ALMOST GROWN Note the "descending double-stop” Moderate shuffle beat lick halfway through the solo (as mentioned in the Introduction). Words and Music by Chuck Be (spoken) D7 Ss —- ty + et — =: = 2 ti You know I'm al- most grown. Wo, wo - ie Se ¢ SS aa Yeah‘n’ I’m do-in’ all right in school. They ain't said I broke no (2) Got my - self a lit - tle (3.) (Piano solo) (4.) Ah, she’s real-ly out of this 5.)— But | done = mar-ried and set-tled E = = : | ain't nev - er been . in job. I'm gon-na buy me a world, When | take her to a down, Now 1 real- ly have a é = es = : Ee : : pili : = x e = ony 1959 by Ae Mie Cop 123 3 1 don’t browse a - round too much. drive my girl in the park. Don't beth 3 + er me,leave me a - she's got - ta talk a- bout. ro - mance. (us) (us) so | — don’t browse a-round at all. most grown. 23,4 Is. (after 4th verse) 2.1. don’t run a-round mob.— Guitar Solo 3. (Piano solo) G 4. Got_my eye on _a girl.c c D7 D.S. $(5th verse) al Cox 3 5. You know I' \— still liv-in’ in towcopa Piano solo cAROUND AND AROUND ‘The backup lick during the second verse, and the second solo, are derived from the “sliding ninth chord" idea described in the Introduction. Words and Music by Chuck Berr Bright shuffle beat 1, They say the joint was rock-in’, @- go- in’ ‘round and ‘round. eee = = = = = x yr ©1958 by Ae Mui Car, emratona Cooyigh Stes een USA Tl ight Reseed 16Fe Well, they nev - er stopped rock- in’ ‘til the moon. 2. Oh, itsounds so sweet, (3.) clock, got-ta take me a Rose out- a my well, the place was Front doors wasjust had to dance, _ well, the place was packed. 4 F —————" = — = a — — = a = 7S Start-ed mov in’ my well, a= clap-pin’ my When the po. - lice those. "doors flow ‘9 ——_— <= : = = = z = — — = + = = Chorus B B 2 = hands. Well the joint start-ed ogy i back. But they kept on a - f00k-in’, Lo. 6° St EE —— go- in’ ‘round - and a- round. Yeah, reel- in’ and a - 18rock: in’, what @ cra - zy sound. Mae edie sate A- well, they nev - er stopped rock - i B (Last time, repeat Chorus and fade) (Last time) Oh, _ they kept - Guitar Solo BB D.S.%(3rd verse), repeat chorus and 20JACK IN THE U.S.A. Berry wrote the song after a trip to Australia. The list of U.S. cities sounds like a patriotic litany: “Detroit, Chicago, Chattanooga, Baton Rouge.” He developed the idea further a few years later in THE PROMISED LAND. And the Beatles used this song for inspiration when they wrote BACK IN THE USSR. Words and Music by Chuck Berry Medium Rock Guitar intro$ — 7 = 2 st. i = xy i 10h well, oh_ well, so good . to- day. 3. (Piano Solo) 5 fora drive - in, search-in’ for 2 cor-ner_ca - f6, We just___touched ground-. onan where ham - burg-ers siz- zle on an in-ter-nat - ‘nal run = way. op-en grill, night and day._ 22pelled back home. from over - seas to the U.S. A. rds SS 2. New York, Los An ge- les, oh, how | yearned for you... 4. Did ! miss the sky-scrap-ers, did I miss the long free- 6. Well I'm. so glad —sI'm_ liv - in’ in the Uo S.A From the coast of Cal - i- for-nia to the Yes, I'm so. glad Vm = pa fd =F SS a S53 F 2 # = = — = = = = = | D = 2 @ 9 ty SSS = a Chat -ta- noo-ga, Ba - ton shores of the Del - a = ware liv- in’ in the U. s. ———— a ——— T= : === = “3 $9 9995a p Te Coda ——— (to 3rd/4th verses) lone just to. be at my home back in old