Songbook 319 Lite (Col) 1105

If you're new to Songbook: Basically, Songbook is a compilation of songs, stitched together from many sources
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Notification of Copyright: This document was created and is intended solely for the personal, private enjoyment of fellow
guitar players and the music contained herein remains the property of the respective copyright holder. No public,
commercial, or otherwise unauthorized use is permissible or implied. The format used in creating this document,
including the arrangement, layout, formatting, and use of internal hyperlinks is the intellectual property of the author. Use
of this document, whether in whole or abridged, for personal, private, noncommercial use is permissible and encouraged
but any attempt to monetize or commercialize the result is expressly prohibited.
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THE AMATEUR GUITAR PLAYER'S

CHORD-STRUMMIN' SONGBOOK
v319.1105
~~~~~~~
Introduction Main Index Chord Diagrams
WHAT'S RECENT AND NEW:
- Version 319 was uploaded on 11/05/2022 with 2 new songs, “Triangle” by Gordon Lightfoot, and “If Love Was a River”
by Alan Jackson.
- Version 318 was uploaded on 10/27/2022 with 5 new songs, “This Ain’t My First Rodeo” by Vern Gosdin, “Here in the
Real World,” by Alan Jackson, “Radio Land” by Michael Martin Murphey, “Sad One Comin’ On (A Song for George Jones)”
by Vince Gill, and “This Old Guitar and Me” by Vince Gill.
- Version 317 was uploaded on 10/11/2022 with 4 new songs, “He Walked on Water” by Randy Travis, “Real Mean Bottle”
by Bob Seger & Kid Rock/Vince Gill, “Moody River” by John Fogerty/Pat Boone, and “This Old Guitar” by Neil Young.
- Version 316 was uploaded on 09/01/2022 with 17 new songs, “Darcy Farrow” by John Denver,
“Never Ending Song of Love” by John Fogerty/Delaney & Bonnie”, “Whiskey, If You Were a Woman” by Highway 101,
“The Pain of Loving You” by Dolly Parton, Emmylou Harris, and Linda Ronstadt (performing as Trio)/Patty Loveless,
“Ants on a Log” by Randy Travis, “My Kind of Woman/My Kind of Man” by Vince Gill & Patty Loveless,
and 11 by Patty Loveless: “Can’t Get Enough”, “Chains”, “Here I Am”, “I Don’t Want to Feel Like That”,
“Love Builds the Bridges (Pride Builds the Wall)”, “Mr. Man in the Moon”, “Old Weakness (Coming On Strong)”,
“On Your Way Home”, “She Drew a Broken Heart”, “Someday I Will Lead the Parade”, and
“You Don’t Know How Lucky You Are”.
- Version 315 was uploaded on 08/02/2022 with 5 new songs, “My Rifle, My Pony, and Me” with versions by Dean Martin
& Rick Nelson and another by Don Williams, “Heard it in a Love Song” by The Marshall Tucker Band, “Gimme Some
Money” by Spinal Tap, “When I’m Sixty-Four” by the Beatles, and “Murder Incorporated” by Bruce Springsteen.
- Version 314 was uploaded on 07/08/2022 with 5 new songs, “Eleanor Rigby” and “Paperback Writer” by the Beatles, “A
Horse With No Name” by America, “Good Riddance (Time of Your Life)” by Green Day, and the parody “Things You Don’t
Say to Your Wife” by Tim Hawkins.
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
Adele
Hello
Alabama
Close Enough to Perfect
High Cotton
If You're Gonna Play in Texas
America
A Horse With No Name
Lonely People
Lynn Anderson
Rocky Top
Julie Andrews
*Edelweiss
The Andrews Sisters

In the Mood
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
Gene Autry
Here Comes Santa Claus
Rudolph the Red-Nosed Reindeer (Main)
- 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 Bangles
Manic Monday
Bobby Bare
Dropkick Me Jesus
The Beach Boys

*Barbara Ann
Catch a Wave
Fun Fun Fun
I Get Around
*Little Deuce Coupe
*Sloop John B.
*Surfin’ Safari
*Surfin’ U.S.A
Wendy
(Main)
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
*Eleanor Rigby
For No One
*Get Back
Girl
Help!
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
If I Fell
Lady Madonna
Let It Be
*Love Me Do
Maxwell's Silver Hammer
The Night Before
Nowhere Man
Ob-la-di, Ob-la-da
*Paperback Writer
P.S. I Love You
She Loves You
Something
This Boy (Ringo's Theme)
*Twist and Shout
We Can Work it Out
When I’m Sixty-Four
*Yellow Submarine
You've Got to Hide Your Love Away
Two of Us
Bee Gees
Tragedy – Bee Gees
Harry Belafonte
*The Banana Boat Song (Day-O)
Benny Bell
Shaving Cream
(Main)
The Bellamy Brothers
Kids of the Baby Boom
Chuck Berry
Johnny B. Goode
*My Ding a Ling
*Run Rudolph Run
Big & Rich

Eighth (8th) of November
Norman Blake
*It’s Raining Here This Morning (with Tony Rice)
Ridge Road Gravel (With Tony Rice)
*You Are My Sunshine
Fred Blassie
*Pencil Neck Geek
Blondie
*The Tide is High
Suzy Bogguss
*Sweet Betsy From Pike
Ray Bolger
If I Only Had a Brain
Pat Boone
Moody River
The Bow Triplets

Isle of Hope, Isle of Tears
David Bowie
Space Oddity
Boxcar Willie
Roll in My Sweet Baby's Arms
*Wabash Cannonball
The Box Tops

The Letter
Billy Bragg
*Way Over Yonder in the Minor Key (with Wilco)
Bread
If
(Main)
Garth Brooks
The Dance
Friends in Low Places
*In Lonesome Dove
Betty Buckley
Memory
Buffalo Springfield
*For What It's Worth
Jimmy Buffett
Boats to Build (with Alan Jackson)
Changes in Latitudes, Changes in Attitudes
It's Five O'Clock Somewhere (with Alan Jackson)
*Margaritaville
*Why Don't We Get Drunk and Screw
The Byrds
Mr. Tambourine Man
My Back Pages
Turn, Turn, Turn
*You Ain't Goin' Nowhere
(Main)
- C -
Canned Heat
*Going Up the Country
Glen Campbell
Gentle on My Mind
Henson Cargill
*Skip a Rope
Kim Carnes
Bette Davis Eyes
Mary Chapin Carpenter

*Down at the Twist and Shout
*I Feel Lucky
*Shut Up and Kiss Me
The Carter Family

*Keep on the Sunny Side of Life
*Lulu Walls
Johnny Cash
*A Satisfied Mind
*Ballad of a Teenage Queen
*Big River
Folsom Prison Blues
Ghost Riders in the Sky
I Ride an Old Paint
*I’ve Been Everywhere
*I Walk the Line
In the Garden
Jackson (with June Carter)
*Long Black Veil
*Ring of Fire
When the Man Comes Around
*Will the Circle Be Unbroken
Eva Cassidy
*Fields of Gold
Son of a Preacher Man
Take Me to the River
Casting Crowns
Scars in Heaven
(Main)
Harry Chapin
A Better Place to Be
Cat's in the Cradle
*Circle
Taxi - Harry Chapin
Thirty-Thousand (30,000) Pounds of Bananas
Cheap Trick
Surrender
Chicago
25 or 6 to 4
The Chieftains
*Long Black Veil (with Mick Jagger)
*Star of the County Down (with Van Morrison)
Eric Clapton
*Wonderful Tonight
Cowboy Jack Clement

*Ballad of a Teenage Queen
*My Cowboy Song
*We Must Believe In Magic
Patsy Cline
*Blue Moon of Kentucky
Crazy
*I Fall to Pieces
*San Antonio Rose
The Tennessee Waltz
The Wayward Wind
Leonard Cohen
Suzanne
Judy Collins
*Amazing Grace
Both Sides Now
The Contours
Do You Love Me
Sam Cooke
*Cupid
*Wonderful World
Bradley Cooper
*Maybe It's Time
Shallow (with Lady Gaga)
(Main)
Coven
One Tin Soldier
The Cranberries
Animal Instinct
Just My Imagination
Creedence Clearwater Revival

*Bad Moon Rising
Fortunate Son
Have You Ever Seen the Rain
Lodi
*Lookin' Out My Back Door
*The Midnight Special
Proud Mary
*Who'll Stop the Rain
Jim Croce
I've Got a Name
Time in a Bottle
*You Don’t Mess Around With Jim
Bing Crosby
White Christmas
Crosby, Stills, Nash, and Young

Teach Your Children
The Crystals
*Do Ron Ron
Billy Currington
People are Crazy
(Main)
- D -
Lacy J. Dalton
*16th Avenue
Danny and the Juniors

*At the Hop
Bobby Darin
Dream Lover
Mac Davis
*Lord It's Hard to be Humble
Skeeter Davis
*The End of the World
Doris Day
*Que Sera Sera
Delaney & Bonnie

*Never Ending Song of Love
John Denver
*Annie's Song
*Back Home Again
*Darcy Fallow
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
Neil Diamond
Beautiful Noise
*Brother Love's Travelling Salvation Show
*Solitary Man
Song Sung Blue
Sweet Caroline
Little Jimmy Dickens

*May the Bird of Paradise Fly Up Your Nose
(Main)
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
The Dubliners
Whiskey in the Jar
Bob Dylan (Also as Lucky Wilbury)

*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
My Back Pages (With McGuinn, Petty, Clapton, Young, & Harrison)
Tangled Up in Blue
*The Times They Are A Changing
(Main)
- E -
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
Sheena Easton
We've Got Tonight (with Kenny Rogers)
Ogden Edsl
Dead Puppies
Electric Light Orchestra

Can't Get You Out of My Head
Elmo & Patsy

Grandma Got Run Over by a Reindeer
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
(Main)
- F –
Mary Fahl
Going Home
Fisherman's Friends
South Australia
Five Man Electrical Band

Signs
Roberta Flack
Killing Me Softly
Flatt & Scruggs

*Ballad of Jed Clampett
Johnny Flynn
*Theme From Detectorists
John Fogerty
*Blue Moon Nights
*Centerfield
*Deja Vu (All Over Again)
*I Saw It On TV
Moody River
*Never Ending Song of Love
*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
David Frizell
You're the Reason God Made Oklahoma (with Shelly West)
Lefty Frizell
*Long Black Veil
(Main)
Bobby Fuller
*I Fought the Law
- G -
Judy Garland
Over the Rainbow
We're Off to See the Wizard
Bobbi Gentry
*Ode to Billy Joe
Gerry and the Pacemakers

Don't Let the Sun Catch You Crying
Ferry Cross the Mersey
Don Gibson
Oh Lonesome Me
Vince Gill
High Lonesome Sound
*My Kind of Woman/My Kind of Man (with Patty Loveless)
*Real Mean Bottle
Sad One Comin’ On
*This Old Guitar and Me
Vern Gosdin
Set 'Em Up Joe
*This Ain’t My First Rodeo
Grand Funk Railroad

The Locomotion
Norman Greenbaum
*Spirit in the Sky
Green Day
*Good Riddance (Time of Your Life)
Nanci Griffith
*Across the Great Divide
Love at the Five and Dime
Arlo Guthrie
Alice's Restaurant
City of New Orleans
Woody Guthrie
*The Car Song (Riding in the Car)
*This Land is Your Land
(Main)
- 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
*Okie From Muskogee
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
*The Year That Clayton Delaney Died
Emmylou Harris
All the Roadrunning (with Mark Knopfler)
Belle Starr (with Mark Knopfler)
*If I Needed You (with Don Williams)
Love Hurts (with Gram Parsons)
*Magnolia Wind (with John Prine)
Mary Danced with Soldiers
*My Dear Companion (Trio)
*The Pain of Loving You (Trio)
To Know Him is to Love Him (Trio)
Wayfaring Stranger
George Harrison (Also as Nelson Wilbury)

If Not For You
Tim Hawkins
*Things You Don’t Say to Your Wife
Herman's Hermits
Mrs. Brown You've Got a Lovely Daughter
There's a Kind of Hush
(Main)
Highway 101
The Bed You Made for Me
*Cry, Cry, Cry
Whiskey, If You Were a Woman
The Highwaymen
Michael Row the Boat Ashore
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
Brian Hyland
*Itsy Bitsy Teenie Weenie Yellow Polka-Dot Bikini
- I -
Eric Idle
Always Look on the Bright Side of Life
The Irish Rovers

*Drunken Sailor
*The Unicorn
(Main)
Burl Ives
Have a Holly Jolly Christmas
Rudolph the Red-Nosed Reindeer
Silver and Gold
(Main)
- J -
J. Geils Band
Centerfold
Alan Jackson
The Angels Cried (with Alison Krauss)
Boats to Build (with Jimmy Buffett)
Here in the Real World
If I Had You
*If Love Was a River
*It Must Be Love
It's Five O'Clock Somewhere (with Jimmy Buffett)
*Livin' on Love
Remember When
Thank God for the Radio
Where Were You When the World Stopped Turning
Tommy James and the Shondells

*Draggin the Line
*Hanky Panky
Jan and Dean

Dead Man's Curve
Jarvis, McDade & Ingram

Ballad of Mrs. Begg
Jay and the Americans

This Magic Moment
Jefferson Airplane
White Rabbit
Waylon Jennings
*Amanda
*Are You Sure Hank Done It This Way?
