E7) watch are (Am) keeping.
(CaddG) This, this is (G) Christ the King. Whom (Am) shepherds guard and (E) angels sing. (CaddG) Haste, haste to (G) bring him laud. The (Am) Babe, the (E7) son of (Am) Mary.
Why lies He in such (G) mean estate, where (Am) ox and ass are (E) feeding? Good (Am) Christians, fear, for (G) sinners here. The (Am) silent (E7) Word is (Am) pleading.
(CaddG) This, this is (G) Christ the King. Whom (Am) shepherds guard and (E) angels sing. (CaddG) Haste, haste to (G) bring him laud. The (Am) Babe, the (E7) son of (Am) Mary.
Nails, spear, shall (G) pierce Him through. The (Am) cross be borne for (E) me, for you. (Am) Hail, hail the (G) Word made flesh. The (Am) Babe, the (E7) Son of (Am) Mary.
(CaddG) This, this is (G) Christ the King. Whom (Am) shepherds guard and (E) angels sing. (CaddG) Haste, haste to (G) bring him laud. The (Am) Babe, the (E7) son of (Am) Mary.
So bring Him incense, (G) gold, and myrrh. Come (Am) peasant king to (E) own Him. The (Am) King of kings, sal (G) vation brings. Let (Am) loving (E7) hearts en (Am) throne Him.
(CaddG) This, this is (G) Christ the King. Whom (Am) shepherds guard and (E) angels sing. (CaddG) Haste, haste to (G) bring him laud. The (Am) Babe, the (E7) son of (Am) Mary.
Raise, raise a (G) song on high. The (Am) virgin sings her (E) lullaby. (Am) Joy, joy for (G) Christ is born, The (Am) Babe, the (E7) son of (Am) Mary.
(CaddG) This, this is (G) Christ the King. Whom (Am) shepherds guard and (E) angels sing. (CaddG) Haste, haste to (G) bring him laud. The (Am) Babe, the (E7) son of (Am) Mary.
(Main Index) - (Christmas Song Index) (This Song)
WHITE CHRISTMAS – (Berlin) (C0)
TIP: The opening line to each versus is a little messy but easy. You start with (G). Then just move the index finger to first fret/second string for “dream”, then lift the index finger for “ing”. Then move to (Gm), remove your hand for the (No Chord) at “a” and continue to the (Am).
[pic][pic][pic][pic][pic][pic][pic][pic][pic][pic][pic][pic][pic]
(G) I'm (G4) dream (G-A) ing (Gm) of (NC) a (Am) white (A) Christ (D) mas. (C) Just like the (D7) ones I used to (G) know. Where the treetops glis (Em) ten, and (C) children lis (CaddD) ten
(C) To (G) hear (Am) sleigh bells in the (D) snow (D7).
(G) I'm (G4) dream (G-A) ing (Gm) of (NC) a (Am) white (A) Christ (D) mas. (C) With every (D7) Christmas card I (G) write. May your days be mer (Em) ry and (C) bright (Gm). And may (G) all your (C) Christma (D) ses be (G) white.
(G) I'm (G4) dream (G-A) ing (Gm) of (NC) a (Am) white (A) Christ (D) mas. (C) With every (D7) Christmas card I (G) write. May your days be mer (Em) ry and (C) bright (Gm). And may (G) all your (C) Christma (D) ses be (G) white. (CaddG) (Gadd)
(Main Index) - (Christmas Song Index) (This Song)
INTRODUCTION
Welcome to The Amateur Guitar Player’s Chord-Strummin’ Songbook. This is just a hobby of mine and it will always remain a work in progress. I’ve been playing guitar for over 40 years now. You might think that after all that time I should be pretty good but I'm still very much a campfire strummer. Oh sure, I’ve picked up a few things along the way, and I know where most of the common chords are by now without thinking too much about it. I can even hit most of them on the first try seven times out of ten. And while I can also pick out a few notes, mainly I just strum the chords and sing the melody. And I can’t read music, either. Well, I mean, I can read music, if by “read” you mean staring at a scale and (eventually) figuring out what note is being depicted. But it would be the musical equivalent of “See Spot run, run Spot run.” Doesn’t help me in the least playing the guitar. So if this sounds about your speed then maybe you'll enjoy this Songbook.