Saint bet your life | did ‘til | gotback to the U. - S. thing you want, they got it righthere in the U.S. Guitar Soto {to Guitarsolo) © 24D.S. § (5th verse) al Coda D A 8. Look- in’ hard.BEAUTIFUL DELILAH The countryish cut-time rhythm patiern is similar to that of MABELLENE. Words and Music by Chuck 8 Brisk, steady rock beat a lah, sweet 2 = ap - ple pie, lah, dressed in. the lat-est style, lah, bath- in’ in__ the — sun, — for al - ways — gets look from fel- las pass - ing swing - in’ like tum,— walk-in’ down the au di - ence se) teen and no-ticed not_— a Comyn ©1950 by Ae Mane Co, eran Copyigh Stes Made HUSA TAH Rights Reseed 26— Ev - ‘ty time you see her, she’s Deep ro- man - tic eyes, with a diff - ‘rent guy, Beau - ti. ful — De - ti - speaks so low and mild, May - be she— —willl_ set would - n't be—— out - done, let her steal his heart lah, that’s the rea. = son tle down and mar - ry af - ter Re- bec - ca don’t a - way, ‘nt’ break it, just. for fun. “low— me__ fool a > round— withr - 3 (to Guitar sokSolo Repeat and fadeCAROL Tho guitar “answers back” repeating the rhythm (but not the melody) of the vocal line during the verses. Note the “sliding ninth chord” lick during the Chorus. Words and Music by Chuck Ber Bright rock beat Chorus Cooma ©1950 by Ae Muss Co, sumatona Copy Sees Made HUSA. "AH Rights Reserves 30c a : x | —— 1 let him steal your heart a - way. tm gon: na learn to dance —sif-—s it’ ~—s takes me = allt night___ and day.__ 1. Climb in - to. my ma-chine so we can 2. wan- na hear some mu- sic like the er = cruise on out. boys are— play’n,joint where your foot, don’t Don’t let the far back off the high - way not so ver-come you when the you You park yo ‘Oh, don’t th = E —$—____ —<=——<—— ~ pen,wish thank her, you ma‘am._ could.— Se oe A lit = tle If you cu - tie takes your hat can’t dance, know ‘n’ you can you Yeah, ev - ‘ry 1 ‘got my —S — = = = =| c SS => — —— = time you make the scene you find the joint is jammed,_ eyes on you, ba - by, ‘cause you dance so. good. e EBd > ay wy me re , — eae = — — — 2—-* 2 2 ee ge 3 - == © — + _ Car - ol, don’t let him steal your heart a wa = 7 = * £ 'm gon - a learn to dance. if 2 - = Bg ¥ c 2nd time, repeat Chorus anc takes me all___ night and day. 34{Re STE etl | {to 2nd verse, Chorus, repeat Chorus and fade} 2, Well, if you Si it =I'M TALKING ABOUT YOU ‘The straight-four rhythm pattern is unusual for Berry. His solo starts with the “imitation bottleneck lick” mentioned in LET IT ROCK; it also includes a taste of Berry's “descending double-stops.” Words and Music by Chuck Berry Moderate rock 4 7 1, Let me tell 2. Let me tell 3. Let me tell her walk - in’ down a up - town street, 1 tell you now, she looks so good. she’s sit - tin’ right here by my side. — fine, you know I skill, such a - deed, that’s why | Cepyrgn 1861 oy Ae Must Com, usrana Copan ssiea aes JS. TA pnts Rates 36— 1 get shook up ev - ‘ty time we beau - ti - ful build, she ought - a be some-where in Hol - ly asked her if _she'd___prom - ise. me some- day she would be my wish she was min No - bod=y but you.. No - bod-y but you. 1 do__mean_ you. Yeah, | do mean you. Come on,— give’ me a cue, A- no - bod. but I'm just try’n’ to get a — mes-sage to you.you. Wy Hi Il ii f | aul 2 ie ERR III cf | i | au | | rin | | Vi