Good Hearted Woman (with Willie Nelson)
*Luckenback Texas (with Willie Nelson)
Mamas Don't Let Your Babies Grow Up to Be Cowboys
*My Heroes Have Always Been Cowboys
*Theme from Dukes of Hazzard
*The Year That Clayton Delaney Died (with Willie Nelson)
Jinder
*Keep Me In Your Heart
Westcountry Love Song
Billy Joel
A Matter of Trust
Piano Man (Main)
Elton John
*Can You Feel the Love Tonight
*Candle in the Wind
Crocodile Rock
Daniel
Levon
Rocket Man
Roy Rogers
Tiny Dancer
Grandpa Jones
*It’s Raining Here This Morning
Matthew Perryman Jones

*Waking Up the Dead
Tom Jones
Tennessee Waltz
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
(Main)
- K -
Kansas
Dust in the Wind
Robert Earl Keen Jr.

*Sonora's Death Row
The Kendalls
*Heaven's Just a Sin Away
Thank God for the Radio
Kentucky Headhunters
Oh Lonesome Me
Kid Rock
*Real Mean Bottle (with Bob Seger)
Ben E. King
*Stand By Me
Carole King
Will You Still Love Me Tomorrow
The Kingsmen
Louie Louie
The Kingston Trio

*Tom Dooley
*Where Have All the Flowers Gone?
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
The Angels Cried (with Alan Jackson)
*Down to the River to Pray
Everytime You Say Goodbye (with Union Station)
*I'll Fly Away (with Gillian Welch)
I Will
The Lucky One (with Union Station)
Sleep On
*Steel Rails
*When You Say Nothing at All (Main)
Kris Kristofferson
*Me and Bobby McGee
(Main)
- L -
The La's
*There She Goes
Lady Gaga
Shallow (with Bradley Cooper)
Bert Lahr
If I Only Had the Nerve
Frankie Laine
Ghost Riders in the Sky
Led Zeppelin
*Rock and Roll
Brenda Lee
Rockin' Around the Christmas Tree
The Left Banke

Walk Away Renee
John Lennon
Imagine
Gordon Lightfoot
*Christian Island
Circle of Steel
*Cotton Jenny
*Don Quixote
*Early Morning Rain
*For Lovin' Me
If You Could Read My Mind
It's Worth Believin'
*The Pony Man
*Rainy Day People
Steel Rail Blues
Summertime Dream
*Triangle
*Wreck of the Edmund Fitzgerald
Lind, Holm, Fuentes, Nilson

Hallelujah
Little Eva
*The Locomotion
(Main)
Little Peggy March
I Will Follow Him
Little Richard
Good Golly Miss Molly
Tuttie Frutti
Lobo
Me & You and a Dog Named Boo
Los Lobos
*La Bamba
Trini Lopez
If I Had a Hammer
Patty Loveless
Can’t Get Enough
*Chains
*The Grandpa That I Knew
Here I Am
*I Don’t Want to Feel Like That
*I'm That Kind of Girl
Love Builds the Bridges (Pride Builds the Wall)
*Mr. Man in the Moon
*My Kind of Woman/My Kind of Man (with Vince Gill)
Old Weakness (Coming On Strong)
On Your Way Home
*The Pain of Loving You
*She Drew a Broken Heart
Someday I Will Lead the Parade
*Where I'm Bound
*You Don't Even Know Who I Am
You Don’t Know How Lucky You Are
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
(Main)
- M -
Manfred Mann
*Do Wah Diddy
*The Mighty Quinn
Dean Martin
*Memories are Made of This
*My Rifle, My Pony, and Me (In C) (with Rick Nelson)
*My Rifle, My Pony, and Me (In G) (with Rick Nelson)
That's Amore
Steve Martin
Tonight You Belong to Me (with Bernadette Peters)
Marshall Tucker Band

*Can't You See
*Fire on the Mountain
Heard it in a Love Song
Johnny Mathis
A Time for Us
Kathy Mattea
*Eighteen Wheels and a Dozen Roses
Love at the Five and Dime
The Mavericks
*All That Heaven Will Allow
Blue Moon
*From Hell to Paradise
I Should Have Been True
*Oh What a Thrill
To Be With You
*What a Crying Shame
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)
The McCoys
*Hang On Sloopy
John McDermott
*And the Band Played Waltzing Matilda
The Minstrel Boy
(Main)
Reba McEntire
She Thinks His Name Was John
Bobby McFerrin
*Don’t Worry, Be Happy
Barry McGuire
*Eve of Destruction
Don McLean
*American Pie
Vincent
Harry McClintock
*Big Rock Candy Mountain
Meat Loaf
*Los Angeloser
Objects in the Rear View Mirror May Appear Closer Than They Are
You Took the Words Right Out of My Mouth
John Mellencamp
Pink Houses
*R.O.C.K. in the U.S.A.
Meyer & Drake

*Some People Think Chickens Have Lips
Audra Miller
Wellerman (with Violet Orlandi and Addie Nicole)
Glenn Miller
In the Mood
Roger Miller
King of the Road
Ronnie Milsap
It Was Almost Like a Song
Mitch and Mickey

*A Kiss at the End of the Rainbow
A Mighty Wind (with The Folksmen and The New Main Street Singers)
Ballad of Bobby and June
When You're Next to Me
Joni Mitchell
Both Sides Now
(Main)
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
Van Morrison
Bright Side of the Road
*Star of the County Down (with The Chieftains)
The Mousketeers
*Mickey Mouse Club March
Anne Murray
*Cotton Jenny
*Could I Have This Dance
Daydream Believer
The Tennessee Waltz
Michael Martin Murphey

Big Iron
Radio Land
*Red River Valley
*Sonora's Death Row
*Streets of Laredo
Tumbling Tumbleweeds
(Main)
- N -
(
Nazareth
Love Hurts
Rick Nelson
*Garden Party
Hello Mary Lou
*My Rifle, My Pony, and Me (In C) (with Dean Martin)
*My Rifle, My Pony, and Me (In G) (with Dean Martin)
Travelin' Man
Tim Blake Nelson

In the Jailhouse Now
When a Cowboy Trades His Spurs for Wings (With Willie Watson)
Willie Nelson
Angel Flying Too Close to the Ground
*A Satisfied Mind
*Blue Eyes Crying in the Rain
Crazy
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 Year That Clayton Delaney Died (with Waylon Jennings)
Michael Nesmith
*Different Drum
The New Main Street Singers

A Mighty Wind (with The Folksmen and Mitch & Mickey)
*Fare Away
Juice Newton
*Angel of the Morning
Addie Nicole
Wellerman (with Violet Orlandi and Audra Miller)
Harry Nilsson
Spaceman
(Main)
Nitty Gritty Dirt Band
*Little Mountain Church
Mr. Bojangles
When It's Gone
*Will the Circle Be Unbroken
*You Ain't Goin' Nowhere
- O -
Oak Ridge Boys

*American Made
Roy Orbison (Also as Lefty Wilbury)

Blue Bayou
*California Blue
Careless Heart
Crying
In Dreams
*Mean Woman Blues
Oh Pretty Woman
The Only One
Only the Lonely
Ooby Dooby
Running Scared
You Got It
Janice Orenstein
There's Always Tomorrow
Violet Orlandi
Wellerman (with Addie Nicole & Audra Miller)
Buck Owens
*Act Naturally
(Main)
- P -
Elaine Paige
Memory
Robert Palmer
*Bad Case of Loving You
Gram Parsons
Love Hurts (with Emmylou Harris)
Dolly Parton
*The Bargain Store
*Coat of Many Colors
*I Will Always Love You
*Jolene
The Penguins
*Earth Angel
Carl Perkins
*Blue Suede Shoes
Peter, Paul & Mary

*Blowin' in the Wind
*Children Go Where I Send Thee
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
Michael Row the Boat Ashore
*Puff the Magic Dragon
Right Field
*Stewball
*This Land is Your Land
*We Wish You a Merry Christmas
Weave Me the Sunshine
*Where Have All the Flowers Gone
Bernadette Peters
Tonight You Belong to Me (with Steve Martin)
(Main)
Tom Petty (Also as Charlie Wilbury)
American Girl
Ankle Deep
*Big Weekend
Down South
Learning to Fly
*Runnin' Down a Dream
Wilson Pickett
*In the Midnight Hour
*Land of 1000 Dances
*Mustang Sally
Pink Floyd
Comfortably Numb
Mother
Nobody Home
*On the Turning Away
*Wish You Were Here
Ray Price
For the Good Times
Charley Pride
*Kiss An Angel Good Morning
John Prine
*All the Best
*Angel From Montgomery (also with Bonnie Raitt)
*Day is Done
*Fish and Whistle
*He Was in Heaven Before He Died
*Humidity Built the Snowman
In the Garden (with Mac Wiseman)
*It's a Big Old Goofy World
*Knockin' on Your Screen Door
The Lonesome Friends of Science
*Long Monday
*Lulu Walls
*Magnolia Wind (with Emmylou Harris)
*The Moon is Down
*Paradise
*Same Thing Happened to Me
*Souvenirs
*Speed of the Sound of Loneliness
*That's the Way the World Goes Round
*The Other Side of Town
We Are the Lonely
(Main)
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
Pure Prairie League

Amie
- Q -
Queen
Crazy Little Thing Called Love
*Fat Bottomed Girls
(Main)
- R -
Robert Ragaini
Theme From Underdog
Bonnie Raitt
*Angel From Montgomery (with John Prine)
David Rawlings (with Gillian Welch)

When a Cowboy Trades His Spurs for Wings
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
REO Speedwagon
*Time For Me to Fly
Debbie Reynolds
*Dominique
Tammy
Tony Rice
*It’s Raining Here This Morning (with Norman Blake)
Ridge Road Gravel (With Norman Blake)
The Righteous Brothers

Unchained Melody
Jeanie C. Riley
*Harper Valley P.T.A.
Johnny Rivers
Secret Agent Man
(Main)
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
Jimmy Rodgers
Kenny Rogers
Coward of the County
*The Gambler
Lucille
Ruby, Don't Take Your Love to Town
We've Got Tonight (with Sheena Easton)
The Rolling Stones

Angie
*Honky Tonk Woman
*Nineteenth Nervous Breakdown
Paint in Black
*Play with Fire
Ruby Tuesday
Satisfaction
*You Can't Always Get What You Want
Linda Ronstadt
Blue Bayou
Deserado
Different Drum - Linda Ronstadt (with The Stone Poneys)
It Doesn't Matter Anymore
*It's So Easy
*Silver Threads and Golden Needles
Will You Still Love Me Tomorrow
Rose & the Arrangement

The Cockroach That Ate Cincinnati
Tom Roush
*Rose of Alabama
(Main)
- S -
Barry Sadler
Ballad of the Green Beret
Melanie Safka
*Look What They've Done to My Song
Sam the Sham & The Pharaohs

Little Red Riding Hood
Sawyer Brown
All These Years
Passing Train
Peter Seeger
My Get Up and Go
*Where Have All the Flowers Gone
The Seekers
*Five Hundred Miles
Georgy Girl
*I'll Never Find Another You
*Kumbaya - The Seekers
*Louisiana Man
*Sinner Man
The Times They Are a Changin'
*Whiskey in the Jar
*You Can Tell the World
Bob Seger
Against the Wind
*Feel Like a Number
*Like a Rock
Old Time Rock and Roll
*Real Mean Bottle (with Kid Rock)
*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
(Main)
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/Bookends
*Scarborough Fair
*The Sound of Silence
*Wonderful World (with James Taylor)
Frank Sinatra
It Was a Very Good Year
My Way
Ricky Skaggs
*Little Mountain Church
Kate Smith
God Bless America
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
Gimme Some Money
Dusty Springfield
*Son of a Preacher Man
Bruce Springsteen
*All That Heaven Will Allow
Badlands
*Dancing in the Dark
Glory Days
Murder Incorporated
*My Hometown
(Main)
*The Rising
*The River
Thunder Road
Santa Claus is Coming to Town
Jim Stafford
*Cow Patti
Dave Stamey
*Good Dog
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
Steppenwolf
*Born to Be Wild
Al Stewart
On the Border
Rod Stewart
Handbags & Gladrags
Maggie May
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
The Wind
Sting
*Fields of Gold
Stompin' Tom Connors

The Hockey Song
Noel Paul Stookey

The Wedding Song
(Main)
Storm Seeker
Wellerman
George Strait
Amarillo By Morning
Ocean Front Property
The Supremes
Where Did Our Love Go
The Surfaris
*Wipe Out
Sweethearts of the Rodeo

*Midnight Girl/Sunset Town
(Main)
- T -
T. Rex
*Bang a Gong (Get it On)
James Taylor
Sweet Baby James
Up On the Roof
*Wonderful World (with Simon and Garfunkel)
The Temptations
My Girl
Just My Imagination
The Terrytooners & Mitch Miller Orchestra

*Mighty Mouse Theme
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
Trans-Siberian Orchestra
Old City Bar
Promises to Keep
Traveling Wilburys
*End of the Line
Handle With Care
Runaway
Wilbury Twist
Merle Travis
*I Am a Pilgrim
Randy Travis
*Ants on a Log
Deeper Than the Holler
*He Walked on Water
It's Just a Matter of Time
Nineteen Eighty-Two (1982)
*Written in Stone
(Main)
Dan Tyminski
(I Am a Man of Constant Sorrow)
Bonnie Tyler
It's a Heart Ache
The Turtles
Happy Together
- V -
Gene Vincent
Be Bop A Lula
Bobby Vinton
Mr. Lonely
(Main)
- W -
Loudon Wainwright III
*Dead Skunk
Willie Watson
When a Cowboy Trades His Spurs for Wings (With Tim Blake Nelson)
The Weavers
Gillian Welch
*I'll Fly Away (with Alison Krauss)
When a Cowboy Trades His Spurs for Wings (with David Rawlings)
Mary Wells
My Guy
Shelly West
You're the Reason God Made Oklahoma (with David Frizell)
The Whites
*Keep on the Sunny Side of Life
Keith Whitley
*When You Say Nothing at All
The Who
Amazing Journey
*Happy Jack
*Join Together
*Love Ain't For Keeping
Sally Simpson
*Squeeze Box
Tommy Can You Hear Me?