[pic]
The reason I decided to make this Songbook goes something like this: If you’re like me, an amateur guitar playing chord-strummer, you know a handful of songs by heart. Kumbaya and Puff the Magic Dragon and probably the first song you ever learned to play, which for me was Lucky Man by Emerson, Lake & Palmer. But I digress . . . oh yeah, if you’re like me, and especially if you have a memory like mine, you might have in the past relied on sheet music to determine when to play a chord while singing the lyrics. And if so, then you probably have/had several books . . . remember books? . . . of sheet music laying around. And, again like me, you can play maybe half of them and the other two-thirds are of no use to you. I mean, what good is having The Top 10,000 Country Tunes Since the Creation of Man if you can only play 30 or 40 of them and the rest are full of bizarre sharps and flats and barre chords that would give an octopus arthritis?
So I decided to take all of those books I had and go through them, and pick out the songs I like (and can play), and transcribe them in this here Songbook. And that’s what I did. It’s called the Alice’s Restaurant Anti-massacree Movement . . . no wait, that’s something else entirely. You’ll have to excuse me, I get distracted easily. I was part of the free speech movement at Berkely in the 60s. I think I did a little too much LDS. Admiral, there be whales here! Where was I . . . oh yeah, so I took all those songs and transcribed into this here Songbook. I also wanted to see if I could modify or adapt some of those songs that I liked, but couldn’t play - because the chords were too difficult - into something I could at least attempt to play. But eight songs hardly makes a Songbook so I then started gathering more songs from various sources and the project grew, and continues to grow, a little at a time.
When I come across a song I like, I first see if I can play the song in relative comfort, tweaking the chords a bit if necessary. If my dog doesn't leave the room I know I'm on the right track. When I have a candidate the real work begins. Since I’m working in MS-Word it’s do’able to cut and paste somewhat but the format I'm using doesn’t translate well and things get entirely too messy. So I have to do everything manually. First I find the lyrics on-line somewhere and paste them into the Songbook. Then I research the songwriter in order to properly credit them. Next I manually insert the chords into the lyrics. And finally I insert the appropriate chord diagrams, and hyperlink the song to the index. Again, this is all done manually. Finally I convert the MS-Word document to .pdf and upload both formats to the website. Phew!
Now you might say that this Songbook isn't much different than other songbooks you'll see on the web. Those on Chordie come to mind. But unlike those songbooks, which are pretty much all or nothing, I wanted to create something to share with others that could be easily modified and then claimed as their own. There might be 600 songs here but you might only know or want 50 of them so just delete the others and you have your own Songbook. So that’s the genesis for The Amateur Guitar Player’s Chord-Strummin’ Songbook.
Here’s a few comments about how the Songbook is set up.
ABOUT FORMAT:
Conventional sheet music format usually takes one of two forms. In the first and most common, chords are placed above the corresponding lyrics. Depending on the number of verses, this can take up several pages. In the other format, chords are placed within the lyrics themselves, as in: “Oh (G) give me a home, where the (C) buffalo roam . . .” and it’s this latter format I elected to use, slightly modified so you can follow the entire song from start to finish without backtracking to repeated chorus, refrain, or verses. I also wanted the song to fit on a single page so you don’t have to stop playing in the middle of the song to adjust. This wasn't always possible - some songs are just too long.
The margin settings for the format used here is for computer viewing and therefore set in “Landscape” format as opposed to “Portrait.” So reformatting margins and such will be necessary if you wish to print any of the songs in portrait. And because I didn’t want any chords hanging alone on the edge of the right margin I moved them to the next line. When reformatting from landscape to portrait the result may require a little adjusting as there will likely be some odd spacing in between words.
Also, I'm using a very old version of MS-Word - you stick with what you know - that may or may not translate well to newer versions. When opening this .doc file into a newer version of Word the margins and spacing and format may be a bit wishy-washy. And the "clicks" used to activate the hyperlinks may be different. Sorry. If you can open it as a .doc file rather than a .docx that might help.
The layout of the individual songs within Songbook is straight alphabetical, regardless of genre, except for Christmas songs which appear by themselves. However, since all tastes are different I made use of hyperlinks and indexes as follows.
INDEXES and HYPERLINKS:
Main Index. The Main index (Main) is further divided, and searchable, by the subcategories "By Artist" and "By Song Title."
Artist Index. Click on the first letter to search for all songs by a particular artist. Then click on the individual song. At the end of the song will be an option to return to the Artist Index.