cay HB Tl | | wu) 2 He WW |) a H|| | HW] eu = sul Wht | | i st 8 | | g f Nis | | jolt FI nee it innac D.S. (3rd verse) al Coda G c7 Come on 'n’ let me get a mes~ sage through. a ae — —— 7 Repeat and fade = eS A * - =JOHNNY B. GOODE This is one of the most popular rock songs of all time, NASA put a recording of itn a space capsule as THE example of American pop music. Biographers take note: Berry grew up on Goode Street in St. Louis: and he originally wrote "where lived a colored boy," not “country Doy.”" Words and Music by Chuck Berry Bright rock beat Bb Guitar intro Imran Conroe Wes OS aa Rahs Reserved 401. Deep down .in Lou -'si- an - a, close to New Or 2. car- ry his gui -tar in a gun-ny 3. moth-er told him,“Some-day you will be a back up inthe woods a - mong the ev - er = greens,— there sit be - neath the tree by the rail - road__— track, Old you will be the lead - er of a big of’ _—_ band LL fog cab - in made of and — wood — eers would see him sit - tin’ the shade, — peo - ple com - in’ from a + round2 = lived a country boy__._—_named John = ny B. — Goode who strum- min’ with the rhy - thm that the driv = ers made. When hear you play your mu - sic when the sun go. down. __ —— ts — - = = 7 — nev - er ev - er learned to tead or write so. well, but he could peo: ple pasted him — by they would stop and _—say, “Oh “my, May = be ‘some day your name- ‘ll be in Tights, say - in’, Sr a ae SS = = SS Chorus i . = = - -s <—* ee =——= — play a gui - tar just like a - ing - in’ a bell, __ but that fit - tle coun. try boy could play.=—{ Go! Got ‘ohn ny B. Goode to = night.’"” 42== SS =s= f = SS SS ent SS 2 = E John-ny, go! Go!__ Go,__ John-ny, go! Gol. = — ee = — % 16: Q Go, John-ny, go! To com Oe B. Goode. 2. He used toGuitar Soto Bo eb BD £ 44BD D.S. (3rd verse) al Codaaa LET IT ROCK This workingman’s tune features a rare bottleneck guitar solo. Berry wears a slide on his ring finger or pinkie so that he can solo as usual when he’s not sliding up to the 18th fret for that one bottleneck lick. You can simulate the slide guitar sound (if you don't like bottlenecks) with this lick: If this reminds you of the bluesy lick in SWEET LITTLE ROCK AND ROLLER, it should: the SWEET LITTLE ROCK AND ROLLER lick (as well as a similar lick in! M TALKING ABOUT YOU) are imitations of the LET IT ROCK bottleneck lick — a classic slide guitar bluesy sound. —— During the piano solo, Berry plays two “sliding ninth chord licks,” one for each ninth chord formation: = originat chora = slide up to these notes Steady, rolling beat Words and Music by Chuck Be ——— — —— of the day,_ _downin Mo-bile, Al - a- bam-a, work-in' on the rail-road with a 2.— in the eve - nin’ when thesun is sink-in’ low all day I've been wait-in’ for the 3. ev -'ry-bod-y’s scram-bl-in’ and round, pick -in’ up the mon-ey tear-in’ the ae Copyright © 1959 by Ae Muss Cop, Irmasonl Cony Seared Maan USA AH Rahs Rese 46steel drivin’ ham-mer, 1 got - ta. get some mon-ey, buy some brand new shoes, whis-tle to blow. A-sit-tin’ in a tee-pee built right on the track, tee - pee down. A fore-man was a - fran-tic, ‘bout to go in - sane, try to find some-bod -y take a - way these. blues. If she don’t love—_ me, here I'm roll- in’ them bones ‘til the fore-man come back.