Sara & Julia Wee

Tonight You Belong to Me (with Zahida)
Wilco
Way Over Yonder in the Minor Key (with Billy Bragg)
Don Williams
*Amanda
Good Ole Boys Like Me
If I Needed You (with Emmylou Harris)
*It Must Be Love
Lord I Hope This Day Is Good
*Love Me Tonight
(Main)
*My Rifle, My Pony, and Me
*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
There's a Tear in My Beer
Bob Wills
San Antonio Rose
Stay All Night
Mac Wiseman
In the Garden (with John Prine)
Sheb Wooley
The Purple People Eater
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)
(Main)
- Y -
Trisha Yearwood
*She's In Love With the Boy
Take a Walk Through Bethlehem
Dwight Yoakam
A Thousand Miles From Nowhere
Ain't That Lonely Yet
*Cattle Call
*Guitars, Cadillacs
*It Only Hurts When I Cry
Little Sister
*Turn it On, Turn it Up, Turn Me Loose
Neil Young
After the Gold Rush
Comes a Time
*Heart of Gold
My My Hey Hey
The Needle and the Damage Done
This Old Guitar
The Youngbloods
*Get Together
- Z -
Zahida
Tonight You Belong to Me (with Sara & Julia Wee)
The Zombies
She's Not There
ZZ Top
*Viva Las Vegas
(Main Index) (Song/Genre Index)

By Song Title/Genre
(Artist Index) (Main Index)
POP/ROCK
OLDIES & DOO WOP
FOLK SONGS
COUNTRY
SPIRITUAL
TRADITIONAL
KID FRIENDLY
CHRISTMAS
POP/ROCK
[Titles prefaced with an * are easiest to play and have no F or B chords.]
- A -
A Better Place to Be – Harry Chapin
A Hard Days Night – The Beatles
*A Hard Rain's A Gonna Fall - Bob Dylan
A Horse With No Name - America
A Kiss At the End of the Rainbow – Mitch & Mickey
*A Kiss At the End of the Rainbow – Mitch & Mickey
A Matter of Trust - Billy Joel
A Mighty Wind – The Folksmen, Mitch & Mickey, 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
After the Gold Rush – Neil Young
Against the Wind - Bob Seger
Alice's Restaurant - Arlo Guthrie
All Day and All of the Night - The Kinks
(Main)
All I Have to Do Is Dream – The Everly Brothers
All My Loving – The Beatles
All My Loving – The Beatles
*All Shook Up – Elvis Presley
*All That Heaven Will Allow - The Mavericks/Bruce Springsteen
*All the Best - John Prine
All the Roadrunning – Mark Knopfler/Emmylou Harris
*All the Way Home - Spinal Tap
*All Together Now – The Beatles
(Main)
All You Need Is Love – The Beatles
Already Gone - Eagles

Always Look on the Bright Side of Life – Eric Idle
*Amazing Grace – Judy Collins
Amazing Journey - The Who
American Girl - Tom Petty
*American Pie - Don McLean
American Trilogy – Elvis Presley
Amie - Pure Prairie League
(Main)
*And the Band Played Waltzing Matilda - John McDermott
*Angel From Mongtomery - John Prine/John Prine & Bonnie Raitt
*Angel of the Morning – Juice Newton

Angie - The Rolling Stones
Animal Instinct – The Cranberries
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
(Main)
- B -
*Back Home Again – John Denver
*Bad Case of Loving You - Robert Palmer
Bad Day - R.E.M.
Badlands - Bruce Springsteen
*Bad Moon Rising – C.C.R.
Ballad of Bobby and June (In D) – Mitch & Mickey
*Ballad of Bobby and June (In G) – Mitch & Mickey
*Ballad of John and Yoko – The Beatles
*Ballad of Mrs. Begg – Jarvis, McDade & Ingram
(Main)
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
*Barbara Ann - The Beach Boys
*Battle of New Orleans – Johnny Horton
*Be Bop A Lula - Everly Brothers
Be Bop A Lula - Gene Vincent
(Main)
Bears – Lyle Lovett
Beautiful Noise – Neil Diamond
Bette Davis Eyes - Kim Carnes
*Big Weekend - Tom Petty
*Black and White - Three Dog Night
*Blood on the Coal – The Folksmen
*Blowin' in the Wind - Bob Dylan
Blowin’ in the Wind – Peter, Paul and Mary
*Blowin’ in the Wind – Peter, Paul and Mary
Blue Bayou - Roy Orbison
(Main)
Blue Bayou - Linda Ronstadt
Blue Moon - The Mavericks
*Blue Moon Nights – John Fogerty
*Blue Suede Shoes – Carl Perkins/Elvis/Buddy Holly
*Born to Be Wild - Steppenwolf
Both Sides Now – Joni Mitchell
Both Sides Now – Judy Collins
The Boxer – Simon and Garfunkel
The Boxer – Simon and Garfunkel
(Main)
Bridge Over Troubled Water – Simon and Garfunkel
Bridge Over Troubled Water – Simon and Garfunkel
Bright Side of the Road - Van Morrison
*Brother Love's Traveling Salvation Show - Neil Diamond
Build Me Up Buttercup - The Foundations
Busy Being Fabulous - Eagles
*Bye Bye Love – The Everly Brothers
(Main)
- C -
*California Blue - Roy Orbison
*Can You Feel the Love Tonight – Elton John
Candle in the Wind – Elton John
*Candle in the Wind – Elton John
Can’t Get It Out of My Head – Electric Light Orchestra
Can't Help Falling in Love - Elvis Presley
Can't Keep It In - Cat Stevens
*Can't You See - Marshall Tucker
*Cap in Hand - The Proclaimers
(Main)
*The Car Song (Riding in the Car) – Woody Guthrie
Careless Heart - Roy Orbison
Catch a Wave – The Beach Boys
Cat's in the Cradle - Harry Chapin
*Cecilia - Simon and Garfunkel
*Cecilia - Simon and Garfunkel
*Centerfield – John Fogerty
Centerfold - J. Geils Band
Changes in Latitudes, Changes in Attitude - Jimmy Buffett
(Main)
Chapel of Love – Dixie Cups
*Chapel of Love – Dixie Cups
*Christian Island – Gordon Lightfoot
*Circle – Harry Chapin
Circle of Steel – Gordon Lightfoot
City of New Orleans – Arlo Guthrie
City of New Orleans – Arlo Guthrie
The Cockroach That Ate Cincinnati - Rose & the Arrangement
Come Dancing – The Kinks
Comes a Time – Neil Young
(Main)
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
(Main)
- D -
Dancing in the Dark - Bruce Springsteen
Daniel – Elton John
*Darcy Farrow – John Denver
*Day is Done - John Prine
Daydream Believer - The Monkees
Dead Man’s Curve – Jan and Dean
Dead Puppies - Ogden Edsl
*Dead Skunk - Loudon Wainwright III
Desperado – Eagles/Linda Ronstadt
(Main)
*Déjà Vu (All Over Again) – John Fogerty
Diamonds and Rust – Joan Baez
Different Drum - Linda Ronstadt (with The Stone Poneys)
*Do Ron Ron - The Crystals
Do Wah Diddy - Manfred Mann
*Do Wah Diddy - Manfred Mann
Do You Love Me – The Contours
*Dominique – Debbie Reynolds as The Singing Nun
*Don Quixote – Gordon Lightfoot
(Main)
*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
*Don't Think Twice It's Alright - Peter, Paul and Mary
*Don’t Worry, Be Happy – Bobby McFerrin
Down South - Tom Petty
*Draggin' the Line - Tommy James and the Shondells
Dream Lover - Bobby Darin
Drive - R.E.M.
(Main)
*Drunken Sailor - Irish Rovers
Dust in the Wind – Kansas
(Main)
- E -
*Early Morning Rain – Gordon Lightfoot
Early Morning Rain - Peter, Paul & Mary
*Earth Angel – The Penguins
*Edelweiss – Julie Andrews
Eight Days a Week – The Beatles
Eight Days a Week – The Beatles
Eighth (8th) of November – Big & Rich
*El Condor Pasa – Simon and Garfunkel
*Eleanor Rigby – The Beatles
(Main)
Electrolite - R.E.M.
*End of the Line - Traveling Wilburys
End of the World - Skeeter Davis
Eve of Destruction - Barry McGuire
Eve of Destruction - Barry McGuire
*Eve of Destruction - Barry McGuire
Everyday – Buddy Holly
(Main)
- 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
*Fields of Gold - Eva Cassidy/Sting
*Fire on the Mountain - Marshall Tucker Band
Five Hundred Miles – Peter, Paul & Mary
*Five Hundred Miles - The Seekers
(Main)
Follow Me – John Denver
Follow Me – John Denver
*For Baby – John Denver
For Emily, Wherever I May Find Her - Simon and Garfunkel
*For Lovin’ Me – Gordon Lightfoot
For Lovin' Me - Peter, Paul & Mary
For My Lady - The Moody Blues
For No One – The Beatles
*For What It's Worth - Buffalo Springfield
(Main)
*Forever Young – Bob Dylan/Joan Baez
Fortunate Son - C.C.R
*From Hell to Paradise - The Mavericks
Fun Fun Fun – The Beach Boys
(Main)
- G -
(Main)
*Garden Party - Rick Nelson
*Gentle on My Mind – Glen Campbell
*Get a Haircut - George Thorogood
*Get Back – The Beatles
*Get Together - The Youngbloods
Georgy Girl - The Seekers
Gimme Some Money – Spinal Tap
(Main)
Girl – The Beatles
The Girl From Yesterday - Eagles

Glory Days - Bruce Springsteen
God Bless America - Kate Smith
Going Home – Mary Fahl
*Going Up the Country - Canned Heat
*Good Golly Miss Molly - Little Richard
*Good Luck Charm – Elvis Presley
Goodnight Sweetheart – The Spaniels
Good Riddance (Time of Your Life) – Green Day
(Main)
- H -
Hallelujah - Lind, Holm, Fuentes, Nilson
Hallelujah - Lind, Holm, Fuentes, Nilson
*Handbags & Gladrags - Rod Stewart
Handle With Care - Traveling Wilburys
*Hang On Sloopy - The McCoys
*Hanky Panky - Tommy James and the Shondells
*Happy Jack - The Who
Happy Together - The Turtles
Happy Together - The Turtles
(Main)
*Harper Valley P.T.A. – Jeannie C. Riley
Have You Ever Seen the Rain - C.C.R.