The Song Index. Click on "By Song Title" to go to the Song Index. The index is divided further into Pop/Rock, Country, Traditional, and Christmas. Some titles, mainly those deemed Traditional, may appear in more than one category. Along with the title is one or two of the most well-known performer of the song (not necessarily the songwriter). Songs are further hyperlinked alphabetically as in the Artist Index, including options to return to the Song Index or the individual song. Also, hanging out at the right margin every so often you'll see (Main) which will take you back to the top of the Main Index. It's just so you don't have to scroll as much.
Individual Songs.
After the title, the songwriter(s) will appear in parentheses followed by the most popular performer(s) of the song. When the songwriter is also the most popular performer only one name appears.
Below the title information, Tips may appear, followed by the chords used in the song and then the lyrics.
At the bottom of each song is a series of hyperlinks. Clicking them will take you back to that particular index and makes naviagation among the Songbook easier.
ABOUT CHORDS:
All the chords you’ll encounter when playing a song appear at the top of each song. They also appear in the same order in which they appear in the song, so you can glance back up at them as you’re playing the song to see what's coming next. For example:
[pic][pic][pic] [pic] and so forth . . .
Oh (G) give me a home, where the (C) buffalo roam, where the (G) deer and the (A7) antelope (D7) play.
There’s a full chord chart at the end of the Songbook, but I sometimes use what I call “Easy Chords.” Easy Chords are chords that have been simplified from their full format to make them easier to play while still preserving the tonal integrity needed for the song. This way, many songs that would appear too complicated at first glance (have you’ve ever flipped through a book of sheet music and thought, “Oh, I can’t play that!”) can now be played. Here are some examples of Easy Chords.
Here is B Minor: [pic]. Playing this chord requires a barre across the second fret and a mini-barre across the 4th fret at the D-G strings. Ouch!
Here is the Easy Chord B Minor: [pic]. Same chord, reduced to a much easier three-note version. The tradeoff is you try to remember to just hit the bottom three strings when strumming. The Easy Chord sounds the same as the full chord when striking the lower three strings and is still very close (and perfectly acceptable) to the full chord when striking the lower four. With a little more practice you can add your pinky to the 4th fret/4th string to give it more fullness. Also see the comment about alternative chords below.
Here’s another example. This is G Minor [pic], a difficult full barre on the 3rd fret, an open 4th fret, followed by a difficult mini-barre on the 5th fret. Quite a stretch. The chord can be greatly simplified by
playing this Easy Chord: [pic]and striking the bottom three strings.
One final example. Here is the F chord: [pic]. Even experienced players with the dexterity of a heart surgeon ignore the barre on the first fret, so let’s just forget about that top string altogether. The F chord is the one in which most beginners first attempt to play a chord requiring more than 3 fingers, having started learning with the simple three-note major chords. So keeping with that theme, we can play an Easy Chord
that still uses three fingers by rolling the index finger slightly to cover the bottom string: [pic]. With more practice, the pinky can be added above the ring finger on the 3rd fret to fill out the bottom and add bass note to the chord.
And some chords I just made up. Not the chord itself, just the name. For example, this chord I’ve named (A7/C): [pic]. I’m sure it’s not really called that but I couldn’t find it’s real name so for my purposes it looked like an A7 but with a C-note so (A7/C) it is.
Also in the chord diagram charts are alternative ways to play a chord. For example, you can play the (A) like this [pic]or like this
[pic]which is like playing an (F) but on the 5th fret. Some find the (Bm) chord hard to play. So rather than play it like this [pic]you
could play it further up the neck at the 7th fret like this [pic]using a barre and ignoring the top three notes.
ABOUT TIPS: Tips (hints) occasionally appear below the song title and above the chord diagrams to give suggestions on how to play a particular chord or chord sequence. This way you can preview the song to see how these chord changes will occur and practice them before attempting to play the song from the beginning. You should find these tips helpful when trying unfamiliar or uncommon chords. Or you can ignore them. Soon after learning to play, I switched to a 12-string acoustic with a 2-inch nut width and that’s the guitar I played for the next 35 years. As a result I may have learned, and still play today, chords a little differently than you. For example, I play the A chord with my middle three fingers as there was plenty of space on the fingerboard to fit them all in. However most standard necks at the nut are not that wide, usually 1 11/16ths or 1 3/4, and some folks prefer to play the A with the middle, ring, and pinky. I’m mentioning this because on occasion I may offer a tip that says to play a chord a different way than conventional. For example, in a song that has a chord progression from A to Bb I’ll suggest playing A with the bottom three fingers instead of the middle three fingers. This tip makes sense to me and others who play with the middle three fingers. To others already playing the A chord with the bottom three it will just seem obvious.