— AA-pick up our be-long-ings, boys_ try'n to get the work-ers out the way of the train.— En - gi-neer blow'n the whis-tle Bb To Coda-)- sing -in’ in the sun; pay-day com _- in’ when my work scat- ter a-bout; ‘wegot a off-sched - ule train com-in’, two miles foud and long; can't stop the train, they have toiano 3010 Bb —— SS Guitar Solo Bo Eb9Bb D.S.% (3rd verse) al Cod: 3. Yeah, @copa BD Guitar Solo 42 =e let it roll on.LITTLE QUEENIE This is one of many Berry songs that was covered by the Rolling Stones. During the solo, Berry relentlessly churns out the same one-measure lick over and over throughout the chord changes; while playing the IV chord he switches from an F formation to a ninth chord formation, but few notes are changed. Notice the rhythmic variation of the standard backup lick during the chorus. Words and Music by Chuck Ber Moderate rock c F c Guitar intro 2 in my throat saw her com-in' down the aisle got the wig-gles in my knees when she nyt ©1080 by Ae Mus Co, Inert Copy Seed ide HUSA. TA Rohs Reserved 50looked at_me and sweet - ly smiled, she isa - gain, Do Tell me who's the queen ,S"nain’ 0 - ver by the rec-ord ma - chine, look - in’ likemin- ute o- ver sev think still think-in’, She's in the If it's a chance; t rock-er, that - ‘il ought -a mood; slow ‘song, take it, get it, no, need-n’ break it, we'll o - mit it, If she'll And if dance, it's good, =e ae then we can she'll ad - mit 82Come on, Come on, let's shake let’s get with lit - tle Queenie! lit - tle Queen-ie!= — er eee aa eee eee lit - tle Queen-ie! ——— “seit Guitar Soto 54MABELLENE MABELLENE was Berry's first Chess record and first hit. Berry presented it to Leonard Chess as IDA RED, his variant of a hillbilly tune, with a rockabilly beat. Chess suggested a “bigger beat” and (according to pianist Johnny Johnson) chose the name MABELLENE from a popular hair cream (prior to recording Berry had been a hairstylist). Notice the distorted guitar sound; Berry was playing a fat hollow-body Gibson ES-350T. Later records featured a clear- er sound with reverb added. The country-style backup — root in the bass/chord — fifth in the bass/chord — is also atypical. The opening guitar riff is based on the barred triad pattern mentioned in the Introduction, Words and Music by Chuck Berry, Russ Fratto and Alan Freed Brightly BD Chorus y 8? s °~ fene,__ (Repeat previous measure.) ony © 1865 oy Ae Mase Corp. ena by ane Nas fe USA ogee ne US conte By Me Mae Cte wo ase mush args esarescan’t cha be do - in’ the I (2.) Cad mo - tor cooled was vat - in’ to the ‘hun -dred and hill, ‘down, the and = === == 56Ma - bel - lene de got when lac got hot and no 1 heard way a+ rol = fin’ on cloud - y and set - tin’ like Ville; moe sound, — road. to rain. lead, Noth - in’d toot - ed hun - dred Cad = it~ rain - wa Cad - it - ————— out my. and lac + ter lac pass - ing mile a do-in™a - bout blow - in’ all look-in’ like it’smo - tor top of cha be You done start-ed back do - in’ the thi 58To Coda) BD Guitar Soto 2. ~~D.S. (Chorus an F Bb 3rd verse) al Cod Repeat and fad 60MEMPHIS, TENNESSEE This simple, two-chord tune has some of Berry's most delightful lyrics. Nearly all the backup licks and solo- ing are based on the “sliding ninth chord” lick (see Introduction). Words and Music by Chuck Berr Moderate rock. G enygnt © 1056 