He Was in Heaven Before He Died - John Prine
Heard It In a Love Song – Marshall Tucker Band
*Heart of Gold - Neil Young
*Heartbreak Hotel – Elvis Presley
Hello - Adele
Hello Mary Lou – Ricky Nelson
(Main)
Help! - The Beatles
; /
*Help Me Make It Through the Night – Kris Kristofferson/Willie Nelson
Here Comes the Sun – The Beatles
Here Comes the Sun – The Beatles
The Hockey Song – Stompin’ Tom Connors
*Hold My Hand – Hootie and the Blowfish
Homeward Bound - Simon and Garfunkel
Honky Tonk Women – The Rolling Stones
*Honky Tonk Women – The Rolling Stones
(Main)
Hotel California - Eagles
House of the Rising Sun - The Animals
How Long - Eagles
*How Long - Eagles
*Humidity Built the Snowman - John Prine
(Main)
- I -
*I Am a Rock - Simon & Garfunkel
*I Fought the Law - Bobby Fuller
I Get Around – The Beach Boys
I Hope That I Don’t Fall In Love With You – Hootie and the Blowfish
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 Her Standing There – The Beatles
*I Saw It On TV – John Fogerty
(Main)
I Should Have Been True - The Mavericks
I Wanna Hold Your Hand – The Beatles
I Wanna Hold Your Hand – The Beatles
I Will – The Beatles/Alison Krauss
I Will Always Love You – Dolly Parton/Whitney Houston
*I Will Always Love You – Dolly Parton/Whitney Houston
I Will Follow Him - Peggy March/The movie Sister Act
I Will Follow Him - The movie Sister Act
*I'll Never Find Another You - The Seekers
(Main)
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 Fell - The Beatles
If I Had a Hammer - Trini Lopez
If I Needed You – Lyle Lovett/Emmylou Harris & Don Williams
(Main)
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 Not For You - George Harrison
If You Could Read My Mind – Gordon Lightfoot
If You Want to Sing Out - Cat Stevens
*If You Were to Wake Up (In D) – Lyle Lovett
*If You Were to Wake Up (In G) – Lyle Lovett
Imagine – John Lennon
(Main)
Imagine – John Lennon
Imitation of Life - R.E.M.
In Dreams - Roy Orbison
In the Garden - Johnny Cash/John Prine & Mac Wiseman
In the Ghetto – Elvis Presley
*In the Midnight Hour - Wilson Pickett
In the Mood – Glenn Miller
In the Mood – The Andrews Sisters
Isle of Hope, Isle of Tears – The Bow Triplets
It Doesn’t Matter Anymore – Buddy Holly/Linda Ronstadt
(Main)
It Don't Come Easy - Ringo Starr
It Was A Very Good Year – Frank Sinatra
*It's a Big Old Goofy World - John Prine
It’s a Heartache – Bonnie Tyler
It’s So Easy – Buddy Holly
*It’s So Easy – Linda Rondstadt
It's Worth Believin' - Gordon Lightfoot
*Itsy Bitsy Teenie Weenie Yellow Polka-Dot Bikini - Bryan Hyland
(Main)
- J -
Johnny B. Goode – Chuck Berry
*Join Together - The Who
Joy to the World - Three Dog Night
Junior's Farm - Paul McCartney & Wings
Just My Imagination – The Cranberries
Just My Imagination - The Temptations
(Main)
- K -
Keep Me in Your Heart - Jinder
Killing Me Softly – Roberta Flack
*King of the Road – Roger Miller
Kisses Sweeter Than Wine - Peter, Paul & Mary/Pete Seeger/The Weavers
*Knockin’ on Heaven’s Door – Bob Dylan
Kodachrome - Paul Simon
Kodachrome - Paul Simon
(Main)
- L -
*L.A. County - Lyle Lovett
*La Bamba - Los Lobos
Lady Madonna – The Beatles
*Land of 1000 Dances - Wilson Pickett
The Last Resort - 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
(Main)
*Let's Get Married - The Proclaimers
The Letter - The Box Tops
Letter From America - The Proclaimers
Levon - Elton John
Like a Rock - Bob Seger
*Lily, Rosemary, and the Jack of Hearts – Bob Dylan/Joan Baez
Li'l Red Riding Hood - Sam the Sham and the Pharaohs
Little Deuce Coupe – The Beach Boys
Little Sister - Elvis Presley
(Main)
The Locomotion - Grand Funk Railroad
The Locomotion - Little Eva
Lodi - C.C.R.
Lola - The Kinks
Lonely People - America
The Lonesome Friends of Science - John Prine
*Long Black Veil – Lefty Frizell/The Chieftains with Mick Jagger
*Long Black Veil – Johnny Cash
Long Cool Woman – The Hollies
*Long Monday - John Prine
(Main)
Long Road Out of Eden - 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.
Louie Louie - The Kingsmen
*Love Ain't For Keeping - The Who
Love Hurts - Gram Parson & Emmylou Harris
(Main)
Love Hurts - Nazareth
*Love Me Do – The Beatles
Love Me Tender – Elvis Presley
Love Will Keep Us Alive - Eagles
*Lucky Man – Emerson, Lake, & Palmer
*The Lumberjack Song - Monty Python
Lyin’ Eyes – Eagles
(Main)
- M -
Maggie May - Rod Stewart
*Magnolia Wind - John Prine & Emmylou Harris
*Man on the Moon - R.E.M.
Manic Monday - The Bangles
*Margaritaville - Jimmy Buffett
*The Marvelous Toy - Peter, Paul and Mary
Mary Danced With Soldiers - Emmylou Harris
(Main)
Maxwell’s Silver Hammer – The Beatles
*May It Be - Enya
Maybe Baby – Buddy Holly
*Maybe It's Time - Bradley Cooper
*Me and Bobby McGee – Kris Kristofferson/Janis Joplin
Me and Julio Down By the Schoolyard - Paul Simon
Me and You and a Dog Named Boo - Lobo
Me and You and a Dog Named Boo - Lobo
*Mean Woman Blues - Roy Orbison
*Medicine Jar - Paul McCartney & Wings
(Main)
*Memories are Made of This - Dean Martin
Memory – Elaine Page/Betty Buckley
Memory – Elaine Page/Betty Buckley
*Mercedes Benz – Janis Joplin
Michael Row the Boat Ashore - The Highwaymen/Peter, Paul & Mary
Michael Row the Boat Ashore - The Highwaymen/Peter, Paul, & Mary
Michelle Post – Hootie and the Blowfish
*Mickey Mouse Club March - The Mouseketeers
*The Midnight Special – C.C.R.
*Mighty Mouse Theme - The Terrytooners & Mitch Miller Orchestra
(Main)
*The Mighty Quinn - Manfred Mann
Monty Got a Raw Deal - R.E.M.
Moody River – John Fogerty/Pat Boone
*The Moon is Down - John Prine
Moonshadow - Cat Stevens
Morning Has Broken - Cat Stevens
Mother - Pink Floyd
Move it on Over - George Thorogood
Mr. Bojangles – Nitty Gritty Dirt Band
Mr. Bojangles – Nitty Gritty Dirt Band
(Main)
Mr. Lonely - Bobby Vinton
Mr. Lonely - Bobby Vinton
*Mr. Tambourine Man - The Byrds
Mrs. Brown You’ve Got A Lovely Daughter – Herman’s Hermits
*Mrs. Robinson - Simon and Garfunkel
Murder Incorporated – Bruce Springsteen
*Mustang Sally - Wilson Pickett
My Back Pages - The Byrds
*My Back Pages - Bob Dylan & Friends
(Main)
*My Dear Companion - Emmylou Harris/Linda Ronstadt/Dolly Parton
*My Dear Companion - Emmylou Harris/Linda Ronstadt/Dolly Parton
*My Ding a Ling - Chuck Berry
My Get Up and Go – Pete Seeger
My Girl - The Temptations
My Girl - The Temptations
My Guy - Mary Wells
*My Hometown - Bruce Springsteen
*My Hometown - Bruce Springsteen
(Main)
My My Hey Hey - Neil Young
My Sweet Lady – John Denver
My Way – Frank Sinatra
(Main)
- N -
The Needle and the Damage Done - Neil Young
*Never Been to Spain - Three Dog Night
Never Did No Wanderin’ – The Folksmen
*Never Ending Song of Love – John Fogerty/Delaney & Bonnie
The Night Before - The Beatles
*The Night They Drove Old Dixie Down – The Band/Joan Baez
Nights in White Satin - Moody Blues
*Nineteenth (19th) Nervous Breakdown - The Rolling Stones
(Main)
Nobody Home - Pink Floyd
Nowhere Man – The Beatles
(Main)
- O -
Objects in the Rear View Mirror May Appear Closer Than They Are – Meat
Loaf
Ob-la-di, Ob-la-da - The Beatles
*Ode to Billy Joe - Bobbi Gentry
*Oh Boy – Buddy Holly
Oh Pretty Woman - Roy Orbison
*Oh What a Thrill - The Mavericks
Old Friends/Bookends - Simon and Garfunkel
Old Joe’s Place – The Folksmen
*Old Time Rock and Roll - Bob Seger
(Main)
On the Border - Al Stewart
*On the Turning Away - Pink Floyd
One - Three Dog Night
One Tin Soldier - Coven
The Only One – Roy Orbison
Only the Lonely - Roy Orbison
*Ooby Dooby - Roy Orbison
(Main)
*The Other Side of Town - John Prine
Over the Rainbow – Judy Garland
(Main)
- P -
Paint it Black - Rolling Stones
*Paperback Writer – The Beatles
*Peaceful Easy Feeling – Eagles
Peggy Sue – Buddy Holly
*Pencil Neck Geek - Fred Blassie
People Are Strange – The Doors
Piano Man – Billy Joel
Picasso's Last Words - Paul McCartney & Wings
Pink Houses - John Mellencamp
(Main)
*Play with Fire - The Rolling Stones
*The Pony Man – Gordon Lightfoot
The Pony Man – Gordon Lightfoot
Proud Mary – C.C.R
P.S. I Love You – The Beatles
*Puff the Magic Dragon – Peter, Paul & Mary
The Purple People Eater - Sheb Wooley
Put a Little Love in Your Heart – Jackie DeShannon
- Q -
Que Sera Sera – Doris Day
(Main)
- R -
*Rainy Day People – Gordon Lightfoot
*Rave On – Buddy Holly
*Real Mean Bottle – Bob Seger & Kid Rock
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 Rising - Bruce Springsteen
(Main)
*The River - Bruce Springsteen
*Rock and Roll - Led Zeppelin
Rock Around the Clock – Bill Haley & the Comets
Rock My Soul (Three Part Sing-a-Long) - Traditional
Rocket Man - Elton John
*R.O.C.K. in the U.S.A. – John Mellencamp
*Rockin All Over The World – John Fogerty
*Rocky Mountain High – John Denver
Roy Rogers – Elton John
(Main)
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
(Main)
- S -
Sally Simpson - The Who
*Same Thing Happened to Me – John Prine
Satisfaction (I Can't Get No) - The Rolling Stones
*Save the Last Dance For Me – The Drifters
*Scarborough Fair - Simon & Garfunkel
Scars in Heaven – Casting Crowns
Secret Agent Man - Johnny Rivers
*Seven Bridges Road - Eagles
Shallow - Bradley Cooper and Lady Gaga
(Main)
*Shambala - Three Dog Night
Shaving Cream - Benny Bell
She Loves You - The Beatles
She Loves You - The Beatles
She's Not There - The Zombies
Shooting Star – Bad Company
Signs – Five Man Electrical Band
Simple Song - Lyle Lovett
*Sinner Man - The Seekers
(Main)
Sixteen Tons - Tennesee Ernie Ford
Slip Sliding Away - Paul Simon
*Sloop John B. - The Beach Boys
*Solitary Man – Neil Diamond
*Some People Think Chickens Have Lips - Meyer & Drake
Something – The Beatles
*Son of a Preacher Man - Eva Cassidy/Dusty Springfield
Song Sung Blue – Neil Diamond
The Sound of Silence - Simon & Garfunkel
*The Sound of Silence - Simon & Garfunkel
(Main)
*South Australia - Fisherman's Friends
South Australia - Fisherman's Friends
*Souvenirs - John Prine
Space Oddity – David Bowie
( )
Spaceman - Harry Nilsson
*Spirit in the Sky – Norman Greenbaum
*Squeeze Box - The Who
(Main)
*Stand By Me – Ben E. King
*Star of the County Down – Van Morrison with The Chieftains
Steel Rail Blues – Gordon Lightfoot
*Stewball - Peter, Paul & Mary
Stewball - Joan Baez
The Story in Your Eyes – Moody Blues
Strange Currencies - R.E.M.
*Sugar Sugar – The Archies
Summertime Dream – Gordon Lightfoot
(Main)
Surfin’ Safari – The Beach Boys
Surfin’ U.S.A. – The Beach Boys
Surrender - Cheap Trick
Suspicious Minds - Elvis Presley
Suzanne - Leonard Cohen
Suzanne – Joan Baez
Sweet Baby James – James Taylor
Sweet Caroline – Neil Diamond
*Sylvia’s Mother – Dr. Hook
(Main)
- T -
Take a Message to Mary – The Everly Brothers
*Take it Easy - Eagles
Take it to the Limit - Eagles
Take Me to the River - Talking Heads/Eva Cassidy
Tammy – Debbie Reynolds
Tammy – Debbie Reynolds
Tangled Up in Blue - Bob Dylan
Taxi - Harry Chapin
(Main)
Teach Your Children – Crosby, Stills, Nash & Young
Teddy Bear – Elvis Presley
Tequila Sunrise – Eagles
Texarkana - R.E.M.
*That’s All Right Mama – Elvis Presley
That’s Amore – Dean Martin
That's the Way the World Goes Round - John Prine
*The One I Love - R.E.M.