ABOUT INTROs: Initially Songbook contained no intros, just lyrics, but I'm in the process of adding intros. Hopefully this will be completed during 2018. I'm doing this by listening to each and every song, either on CD or on YouTube, to see if I can pick out the actual intro. But since the majority of intros to songs do not contain chords at all, but individual notes or riffs, most of my intros are just meant to give a flavor of the original. And if you can't mentally remember what the intro to the song sounds like you'll probably have to listen to the song like I did.
ABOUT COMMAs: When I first started Songbook I put commas in the lyrics where they should be according to grammatical rules. But as I was singing the song I found myself pausing, becausing I was seeing a comma, when the melody of the song didn't call for a pause at that point. This also caused problems with placement of the chords. Here's an example from an old Everly Brothers tune:
Gramatically correct:
When (C) I want (Am) you (Dm7) in my (G7) arms. When (C) I want (Am) you (Dm) and all your (G7) charms. When (C) ever I (Am) want you, (F) all I have to (G7) do is (C) dream (Am). (F) Dream, dream, (G7) dream.
Melodically:
When (C) I want (Am) you (Dm7), in my (G7) arms. When (C) I want (Am) you (Dm), and all your (G7) charms. When (C) ever I (Am) want you, (F) all I have to (G7) do, is (C) dream (Am). (F) Dream dream (G7) dream.
It made more sense to me, and was easier to play, with commas placed melodically rather than gramatically. So along with the intros I'm going through every song and adding or removing commas to make the song easier to play and sing.
ABOUT CAPO SETTINGS: After the song title you'll see something that looks like this: (C1). That means capo the first fret. BUT, that only applies to me and my vocal range -- I'll capo the first fret because that is what's most comfortable for me to sing. It is not (necessarily) how the song was recorded. You'll have to make adjustments to fit what's most comfortable for you.
(Back to the Main Index)
CHORD DIAGRAMS
Most of these are courtesy of THE ULTIMATE GUITAR CHORD CHART II by Phillip J. Facoline. Some of the more common chords are highlighted in yellow. At the very end is a more complete section on playing chords further up the neck with alternate chord formations.
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(Main)
[pic]
[pic]
[pic]
[pic]
[pic][pic] (Main)
[pic]
[pic]
[pic] (Main)
[pic]
B EASY CHORDS: [pic][pic](F on 7) [pic][pic](A6+ on 4) [pic] [pic][pic](F#m on 7)
When learning to play the (Bm), don’t start the bad habit of playing (Bm) as you would a (D) with a pinky added to the 4th fret. Play (Bm) with your index, middle, and ring fingers, wrist flat, like you’d play a (C). Doing so will make it so much easier to add the base notes once you get more comfortable playing the (Bm).
[pic][pic](A on 5) [pic](F on 8)
[pic]
[pic] (Main)
[pic]
[pic][pic][pic]
C EASY CHORDS: [pic]Even easier without the top note, 3rd fret/4th string. [pic](F#m on 8)
(Main)
[pic]
[pic] (Main)
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[pic] (Main)
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[pic][pic][pic][pic][pic][pic][pic]
[pic][pic][pic][pic]
[pic] (Main)
[pic]
[pic] (Main)
[pic]
E EASY CHORDS: [pic]
[pic][pic][pic](D on 5) (Main)
[pic]
[pic]
(Main)
F EASY CHORDS: [pic][pic][pic] [pic]
[pic][pic](D on 7)
[pic]
[pic] (Main)
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[pic]
[pic][pic][pic][pic][pic] (Main)
G EASY CHORDS: [pic]
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ALTERNATE CHORD FORMATIONS UP THE NECK
[pic] [pic]
[pic][pic](A on 5) [pic]
[pic] [pic] [pic]
[pic][pic](A6+ on 4)
[pic]
[pic][pic][pic]
[pic][pic](A6+ on 7) [pic][pic](D on 5)
[pic] [pic] [pic]
E
[pic]
[pic] [pic](D/A on 5) (Main)
[pic]
[pic][pic](D/A on 7)
(That's it, move along folks, nothin' more here to see . . . ) (Main)
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