ny Arc Mune Com Intratons: Cony Sete Made BUSA. at Rahs ReservesHelp me find the par ty tryin’ to on ly one who'd phoneme. here from on ly that 1 miss her and bur ry home - drops. on her cheek that & 2 — = —s -——* = : + at get in touch with me, Mem - phis, Ten : nes ees eee all the fun a trick ~ led from her eye. gz —— = 62call ridge, —— gree, please,(to Gurear Soro) ‘wuitar 3010 D a DS. $(3rd and 41 verses) al Cod = Repeat and fad cova 64NO PARTICULAR PLACE TO GO ‘The song is very similar in structure and sound to SCHOOL DAY; it's a shuffle beat twelve-bar blues with the same “stop-and-go” pattern as SCHOOL DAY: The singer sings a measure a cappella, and the band ‘comes in and “answers” him for a measure, with the lead guitar imitating the vocal line. ‘The first guitar solo includes the “descending double-stops,”” and features a difficult choking lick in which two strings are stretched while the first string is fretted ang held in place. in the second guitar Solo the same lick is performed without stretching the strings. Words and Music by Chuck Berry Steady shuffle beat 3 3 1. Rid-in’ a-long in my au-to-mo - bile, 2. bile, 3. 90, my ba - by be -side V's anx-ious to tell her the way | feel. so we parkedway out on the Ko - ko - mo. still try -in’ to get her : . y g belt a = loose. part Copyran 81964 by Ae Muss Cos, raion Canyon Sete Maan USA. As Rots Ress——— = 3 7 at the turn of a mile; So | told her soft - ly and sin - cere, The night ‘was young and the moon was gold, All__ the way home 1 held a grudge, va ee 2 SS E = G — : = < f my cu + fi- os i= ty run-nin’ wild, and she leaned and whis - pered in my ear. so. we both de-cid-ed to take a_ stroll. for the safe ty belt ‘that would-n’t budge. — D Can Cruis - the and the the you im - ag - ine in’ and play-in’ 66To Coda 6 3 with no par - tic -u- lar place to ss ? with no par-tic- u- lar place to go. with no par-tic-u- lar place to go. | could-n’t un- fas- ten her safe - ty belt, in’ a- long - in’ a- long in my IF Guitar Soto au - to- mo - in my cal - a-boose, s Te LSD.S. (3rd and 4th verses) al Coda 35 3: 3 No par-tic- u - lar place to 68Coane Guitar SoloTHE PROMISED LAND ‘The first and second solos start with the “barred triad” pattern mentioned in the Introduction, and all three solos contain Berry's “descending double-stop”” licks. What a great poem about an East-to-West Coast journey! Words and Music by Chuck Ber Fast rock left my home in Nor - folk, Vir = gin - ia, Cal - i - 2. Right a - way | bought me a through train tick - et, rid - in’ 3, Work-in’ on a T-- bone steak a la car = te, fly - in’ =i e Ineratona Copy Scie Mase BUSA. AL Rahs Resor 70we - 5 a 7 t jf —=— oe my mind. 1 ‘cross Mis - sis - sip - pi clean. ___ And oO - ver to the Gold - en____ State, —___ a - when the oy 4 strad - dled that Grey-hound and rode him in = to Ral- eigh and = on__ | was on that Midnight Fly - er out. of _Bir- ming - ham, pi = ot told us in thir == teen min- utes he’ — would ig T tr Car = 0 = Tine, We to New Or - leans. Some- ter - mi - nal gate.