Theme From Detectorists - Johnny Flynn
*Theme From Detectorists - Johnny Flynn
(Main)
Theme From The Monkees - The Monkees
*There She Goes – The La’s
There’s a Kind of Hush – Herman’s Hermits
*Things You Don’t Say to Your Wife – Time Hawkins
30,000 Pounds of Bananas - Harry Chapin
This Boy (Ringo’s Theme) – The Beatles
*This Land is Your Land – Woodie Guthrie
*This Land is Your Land – Peter, Paul & Mary
This Magic Moment – The Drifters/Jay and the Americans
(Main)
This Old Guitar – Neil Young
Those Were the Days – Mary Hopkins
Thunder Road - Bruce Springsteen
*The Tide is High - Blondie
*Time for Me to Fly - REO Speedwagon
Time in a Bottle – Jim Croce
*The Times They Are A Changing - Bob Dylan/The Seekers
Tiny Dancer - Elton John
To Be With You - The Mavericks
(Main)
To Know Him is To Love Him – Emmylou Harris
*Tom Dooley – Kingston Trio
*Tom Dooley – Traditional
Tom Traubert's Blues (Waltzing Mathilda) - Rod Stewart
Tommy Can You Hear Me? - The Who
Tonight You Belong to Me – Zahida, Sara & Julia/Steve Martin & Bernadette
Peters
Tragedy – Bee Gees
Travelin' Man - Rick Nelson
*Triangle – Gordon Lightfoot
*Turn the Page - Bob Seger
(Main)
Turn, Turn, Turn - The Byrds
*Tutti Frutti - Little Richard
25 or 6 to 4 - Chicago
*Twist and Shout - The Beatles
Two of Us – The Beatles
(Main)
- U -
Unchained Melody – The Righteous Brothers
*Under the Boardwalk - The Drifters
Theme From Underdog - Robert Ragaini
*The Unicorn – The Irish Rovers
*Up on the Roof – The Drifters
Up on the Roof - James Taylor
- V -
Vincent - Don McLean
*Viva Las Vegas – Elvis Presley/ZZ Top
(Main)
The Voice – Moody Blues
- W -
Waiting in the Weeds - Eagles
*Waking Up the Dead – Matthew Jones Perryman
Walk Away Renee – Left Bank/Cowsills/Four Tops
*Walk of Life – Dire Straits
The Wanderer – Dion
Wayfaring Stranger - Emmylou Harris
We are the Lonely - John Prine
We Can Work It Out – The Beatles
We Can Work It Out – The Beatles
(Main)
We Gotta Get Out of This Place - The Animals
We've Got Tonight - Bob Seger
We've Got Tonight - Kenny Rogers & Sheena Easton
Weave Me the Sunshine – Peter, Paul and Mary
The Wedding Song - Noel Paul Stookey
The Weight – The Band
*Welcome to my World - Elvis Presley
Welcome to my World - Jim Reeves
Wellerman - TikTok Mashup/Storm Seeker/Violet Orlandi, Addie Nicole, and

Audra Miller
(Main)
Wendy – The Beach Boys
Westcountry Love Song - Jinder
*What a Crying Shame - The Mavericks
What a Wonderful World – Louis Armstrong
When I’m Sixty-Four – The Beatles
When You’re Next to Me – Mitch & Mickey
Where Did Our Love Go - The Supremes
*Where Have All the Flowers Gone? – Kingston Trio/Peter, Paul, and Mary/
Pete Seeger
Whiskey in the Jar – The Dubliners
(Main)
Whiskey in the Jar - The Seekers
Whiskey in the Jar (In C) – The Dubliners/The Seekers (Hybrid)
*Whiskey in the Jar (In G) – The Dubliners/The Seekers (Hybrid)
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
The Wind - Cat Stevens
(Main)
*Wipe Out - The Surfaris
*Wish You Were Here - Pink Floyd
*Wonderful Tonight – Eric Clapton
*Wonderful World - Sam Cooke
*Wonderful World - Simon & Garfunkel and James Taylor
*Wreck of the Edmund Fitzgerald - Gordon Lightfoot
Wreck This Heart - Bob Seger
(Main)
- Y -
*Yellow Submarine – The Beatles
*You Ain't Goin' Nowhere - The Byrds
*You Ain't Goin' Nowhere - Nitty Gritty Dirt Band
*You Can Tell the World - The Seekers
*You Can't Always Get What You Want - The Rolling Stones
*You Don’t Mess Around With Jim – Jim Croce
You Got It - Roy Orbison
You Took the Words Right Out of My Mouth – Meat Loaf
(Main)
Your Wildest Dreams – Moody Blues
You're Sixteen - Ringo Starr
You've Got to Hide Your Love Away – The Beatles

COUNTRY (Y'ALL)
[Titles prefaced with an * are easiest to play and have no F or B chords.]
- A –
*A Satisfied Mind - Willie Nelson/Johnny Cash
A Thousand Miles From Nowhere – Dwight Yoakam
A White Sport Coat and a Pink Carnation - Marty Robbins
*Across the Great Divide – Nanci Griffith
Act Naturally - Buck Owens
Ain't That Lonely Yet - Dwight Yoakam
Ain't That Lonely Yet - Dwight Yoakam
All These Years - Sawyer Brown
(Main)
*Amanda - Waylon Jennings
Amarillo By Morning – George Strait
*American Made - Oak Ridge Boys
Angel Flying Too Close to the Ground - Willie Nelson
*Ants on a Log – Randy Travis
Are the Good Times Really Over For Good – Merle Haggard
*Are You Sure Hank Done It This Way - Waylon Jennings
*Are You Sure Hank Done It This Way? - Waylon Jennings
Atlanta Blue - The Statler Brothers
(Main)
- B -
Baby We're Really In Love - Hank Williams
*Ballad of a Teenage Queen – Cowboy Jack Clement/Johnny Cash
*Ballad of Jed Clampett (Beverly Hillbillys Theme) – Flatt & Scruggs
*The Bargain Store - Dolly Parton
The Bed You Made For Me – Highway 101
Belle Starr – Emmylou Harris and Mark Knopfler
Big Iron (In C) - Marty Robbins/Michael Martin Murphey
Big Iron (In G) - Marty Robbins/Michael Martin Murphey
*Big River – Johnny Cash
(Main)
*Big Rock Candy Mountain – Harry McClintock
Big Rock Candy Mountain – Harry McClintock
*Billy Bayou - Jim Reeves
The Blizzard - 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 -
Can’t Get Enough – Patty Loveless
*Cattle Call – Eddy Arnold/Dwight Yoakum
*Chains – Patty Loveless
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 – Anne Murray/Gordon Lightfoot
(Main)
Could I Have This Dance – Anne Murray
Country Is – Tom T. Hall
*Cow Patti - Jim Stafford
Coward of the County – Kenny Rogers
Cowboy Man – Lyle Lovett
Crazy - Patsy Cline/Willie Nelson
*Cry, Cry, Cry – Highway 101
(Main)
- D –
The Dance – Garth Brooks
Deeper Than the Holler – Randy Travis
*Different Drum - Michael Nesmith
D-I-V-O-R-C-E - Tammy Wynette
*Dixie – Traditional
*Down at the Twist and Shout – Mary Chapin Carpenter
*Down in the River to Pray - Alison Krauss
*Down in the River to Pray - Alison Krauss
Dropkick Me Jesus – Bobby Bare
(Main)
*Dukes of Hazzard Theme – Waylon Jennings
(Main)
- E -
*Eighteen Wheels and a Dozen Roses – Kathy Mattea
El Paso – Marty Robbins
Everytime You Say Goodbye – Alison Krauss & Union Station
- F -
*Fish and Whistle - John Prine
Folsom Prison Blues – Johnny Cash
For the Good Times – Ray Price
Friends in Low Places – Garth Brooks
(Main)
- 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 Dog – Dave Stamey
Good Hearted Woman - Waylon Jennings
*Good Ole Boys Like Me - Don Williams
*Good Time Charlie's Got the Blues - Willie Nelson/Dwight Yoakam
(Main)
*Good Time Charlie's Got the Blues - Willie Nelson
*Grandpa – The Judds
*The Grandpa That I Knew - Patty Loveless
The Grand Tour – George Jones
*Guitars, Cadillacs - Dwight Yoakam
(Main)
- H -
The Hanging Tree - Marty Robbins
*He Stopped Loving Her Today – George Jones
*He Walked on Water (In D) – Randy Travis
*He Walked on Water (In G) – Randy Travis
*He’ll Have to Go – Jim Reeves
*He’ll Have to Go – Jim Reeves
*Heaven’s Just a Sin Away – The Kendalls
Here I Am – Patty Loveless
Here in the Real World – Alan Jackson

*Hey Good Lookin' - Hank Williams
(Main)
High Cotton - Alabama
High Lonesome Sound - Vince Gill
*Home on the Range – Traditional
*Honky Tonkin' - Hank Williams
(Main)
- I –
I Always Get Lucky With You – Merle Haggard
*I Am a Man of Constant Sorrow - Soggy Bottom Boys/Dan Tyminski
*I Am a Pilgrim – Merle Travis (with Nitty Gritty Dirt Band)
I Don't Wanna Play House - Tammy Wynette
*I Don’t Want to Feel Like That – Patty Loveless
*I Fall to Pieces – Patsy Cline
I Feel Lucky - Mary Chapin Carpenter
I Like Beer - Tom T. Hall
I Love – Tom T. Hall
(Main)
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
*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 & Don Williams
*If Love Was a River – Alan Jackson
*If You’re Gonna Play in Texas - Alabama
(Main)
*I’ll Fly Away (In D) – Alison Krauss & Gillian Welch
*I'll Fly Away (In G) - Alison Krauss & Gillian Welch
*I’m So Lonesome I Could Cry – Hank Williams
*I’m So Lonesome I Could Cry – Hank Williams
*I'm That Kind of Girl - Patty Loveless
In Lonesome Dove – Garth Brooks
In the Jailhouse Now – Jimmy Rodgers/Tim Blake Nelson/Soggy Bottom Boys
In the Jailhouse Now – Jimmy Rodgers/Tim Blake Nelson/Soggy Bottom Boys
*It Must Be Love - Don Williams/Alan Jackson
(Main)
*It Must Be Love - Don Williams/Alan Jackson
*It Only Hurts When I Cry - Dwight Yoakam
It Was Almost Like a Song – Ronny Milsap
It's Five O'Clock Somewhere - Alan Jackson & Jimmy Buffett
It's Five O'Clock Somewhere - Alan Jackson & Jimmy Buffett
*It's Just a Matter of Time - Randy Travis
*It’s Raining Here This Morning – Norman Blake & Tony Rice/Grandpa Jones
*I’ve Been Everywhere – Johnny Cash
(Main)
- J -
Jackson - Johnny Cash and June Carter Cash
*Jambalaya – Hank Williams
*Jolene – Dolly Parton
- K -
*Keep on the Sunny Side of Life - The Carter Family/The Whites
*Keep on the Sunny Side of Life - The Whites/Carter Family
Kids of the Baby Boom – The Bellamy Brothers
*Kiss and Angel Good Morning - Charley Pride
*Knockin' on Your Screen Door - John Prine
(Main)
- L –
*Little Mountain Church - Ricky Skaggs
Little Sister - Dwight Yoakam
*Livin' on Love – Alan Jackson
Long Time Gone – Dixie Chicks
Lord I Hope This Day Is Good - Don Williams
*Lost Highway - Hank Williams
*Lost Highway - Hank Williams
*Louisiana Man - The Seekers
Love at the Five and Dime – Nanci Griffith/Kathy Mattea
(Main)
Love Builds the Bridges (Pride Builds the Wall) – Patty Loveless
Love Can Build a Bridge – The Judds
Love Can Build a Bridge – The Judds
*Love Me Tonight – Don Williams
Lucille – Kenny Rogers
Lucille – Kenny Rogers
*Luckenback Texas - Waylon Jennings
The Lucky One - Alison Krauss & Union Station
*Lulu Walls - The Carter Family/John Prine
(Main)
- M -
*Mama He’s Crazy – The Judds
*Mamas Don't Let Your Babies - Waylon Jennings/Willie Nelson
*Mamas Don't Let Your Babies - Waylon Jennings/Willie Nelson
Mama Tried – Merle Haggard
*May the Bird of Paradise Fly Up Your Nose - Little Jimmy Dickens
*Midnight Girl/Sunset Town - Sweethearts of the Rodeo
Mind Your Own Business - Hank Williams
*Mind Your Own Business - Hank Williams
*Move it on Over - Hank Williams
(Main)
*Mr. Man in the Moon – Patty Loveless
*My Cowboy Song – Cowboy Jack Clement
*My Favorite Memory – Merle Haggard
*My Heroes Have Always Been Cowboys – Willie Nelson/Waylon Jennings
*My Kind of Woman/My Kind of Man – Vince Gill & Patty Loveless
My Rifle, My Pony, and Me (In C) – Dean Martin & Rick Nelson
*My Rifle, My Pony, and Me (In G) – Dean Martin & Rick Nelson
*My Rifle, My Pony, and Me – Don Williams
- N -
1982 - Randy Travis
(Main)
- O -
Ocean Front Property – George Strait
Oh, Lonesome Me – Don Gibson/Kentucky Headhunters
*Okie From Muskogee – Merle Haggard
Old Weakness (Coming On Strong) – Patty Loveless
On Your Way Home – Patty Loveless
(Main)
- P –
*The Pain of Loving You – Dolly Parton, Emmylou Harris & Linda Ronstadt/
Patty Loveless
Pancho and Lefty – Willie Nelson and Merle Haggard
*Paradise – John Prine
Passing Train - Sawyer Brown
Passing Train - Sawyer Brown
People are Crazy - Billy Currington
- Q -
*Queen of My Heart – Hank Williams Jr.