—— . Ss et / —=+ p—+-¥ # # Char-lotte, we by - _—_—passed Rock - hill, we help me’ get out of Lou - ‘si - an - a just char - i - ot, come. down ea; OY; a ee was a min - ute get to Hous - ton tothe ter - mi = nal G = = = = = 2 <—- = | nine - ty miles out of At - lan - ta by sun - down, roll- peo - ple there who care a iit - tle ‘bout me and Cut your en - gines and cool your wings and let me 72in’ out of Georgia State. We | “They won't let the poor boy down,___ make it 0 the tel —e-_ phone Los had mo - tor trou - ble that turned in - to a strug - gle half Sure as. you're born, they bought me 2 silk suit; they ‘An gel - es, give me Nor - folk, Vir - gin - ia, Tide and that ‘Hound_ and 1 woke— Tell the — folks _——— broke and left us all strand-ed in pa Eur) o - ver Al - bu =~ quer- que ona meee back) this is the prom - ised land call - in’ and the c To Code aa Bir = - ming - ham. the promised land. on the line. 74c 2 2nd Guitar Solo DS. & (3rd verse) 6 al Coda Fag! = racers ‘CODA 6 3rd Guitar Solo = efROLL OVER, BEETHOVEN The chordal backup is all rapid downstrokes. Both solos feature the Charlie Christian-style “‘slide-the-3rd string-up-to-match-the-2nd string” lick (it's also in the MABELLENE solo). ‘The Beatles are one of many groups that covered this hymn to rock and roll. Words and Music by Chuck Ben Bright rock Guitar intro enna by baie Hise for ne USA ‘segs cri U8 costed By Ne Mle Srp asons Eapegh Sesund lege mUSA, At hts 761. Well, ’m @ - write a lit-tle, let-ter I’m gon’ it to my lo -cal Yeah, this'sa jump-in’ lit - tle ree- ord — my jock-ey to play. Roll o got -ta hear it @- gain to - day.__& = 7 ee = as | 5 e ae 5 - 2. You know my temp-‘ra-ture ris - ing, the juke - box blow-in’ a fuse._ (3.) rock-in’ pneu-mo - nia I need a shot of rhy-thm and blues. (5) ly in the morn-in’ and I'm giv-ing you my warn- in’, don’t you (6.) wig-gle like a. glow - worm, dance like a spin-ning top.— = es 3 7 = = 3 = 7 s— ge = ¥ suede My | caught the shoes. She got a heart beat-in’ rhy-thm and my roll-in’ arth - i - tis sit - tin’ Hey, did-dle did- dle, I'm a- cra’ - zy part-ner, you a == 7 - = = Be =F + = —— 5 —+—}- te —o = = z at soul keep a- sing- in’ the blues. A-toll o- down ata rhy-thm re - view. — A-roll o- play in’ my fid- dle, ain't got no-thin’ to lose. Roll o- ought a see ‘em reel and rock, Long as ——— oa = 78ver, Bee- tho - ven, tell Tchai-kow - ski the news. — ver, Bee - tho - ven,__they‘re rock -_in’ in two by two. ver, Bee- tho - ven, tell Tchai-kow - ski the news. the mu - sic won't nev-er stop. she got 2 dime, (to 3rd verse) 2 D 3. 1 got the 4, Well, if you feel it ‘n' like 6. You know she roll ito - ver, then go get your lov -er, then reel and___rock move on up just a tri - fle fur-ther, then reel, = and_——rock withone an-oth-er. Rollo - ver Bee-tho - ven, _—dig__these_rhy-thm and blues.__. G7 D D.S. (Sth and 6th verses) al Cod = = ——— = cet (5.) Well, ear - 80ver, Bee - tho - ven, dig these thy-thm and blues, __ aSWEET LITTLE ROCK AND ROLLER While a second guitar pumps out the standard Berry-style boogie-woogie rhythm throughout, Berry sprin- kles in various backup licks and rhythmic chop chords. The bluesy lick he plays in the chorus (on the 1st and 2nd strings) appears later in the tune to fill holes between vocal lines during the verses. The rhythm chops are on these chords: c et Words and Music by Chuck Berry Moderate rock Guitar intro a a aS. Re eS z mS oF 1. Nine years old an’ sweet as she can be, (2) her eyes. «when =the. = band be - © gan to play, 1958 by