(Main)
- R –
Radio Land – Michael Martin Murphey
*Rainbow Stew – Merle Haggard
*Real Mean Bottle – Vince Gill
*Red River Valley – Michael Martin Murphey
*Red River Valley – Traditional/Michael Martin Murphey
Remember When – Alan Jackson
Ridge Road Gravel – Norman Blake and Tony Rice
*Ring of Fire - Johnny Cash
Rocky Top - Lynn Anderson
(Main)
*Roll in My Sweet Baby’s Arms – Boxcar Willie
*Rose of Alabama – Tom Rousch
(Main)
- S -
Sad One Comin’ On (A Song For George Jones) – Vince Gill
*San Antonio Rose - Bob Wills/Patsy Cline
*Say It Again - Don Williams
*Set 'Em Up Joe - Vern Gosdin
Settin' the Woods on Fire - Hank Williams
*She Drew a Broken Heart – Patty Loveless
She Thinks His Name Was John - Reba McEntire
*She Thinks I Still Care – George Jones
*She's In Love With the Boy - Trisha Yearwood
(Main)
*Shut Up and Kiss Me – Mary Chapin Carpenter
*Silver Threads and Golden Needles – Linda Ronstadt
*Singing the Blues - Marty Robbins
*Sixteen Avenue (16th Avenue) - Lacy J. Dalton
*Skip a Rope – Henson Cargill
Sleep On – Alison Krauss
*Sneaky Snake – Tom T. Hall
*Some Broken Hearts Never Mend – Don Williams
Some Day I Will Lead the Parade – Patty Loveless
*Sonora's Death Row - Michael Martin Murphy/Robert Earl Keane
(Main)
*Sonora's Death Row - Michael Martin Murphy/Robert Earl Keane
*Southern California - George Jones and Tammy Wynette
*Speed of the Sound of Loneliness - John Prine
Stand By Your Man – Tammy Wynette
Stay All Night - Bob Wills/Willie Nelson
*Steel Rails – Alison Krauss
*Streets of Laredo – Marty Robbins
Streets of Laredo – Michael Martin Murphey
*Sweet Betsy From Pike - Suzy Bogguss
(Main)
- T -
Take Me Home Country Roads - John Denver
The Tennessee Waltz – Patsy Cline
*Texas River Song - Lyle Lovett
Thank God For the Radio – Alan Jackson/The Kendalls
There's a Tear in My Beer - Hank Williams Sr./Hank Williams Jr.
*This Ain’t My First Rodeo – Vern Gosdin
*This Old Guitar and Me – Vince Gill
Travelin’ Soldier – The Dixie Chicks
*Tulsa Time - Don Williams
(Main)
Tumbling Tumbleweeds – Sons of the Pioneers/Michael Martin Murphey
*Turn it On, Turn it Up, Turn Me Loose - Dwight Yoakam
Two Story House - George Jones and Tammy Wynette
(Main)
- W -
*Wabash Cannonball – Boxcar Willie
*Way Over Yonder in the Minor Key – Billy Bragg & Wilco
The Wayward Wind – Patsy Cline
*We Must Believe in Magic – Jack Clement
*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 a Cowboy Trades His Spurs for Wings (In C) - Willie Watson/Tim Blake
Nelson - Gillian Welch & David Rawlins
*When a Cowboy Trades His Spurs for Wings (In G) – Willie Watson/Tim Blake
Nelson
(Main)
When It's Gone - Nitty Gritty Dirt Band
When the Man Comes Around – Johnny Cash
*When You Say Nothing at All - Keith Whitley/Alison Krauss
*Where I'm Bound - Patty Loveless
Where Were You (When the World Stopped Turning) – Alan Jackson
*Which Way Does That Old Pony Run - Lyle Lovett
Whiskey, If You Were a Woman – Highway 101
*Will the Circle Be Unbroken – Johnny Cash
*Written in Stone - Randy Travis
(Main)
- Y -
*The Year That Clayton Delaney Died – Tom T. Hall/Waylon Jennings & Willie
Nelson
*You are My Sunshine – Norman Blake
You Don't Even Know Who I Am - Patty Loveless
*You Don't Even Know Who I Am - Patty Loveless
You Don’t Know How Lucky You Are – Patty Loveless
Your Cheatin' Heart - Hank Williams
You’re the Reason God Made Oklahoma – David Frizell & Shelly West

OLDIES & DOO WOP
(What is truly an "oldie"? I guess the best way I can explain it is these
songs are mostly from the 50s and early 60s, as opposed to the late 60s
and early 70s, where the influence shifted away from the very early days
of rock and roll and more to the Vietnam era. The Beatles and Stones are
not oldies, but Herman's Hermits and Gerry and the Pacemakers are. Some
Motown is, most Motown is not. I know, it's a bit of an anachronism.)
A Teenager in Love – Dion and the Belmonts
*At the Hop – Danny and the Juniors
*Battle of New Orleans – Johnny Horton
Be Bop A Lula - Gene Vincent
*Be Bop A Lula - The Everly Brothers
*Blue Suede Shoes – Carl Perkins/Elvis/Buddy Holly
*Bye Bye Love – The Everly Brothers
Chapel of Love – Dixie Cups
(Main)
*Chapel of Love – Dixie Cups
*Cupid – Sam Cooke
*Do Ron Ron - The Crystals
Do Wah Diddy - Manfred Mann
*Do Wah Diddy - Manfred Mann
Do You Love Me – The Contours
Don’t Let the Sun Catch You Crying – Gerry and the Pacemakers
Dream Lover - Bobby Darin
*Earth Angel – The Penguins
(Main)
Everyday – Buddy Holly
Ferry Cross the Mersey – Gerry and the Pacemakers
*Good Golly Miss Molly - Little Richard
*Goodnight Sweetheart – The Spaniels
*Hang on Sloopy - The McCoys
I Will Follow Him - Little Peggy March
*Itsy Bitsy Teenie Weenie Yellow Polka-Dot Bikini - Bryan Hyland
Johnny B. Goode – Chuck Berry
(Main)
*La Bamba - Los Lobos
The Locomotion - Little Eva
Mrs. Brown You’ve Got A Lovely Daughter – Herman’s Hermits
My Guy - Mary Wells
*Oh Boy – Buddy Holly
*Ooby Dooby - Roy Orbison
Peggy Sue – Buddy Holly
*Rave On – Buddy Holly
Rock Around the Clock – Bill Haley & the Comets
Runaround Sue – Dion
(Main)
Runaway - Del Shannon/Traveling Wilburys
Secret Agent Man - Johnny Rivers
There’s a Kind of Hush – Herman’s Hermits
This Magic Moment – The Drifters
*Tutti Frutti - Little Richard
The Wanderer – Dion
You're Sixteen - Ringo Starr
(Main Index)(Song/Genre Index)

FOLK SONGS
(Also a bit subjective as to what constitutes a folk song. Artists widely
regarded as folk singers with 3 or more songs are listed at the beginning
with individual songs from various artists afterwards.)
Joan Baez
Bob Dylan
The Folksmen
Emmylou Harris
Gordon Lightfoot
Peter, Paul & Mary
John Prine
The Seekers
*A Hard Rain's A Gonna Fall - Bob Dylan
A Kiss At the End of the Rainbow – Mitch & Mickey
*A Kiss At the End of the Rainbow – Mitch & Mickey
A Mighty Wind – The Folksmen, Mitch & Mickey, The New Main Street Singers
Alice's Restaurant - Arlo Guthrie
*Big Rock Candy Mountain – Harry McClintock
(Main)
*Blood on the Coal – The Folksmen
*Blowin' in the Wind - Bob Dylan
Blowin' in the Wind - Peter, Paul and Mary
*Circle – Harry Chapin
Don't Think Twice It's Alright - Bob Dylan
*Don't Think Twice It's Alright - Peter, Paul and Mary
(Main)
*Early Morning Rain – Gordon Lightfoot
Early Morning Rain - Peter, Paul & Mary
*Fare Away - The New Main Street Singers
Five Hundred Miles – Peter, Paul & Mary
*Five Hundred Miles - The Seekers
*Georgy Girl - The Seekers
If I Had a Hammer - Trini Lopez
*I'll Never Find Another You - The Seekers
(Main)
*I've Been Working on the Railroad
*Keep on the Sunny Side of Life – The Whites/Carter Family

*King of the Road – Roger Miller
Kisses Sweeter Than Wine - Peter, Paul & Mary/Pete Seeger/The Weavers
*Leaving on a Jet Plane – John Denver/Peter, Paul, & Mary
Light One Candle - Peter, Paul and Mary
*Look What They’ve Done to My Song – Melanie Safka
(Main)
Michael Row the Boat Ashore - The Highway Men/Peter, Paul & Mary
*Michael Row the Boat Ashore - The Highway Men/Peter, Paul & Mary
My Get Up and Go – Pete Seeger
Never Did No Wanderin’ – The Folksmen
The Night They Drove Old Dixie Down – The Band/Joan Baez
Put a Little Love in Your Heart – Jackie DeShannon
(Main)
*Roll in My Sweet Baby’s Arms
Sixteen Tons - Tennesee Ernie Ford
South Australia - Fisherman's Friends
Suzanne – Joan Baez
Suzanne - Leonard Cohen
Take a Message to Mary – The Everly Brothers
(Main)
*The Times They Are A Changing - Bob Dylan/The Seekers
*Tom Dooley – The Kingston Trio
*Tom Dooley - Traditional
*Where Have All the Flowers Gone? – The Kingston Trio/Peter, Paul, and
Mary/Pete Seeger
(Main)

SPIRITUAL
American Trilogy – Elvis Presley
Battle Hymn of the Republic
*Dominique – Debbie Reynolds as The Singing Nun
*Down to the River to Pray - Alison Krauss
God Bless America – Kate Smith
*He’s Got the Whole World in His Hands
(Main)
*I Saw the Light - Hank Williams
In the Garden - Johnny Cash/John Prine & Mac Wiseman
Jesus Loves Me
(Main)
Lord I Hope This Day Is Good - Don Williams
*Michael Row the Boat Ashore - The Highwaymen/Peter, Paul & Mary
Rock My Soul (Three Part Sing-a-Long)
Scars in Heaven – Casting Crowns
*Spirit in the Sky – Norman Greenbaum
*Swing Low Sweet Chariot
Wayfaring Stranger – Emmylou Harris
(Main)
When the Man Comes Around – Johnny Cash
*Will the Circle Be Unbroken – Nitty Gritty Dirt Band/Johnny Cash
*You Can Tell the World - The Seekers

TRADITIONAL
*America the Beautiful
Battle Hymn of the Republic
*The Crawdad Song
*Danny Boy
*Dixie
*Down in the Valley
(Main)
God Bless America – Kate Smith
*He’s Got the Whole World in His Hands
*Home on the Range
(Main)
*I Ride an Old Paint - Johnny Cash
*I've Been Working on the Railroad
Jesus Loves Me
*Lulu Walls - Carter Family/John Prine
*Michael Row the Boat Ashore - The Highwaymen/Peter, Paul & Mary
(Main)
The Minstrel Boy - John McDermott
*Oh, My Darling Clementine – Huckleberry Hound
Rock My Soul (Three Part Sing-a-Long)
*Roll in My Sweet Baby’s Arms – Boxcar Willie
*Rose of Alabama – Tom Roush
*Sloop John B. - The Beach Boys
(Main)
*Spanish Ladies - Quint
*Streets of Laredo – Marty Robbins
*Streets of Laredo – Michael Martin Murphey
*Swing Low Sweet Chariot
(Main)
*Tom Dooley – Kingston Trio
*Tom Dooley
*Wabash Cannonball – Boxcar Willie
Wayfaring Stranger – Emmylou Harris
Wellerman - TikTok Mashup/Storm Seeker
Whiskey in the Jar – The Dubliners
Whiskey in the Jar (In C) – The Seekers
*Whiskey in the Jar (In G) – The Seekers
*Will the Circle Be Unbroken – Nitty Gritty Dirt Band/Johnny Cash
(Main)

KID FRIENDLY
*Ballad of Jed Clampett (Beverly Hillbillys Theme) – Flatt & Scruggs
*The Banana Boat Song (Day-O) - Harry Belafonte
Bears – Lyle Lovett
Big Iron (In C) - Marty Robbins/Michael Martin Murphey
Big Iron (In G) - Marty Robbins/Michael Martin Murphey
*Black and White - Three Dog Night
The Blizzard - Jim Reeves
*The Blizzard - Jim Reeves
Blowin’ in the Wind – Peter, Paul and Mary
(Main)
*Cattle Call – Eddy Arnold/Leann Rimes/Dwight Yoakum
*Centerfield – John Fogerty
The Cockroach That Ate Cincinnati - Rose & the Arrangement
*Cow Patti - Jim Stafford
*The Crawdad Song
*Dead Skunk - Loudon Wainwright III
(Main)
*Don’t Worry, Be Happy – Bobby McFerrin
Ghost Riders in the Sky – Frankie Lane/Johnny Cash
High Cotton - Alabama
The Hockey Song – Stompin’ Tom Connors
*Home on the Range
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 Want to Sing Out - Cat Stevens
In Lonesome Dove – Garth Brooks
(Main)
*The Marvelous Toy - Peter, Paul and Mary
*May the Bird of Paradise Fly Up Your Nose - Little Jimmy Dickens
*Mickey Mouse Club March - The Mouseketeers
*Mighty Mouse Theme - The Terrytooners & Mitch Miller Orchestra
Old Joe’s Place – The Folksmen
Over the Rainbow – Judy Garland
The Purple People Eater - Sheb Wooley
(Main)
Right Field - Peter, Paul and Mary
*Sneaky Snake – Tom T. Hall
*Some People Think Chickens Have Lips - Meyer & Drake
30,000 Pounds of Bananas - Harry Chapin
Theme From Underdog - Robert Ragaini
Weave Me the Sunshine – Peter, Paul and Mary
Wellerman - TikTok Mashup/Storm Seeker
(Main)
What a Wonderful World – Louis Armstrong

CHRISTMAS
The Angels Cried - Alan Jackson & Alison Krauss
Angels We Have Heard On High
*Away in A Manger
*Children Go Where I Send Thee (solo) - Peter, Paul & Mary
*Children Go Where I Send Thee (sing-a-long) - Peter, Paul & Mary
Deck the Halls
Do You Hear What I Hear
The First Noel
*God Rest Ye Merry Gentlemen
(Main)
*Good King Wenceslas
Grandma Got Run Over By a Reindeer - Elmo & Patsy
Grandma Got Run Over By a Reindeer - Elmo & Patsy
Hallelujah (In C)
Hallelujah (In G)
Hark! The Herald Angels Sing
Have a Holly Jolly Christmas - Burl Ives
Have Yourself a Merry Little Christmas
Here Comes Santa Claus - Gene Autry
(Main)
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
Light One Candle - Peter, Paul & Mary
*Little Drummer Boy
Mary Did You Know - Kathy Mattea
(Main)
Mary Did You Know - Pentatonix
O Come, All Ye Faithful
O Holy Night
O Little Town of Bethlehem
Old City Bar - Trans-Siberian Orchestra
Promises to Keep - Trans-Siberian Orchestra
Rockin' Around the Christmas Tree - Brenda Lee
Rudolph the Red-Nosed Reindeer - Gene Autry/Burl Ives
*Run Rudolph Run - Chuck Berry
Santa Claus Is Coming to Town (Traditional)
(Main)
Santa Claus is Coming to Town - Bruce Springsteen
*Silent Night
Silver and Gold - Burl Ives
*Silver Bells
Take a Walk Through Bethlehem - Trisha Yearwood
Twelve Days of Christmas
There's Always Tomorrow - Janis Orenstein
*Up On the Housetop
We Are Santa's Elves
(Main)
*We Wish You a Merry Christmas - Peter, Paul & Mary
*What Child Is This
White Christmas - Bing Crosby
Trans-Siberian Orchestra Christmas Trilogies (Libretto with music)
Christmas Eve and Other Stories
The Christmas Attic
The Lost Christmas Eve

[Note: As luck would have it, the first song to appear here in Songbook is A Better
Place to Be by Harry Chapin. It has a whole bunch of chords - possibly the most of any
in Songbook Lite. And some may be unfamiliar to you but that is what TIPs are for. This
is NOT typical of Songbook!]
A BETTER PLACE TO BE
Harry Chapin
https://www.youtube.com/watch?v=MNz9MhrzDfo (Capo 0)
TIP: This version is from Greatest Stories Live
TIP: From the (D) to the (Dmaj7) just collapse your index finger and play a mini-barre
on the 2nd fret.
TIP: The (F#m) comes after an (A) so you 'could' just keep the (A) form and drop down
one string-set but you should play it as a mini-barre on the 2nd fret just like the
(Dmaj7). This is because the (F#m) has two more notes to it that you'll learn later on
and you playing that chord as a mini-barre now will help you get used to it. Same thing
for the lone (Gm). Play it as a mini-barre on the 3rd fret.
TIP: Both the (Bm) and (Bm3) are played. They're played almost like a (C) but with your
index finger on the bottom fret - (Bm) on the 2nd fret, (Bm3) on the 3rd fret - with
your middle and ring following up one string and one fret each.
TIP: (Cmaj7) is just (C) without the index finger on the 2nd string.
INTRO: D
Dmaj7 D7 G
It was an early morning bar room, and the place, just opened up.
Em Emsus2 Em A7
And the little man, came in so fast, and he, started at his cups.
D Dmaj7 D7 G
And the broad who served the whisky, she was a, big old friendly girl,
Em Emsus2 Em A7
Who tried to fight her empty nights, by smilin' at the world.
G A F#m B7
And she said "Hey Bub it's, it's been a while, since you been around.
Em A7 |G| |D|
Where the hell you been hidin', and why you look so down?"
G A G A D
Well the little man just sat there, like he'd, never heard a sound.
Bm3 G
The waitress she give out with a cough and,
Bb F Em A
Acting not the least put off she spoke, once again. She said,
D G Em
"I don't want to bother you, consider it's understood.
A7 Em A7 D
I know I'm not no beauty queen but I surrr-urre, can listen good."
|G| |A| |Em| |D|

And the little man, took his drink in his hand and he raised it, to his lips.
|G| |D| Em A D
He took a couple of sips, and then he tolllld the waitress his story.
D Am C G D
"I am, the midnight watchman, down at Miller's Tool and Die.
G F#m Bm Cmaj7
And I watch, the metal rusting, I watch the time go by.
G Em F#m B7
A week ago, at the diner, I stopped to get a bite.
Em A G D
And this here lovely lady, she sat two seats from my right.
G A G A D
And Lord Lord Lord, Lord Lord Lord, she was alright.
Am C G D
You see, she was so damned beautiful, that she could warm a winter frost.
G F#m Bm Cmaj7
But she looked long past lonely, and well nigh, onto lost.
G Em F#m B7
Now I'm not much of a mover, or a pick-em-up easy guy,
Em A G D
But I decided to glide on over, and give her one good try.
G A G A D
And Lord Lord Lord, Lord Lord Lord, she was worth a try.
Am C G D
Well I was, tongued-tied like a school boy, I stammered out some words.
G F#m Bm Cmaj7
It did not seem to matter much, 'cause I don't think she heard.
G Em F#m B7
She just looked clear on through me, to a space back in my head.
Em A G D
It shamed me, into silence, as quietly she said:
G Em A
'If you want me, to come with you, then that's alright with me.
Em A7 Em A7 D
Cause I know I'm going nowhere, and anywhere's, a better place to be.'
D G Em A, Em A7 Em A7 D
Anywhere's a better place to be.
Dmaj7 D7 G
Well I drove on, to my boarding house, and I took her up to my room.
Em Emsus2 Em A7
And I went to turn on the only light, to brighten up the gloom.
Dm Gm
But she said, 'Please leave the light off, oh I don't mind the dark.'
F A A
And as her clothes all tumbled 'round her, I could hear my heart.
D Am C G D
The moonlight shone upon her, as she lay back in my bed.
G F#m Bm Cmaj7
It was the kind of scene I only had imagined in my head.
G Em F#m B7
I just could not believe it, to think that she was real.
Em A G D
And as I tried to tell her, she said "Shhhh, I know just how you feel.
G E A
And if you want, to come here with me, then that's alright with me.
Em A7 Em A D
'Cause I've been oh so lonely, lovin' someone, is a better way to be.
D G Em A Em A7 Em A D D-G-A-A7
Anywhere's a better place to be.
D Am C G D
Well the morning came so swiftly. I held her in my arms.
G F#m Bm Cmaj7
And she slept like a baby, snug and safe from harm.
G Em F#m B7
I did not want to share her, or dare to break the mood,
Em A G D
So before she woke I went out, to buy us both some food.
Dm Gm
I came back, with my paper bag, to find, that she was gone.
F Gm D
She'd left a six word letter, saying, 'It's time, that I moved on.
Dmaj7 D7 G
You know the waitress, she took her bar rag, and she wiped it across her eyes.
Em Emsus2 Em A7
And as she spoke, her voice came out as, something, like a sigh.
D Dmaj7 D7 G
She said "I wish, that I was beautiful, or that you were halfway blind.
Em Emsus2 Em A7
And I wish I weren't so goddamn fat, I wish that you were mine.
G A F#m B7
And I wish, that you'd come with me-ee, when I leave for home.
Em A G D
For we both know all about emptiness, and livin' all alone."
G F#m
And the little man, looked at the empty glass in his hand.
Em D Em D
And he smiled, a crooked grin, He said "I, I guess I'm out of gin.
Em D G A
And I know, we both have been, so lonely.
A7 D G Em
And if you want, me to come with you, then that's alright with me.
A7 Em A7 D
'Cause I know, I'm goin' nowhere, and anywhere's, a better, place, to be."
D Bm-D, Gm-D
(Harry Chapin) (Artist Index) - (Main Index) - (Song Index) (This Song)
A HARD DAY’S NIGHT – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=AMSiHdrHl0g (Capo 0)
TIP/FUN FACT: The opening "MC" stands for mystery chord because it doesn't occur
naturally on a 6-string (it's a combination of chords George Martin created in the mixing
process. In a February 2001 interview, George said the chord is an "F with a G on top,
but you'll have to ask Paul about the bass note to get the proper story." McCartney
played a high D. -- Rolling Stone, 19 Sep 2011). Barre the 3rd fret and straddle the
open D string with ring and pinky fingers. Just strike it once and let the sustain
linger.
INTRO: |MC|
G C G F G
It's been a hard, day's, night, and I've been working, like a dog.
C G F G
It's been a hard, day's, night, I should be sleeping, like a log.
C D G C G
But when I get home to you, I find the things that you do, will make me feel all right.
C D F G
You know I work, all, day, to get you money, to buy you things.
C F G
And it's worth it just to hear you say, you're gonna give me, everything.
C D G C G
So why on earth should I moan, 'cause when I get you alone, you know I feel o kay.
Bm Em Bm
When I'm home, everything seems to be right.
G Em Am D
When I'm home, feeling you holding me tight, tight yeah.
G C G F G
C G F G
C D
But when I get home to you, I find the things that you do,
G C G
Will make me feel all right. Owwww.
G C G, F G; G C G, F G
C D G C G
So why on earth should I moan, 'cause when I get you alone, you know I feel o kay.
Bm Em Bm
When I'm home, everything seems to be right.
G Em Am D
When I'm home, feeling you holding me tight, tight yeah.
G C G F G
C G F G
C D G C G
But when I get home to you, I find the things that you do, will make me feel all right.
C G C G
You know I feel all right. You know I feel all right.
(The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
A HARD RAIN'S A GONNA FALL
Bob Dylan
https://www.youtube.com/watch?v=T5al0HmR4to (Capo 2)
INTRO: D
G D
Oh where have you been my blue-eyed son?
G A
And where have you been my darling young one?
G A D
I've stumbled on the side of twelve misty mountains.
G A D
I've walked and I've crawled on six crooked highways.
G A D
I've stepped in the middle of seven sad forests.
G A D
I've been out in front of a dozen dead oceans.
G A D
I've been ten thousand miles in the mouth of a graveyard.
A D G
And it's a hard, it's a hard, it's a hard, it's a hard.
D A D
It's a hard ra-ain's a-gonna fall.
G D
Oh what did you see my blue-eyed son?
G A
And what did you see my darling young one?
G A D
I saw a newborn baby with wild wolves all around it.
G A D
I saw a highway of diamonds with nobody on it.
G A D
I saw a black branch with blood that kept drippin'.
G A D
I saw a room full of men with their hammers a bleedin'.
G A D
I saw a white ladder all covered with water.
G A D
I saw ten thousand talkers whose tongues were all broken.
G A D
I saw guns and sharp swords in the hands of young children.
A D G
D A D
G D
What did you hear my blue-eyed son?
G A
And what did you hear my darling young one?
G A D
I heard the sound of a thunder that roared out a warnin'.
G A D
I heard the roar of a wave that could drown the whole world.