Ac Mus Com ‘Mice BUSA At Pts Resres 82ee SSS é = 3 all dressed up like a down town Christ - mas tree, and the fam - ous sing - ers sang. and bowed a - way. dancin’ and = hum-min’ a rock When the star per - formed she screamec daugh - ter of__ a well = ore thous - and eyes— were watch- ing - spect - ed man him leave —the_floowho taught. her how— to judge and un - —der-- stand, Five thous - and tongues. were scream - in’, “More, more! SS since she__ be - came_ @ rock — 'N' a- bout fif - teen hun dred wait — 7 SS : ¥ 6 — Si é ==. FF - af = : roll mu + sie fan. Sweet in’ out - side the door. Sweet 7 : ° > = i = ES = £ = af = : litte rock and roll sweet litte rock and roll - lit -tle rock and. roll sweet little rock and roll - te ft fis feet — SS = a = ae =c ‘ 1 — = oo — = dad-dy don’t have to scold___ her, her sweet lit- tle rock and roll er, oa eS ~~ to £ ef tee ar rs poe 42 = =r) a oe part-ner cain’t_ hard sweet lit -tle rock yy and roll hold__ her. > er, She nev-er gets an y_ old sweet lit-tle rock and roll “~~. 2nd time, repeat 2nd Chorus and fad and roll and rollG D7 D.S. § (2nd verse and Chorus) and fade ee : = : = = : = = 2, Should have seen — = Sj 5 z ei E a = 3 86GUITAR BOOGIE ‘This is a twelve-bar blues; Berry solos for four bars, then plays a repetitious eight-bar “head” with the band. Each four-bar solo features a Berry idea ranging from his typical riffs to MARY HAD A LITTLE LAMB and beyond, The ninth chord includes an extra bass note: co ; Bright shuffle G Copplgn © 1958 by Ae Mase Cop88Mt f \ ree Niete ree The irre T IE | h eo iii |SCHOOL DAY (Ring! Ring! Goes The Bell) Written by Berry at the age of thirty in a black hotel in downtown St. Louis, the song spoke clearly to Ameri- can teenagers of their daily frustrations and halled rock and roll as the great liberator. The guitar clearly mimics the vocal line during the verses. Words and Music by Chuck Berry Shuffle beat 37 3 —34 = = ——=—= + —— —o! 2 a The teach -er is teach-in’ the gold - en you fi-nal-ly lay your bur - den = == = GL | i || | | | I eon © 1657 by Ae use Carp ened y tats hans fr be OSA, Avrgys owas USA corte by Ne Mune Cr, i eurad Made mUSA. Mi figs Pesereez A- mer - i - can his -t'ry and prac -'ti - cal Close up your books, get out - 2 your em’ hard, ‘n’ hop- in’ to the halls and in - to the 3 you stud - y down 5B = = 3 3 Work - “in’ your fin- gers right down'to the Up to the cor-ner and ‘round. the 3a and the guy be-hind you won't leave you a- the juke joint you 90 922 ep 5h SSS 2. Ring, ring, a 4. Drop the coin’ right in- to. the —=# = —4 3 = The cook in the You've got - ta hear s lunch room's read - y to ome-thing that’s real = — ly 3 You'reluck-y if you can _ find. 3 With the one You're for - tu - nate all you love you're mak-in’ ro- —3— if you have time to day long you've been want-in’ toLo3t eat. Back in the class - room, o - pen your Feel-in’ the mu-sic fromhead to To Coda{ 7 3 » SS SSS See el et 3 Gee, but, the teach- er don’t know how mean she end and ‘round and ‘round you SS _ (to 3rd and 4th verse) i el 3 2 . Soon as three o-clock rolls . a -G D.S. (4th verse) al Coda 2 S43 @copa 6 3 ; _ as c — ; Ze = = = we. Heil, hail, rock and eatcal mF Long live rock ‘n’ roll; the beat of the drums, loud anc the feel-in’ is there, bod-y and soul. 96