G A D
I heard one hundred drummers whose hands were a blazin'.
G A D
I heard ten thousand whisperin' and nobody listenin'.
G A D
I heard one person starve, I heard many people laughin'.
G A D
Heard the song of a poet who died in the gutter.
G A D
Heard the sound of a clown who cried in the alley.
A D G
D A D
G D
Oh who did you meet my blue-eyed son?
G A
And who did you meet my darling young one?
G A D
I met a young child beside a dead pony.
G A D
I met a white man who walked a black dog.
G A D
I met a young woman whose body was burnin'.
G A D
I met a young girl, she gave me a rainbow.
G A D
I met one man who was wounded in love.
G A D
I met another man who was wounded with hatred.
A D G
D A D
G D
And what'll you do now my blue-eyed son?
G A
And what'll you do now my darling young one?
G A D
I'm a goin' back out 'fore the rain starts a fallin'.
G A D
I'll walk to the depths of the deepest dark forest.
G A D
Where the people are many and their hands are all empty.
G A D
Where the pellets of poison are flooding their waters.
G A D
Where the home in the valley meets the damp dirty prison.
G A D
And the ex-e-cutioner's face is always well hidden.
G A D
Where hunger is ugly, where souls are forgotten.
G A D
Where black is the color where none is the number.
G A D
And I'll tell it and speak it and think it and breathe it.
G A D
And reflect from the mountain so all souls can see it.
G A D
Then I'll stand on the ocean until I start sinkin'.
G A D
But I'll know my song well before I start singin'.
A D G
D A D
(Bob Dylan) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
A HORSE WITH NO NAME – America
(Bunell)
https://www.youtube.com/watch?v=oIYgsqhwXzM (Capo 0)
TIP: The whole song follows a nifty little chord sequence that takes a little
concentration but is pretty easy to play. So start with (Em). From there spread your
fingers open, top finger moves up one string, bottom finger moves down one string.
That’s (D6/9).
INTRO: Em D6/9, Em D6/9
Em D6/9 Em D6/9
On the first part of the journey, I was looking at all the life.
Em D6/9 Em D6/9
There were plants and birds and rocks and things there was sand and hills and rings.
Em D6/9 Em D6/9
The first thing I met was a fly with a buzz and the sky, with no clouds.
Em D6/9 Em D6/9
The heat was hot and the ground was dry but the air was full of sound.
Em D6/9 Em D6/9
I've been through the desert on a horse with no name it felt good to be out of the rain.
Em D6/9
In the desert, you can't remember your name
Em D6/9
'Cause there ain't no one for to give you no pain.
Em A Em A
La la la- la la la la la la la, la la.
Em A Em A
Em D6/9 Em D6/9
After two days in the desert sun my skin began to turn red.
Em D6/9 Em D6/9
And after three days in the desert fun I was looking at a river bed.
Em D6/9 Em D6/9
And the story it told of a river that flowed made me sad to think it was dead.
Em D6/9
You see I've been through the desert on a horse with no name
Em D6/9
It felt good to be out of the rain.
Em D6/9
Em D6/9
Em A Em A
La la la la- la la la la la la la, la la.
Em A Em A
Em A Em A, Em D6/9 Em A
Em D6/9 Em D6/9
After nine days I let the horse run free cuz the desert had turned to sea.
Em D6/9 D6/9 D6/9
There were plants and birds and rocks and things there was sand and hills and rings.
Em D6/9 Em D6/9
The ocean is a desert with its life underground and a perfect disguise above.
Em D6/9 Em D6/9
Under the cities, lies a heart made of ground but the humans will give no love.
Em D6/9
You see I've been through the desert on a horse with no name
Em D6/9
It felt good to be out of the rain.
Em D6/9
Em D6/9
Em A Em A
Em A Em A
Em A Em A
Em A Em A
Em A Em A
Em A Em A
Em A Em A
Em A Em |A|
(America) (Artist Index) - (Main Index) - (Song Index) (This Song)

A KISS AT THE END OF THE RAINBOW – Mitch & Mickey
(McKean/O’Toole)
https://www.youtube.com/watch?v=0G4JlMEfsh0 (Capo 0)
[Two versions, the original here in [D] and afterwards in [G].]
INTRO: D A Bm G D Bm A <pause>
(NC) D G A D G A
Oh when the veil, of dreams, has lifted, and the fairy tales have all been told.
Bm G A G A D A
There's a kiss at the end of the rainbow, more precious than a pot of gold.
D A D Bm G
In tales, of ancient, glory, every knight and maiden fair,
A D G Bm A
Shall be joined when the quest is over, and a kiss is the oath that they swear.
D G A D G A
And when the veil, of dreams, has lifted, and the fairy tales have all been told.
Bm G A G A D A
D A D Bm G
My sweet, my dear, my darling, you're so far away from me.
A D G Bm A
Though an ocean of tears divides us, let the bridge of our love span the sea.
D G A, D G A, Bm G A, G A Bm
G A |A|
Your kiss. There's a kiss at the end of the rainbow . . .
D G |Bm| |A| |D| D |D|
<slowly> . . . more precious than a pot, of, gold.
(Mitch & Mickey) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
A KISS AT THE END OF THE RAINBOW – Mitch & Mickey
(McKean/O’Toole)
https://www.youtube.com/watch?v=0G4JlMEfsh0 (Capo 7)
TIP: (Cmaj7) is just (C) without the index finger.
INTRO: G D Em C G Em D <pause>
(NC) G C D G C D
Oh when the veil, of dreams, has lifted, and the fairy tales have all been told.
Em C D C Cmaj7 D G D
G D G Em C
In tales, of ancient glory, every knight and maiden fair,
D G C G Em D
Shall be joined when the quest is over, and a kiss is the oath that they swear.
G C D G C D
And when the veil, of dreams, has lifted, and the fairy tales have all been told.
Em C D C Cmaj7 D G D
G D G Em C
My sweet, my dear, my darling, you're so far away from me.
D G C G Em D
Though an ocean of tears divides us, let the bridge of our love span the sea.
G C D, G C D, Em C D, C Cmaj7 D Em
C D |D|
One kiss. There's a kiss at the end of the rainbow . . .
G C |G| |G| |G| G |G|
<slowly> . . . more precious than a pot, of gold.
A MATTER OF TRUST
Billy Joel
https://www.youtube.com/watch?v=RaOZ3Gkoruw (Capo 2)
https://www.youtube.com/watch?v=6yYchgX1fMw "Official Video" (Capo 2)
[Both links above will work. The first is the album version which appears to be culled
from the "official video" from Vevo that has the long intro. But if you're patient it's
a blast to join the band and play along. Wave hello to Christie and Alexa when you see
them.]
TIP: Billy sings a capella through the opening but I like single strums of |C|.
TIP: This is why there are pick guards. Really slam that (G)-(G)-(C) sequence coming
out of the chorus.
g – a – g |C| |C| C Am, C Am C

INTRO: One, two, ah one two three four.
Am
Some love is just a lie of the heart.
C Am Em
The cold remains of what began with a passionate start.
G C
And they may not want it to end. But it will it’s just a question of when.
Am
I’ve lived long enough to have learned,
C Am Em
The closer you get to the fire the more you get burned.
G C C Am C Am C
But that won’t happen to us, cuz it’s always been a matter of trust.
Am
I know you’re an emotional girl.
C Am Em
It took a lot for you to not lose your faith in this world.
G C
But I can’t offer you proof, but you’re gonna face a moment of truth.
Am
It’s hard when you’re always afraid.
C Am Em
You just recover when another belief is betrayed.
G
So break my heart if you must. It’s a matter of trust.
F Dm Em Am7
You can’t go the distance with too much resistance.
F G Em F F G–G-C
I know you have doubts, but for God’s sake don’t shut me out.
Am
This time you’ve got nothing to lose.
C Am Em
You can take it you can leave it whatever you choose.
G C
I-won’t hold back anything, and I’ll walk away a fool or a king.
Am
Some love is just a lie of the mind.
C Am Em
It’s make believe until it’s only a matter of time,
G C
And some might have learned to adjust, but then it never was a matter of trust.
C Am C Am Em Em G G
F Dm Em Am7
I’m sure you’re aware love, we’ve both had our share of,
F G Em F G–G-C
Believing too long, when the whole situation was wrong.
Am
Some love is just a lie of the soul.
C Am Em
A constant battle for the ultimate state of control.
G C
After you’ve heard lie upon lie, there can hardly be a question of why.
Am
Some love is just a lie of the heart.
C Am Em
The cold remains of what began with a passionate start.
G C C Am
But that can’t happen to us, cuz it’s always been a matter of trust.
C C Am C Am C C Am C Am
It's a matter of trust. It's always been a matter of trust.
C C Am C Am C Am |C|
It's a matter of trust. Cuz it's always been a matter of trust.
(Billy Joel) (Artist Index) - (Main Index) - (Song Index) (This Song)
A MIGHTY WIND
The Folksmen, Mitch & Mickey, The New Main Street Singers
(Levy/Guest/McKean)
https://www.youtube.com/watch?v=y_fOIbuUAiY (Capo 0)
C Am F
As I travel down the back roads, of this home I love so much.
C Am Dm G
Every carpenter and cowboy, every lame man on a crutch.
F Em F G
They’re all talking about a feeling, ‘bout a taste that’s in the air.
F C Am F G C
They’re all talking about this mighty wind that’s blowing everywhere.
Bb F Bb F
Oh a mighty wind’s a blowin’. It’s kickin’ up the sand.
Am D7 Bb G
It’s blowin’ out a message, to every woman child and ma-an.
Bb F C Cmaj7 Am G
Yes a mighty wind’s a blowin’, ‘cross the land and cross the see-ea.
F C Am F G C
It’s blowin’ peace and freedom, it’s blowin’ equali ty.
Am F
From a lighthouse in Bar Harbor, to a bridge called Golden Gate.
C Am Dm G
From a trawler down in Shreveport, to the shore of one Great Lake.
F Em F G
There’s a star on the horizon, and it’s burning like a flame.
F C Am F G C
It’s lighting up this mighty wind that’s blowin’ everywhere.
Bb F Bb F
Am D7 Bb G
Bb F C Cmaj7 Am G
F C Am F G C
Am F
When the blind man sees the picture, when the deaf man hears the word.
C Am Dm G
When the fisherman stops fishing, when the hunter spares the herd.
F Em F G
We’ll still hear the wondrous story, of a world where people care.
F C Am F G C
The story of this mighty wind that’s blowin’ everywhere.
Bb F Bb F
Am D7 Bb G
Bb F C Cmaj7 Am G
F C Am F G C
F C Am F G C |C|
Yes it’s blowin’ peace and freedom, it’s blowin’ you and me.
(The Folksmen) (Mitch & Mickey) (New Main Street Singers) (Artist Index) (Folk)
(Main Index) (Song Index) (This Song)
A SATISFIED MIND - Johnny Cash/Willie Nelson
(Hays/Rhodes)
https://www.youtube.com/watch?v=QphglQu3oL0 (Cash) (Capo 0)
https://www.youtube.com/watch?v=nbzF9_8HQUI (Willie) (Capo 3)
TIP: Porter Waggoner hit Number One with this song back in 1955 and it's been covered by
many others over the years. I've chosen the starker versions by Johnny Cash and Willie
Nelson. Johnny and Willie sing the second verse differently so both ways are included.
Johnny has a one-strum intro but Willie does not. Willie plays a brief instrumental and
ends the song after the third verse. Johnny repeats the first verse.
INTRO <Cash only>: |A|
(NC) D E A
How many tiimes have, you heard someone say,
E D A
'If I had his money, I could do things my way.'
E D A
But little they know, that it's so hard to find,
E D A
One rich man in ten, with a satisfied mind.
D E A
<Cash> Once I was winning, in fortune and fame.
E D A
Everything that I dreamed for, to get a start in life's game.
E D A
Then suddenly it happened, I lost every dime.
E D A
But I'm richer by far, with a satisfied mind.
E D A
<Willie> Once I was wading, in fortune and fame.
E D A
Everything that I dreamed for, to get a start in life's game.
D E A
Then suddenly it happened, I lost every dime.
E D A
But I'm richer by far, with a satisfied mind.
<Willie> A E D A
D E A
Money can't buy back, your youth when you're old,
E D A
Or a friend when you're lonely, or a love that's grown cold.
E D A
The wealthiest person, is a pauper at times,
E D A
Compared to the man, with a satisfied mind.
E D A
And when life has ended, and my time has run out,
E D A
My friends and my loved ones, I'll leave there's no doubt.
D E A
But one thing's for certain, when it comes my time.
E D A
I'll leave this old world, with a satisfied mind. <End Willie>
D E A
<Cash> How many tiiimes have, you heard someone say,
E D A
'If I had his money, I could do things my way.'
E D A
But little they know, that it's so hard to find,
E D A A |A|
One rich man in ten, with a satisfied mind.
(Johnny Cash)(Willie Nelson) (Artist Index) - (Main Index) - (Song Index) (This Song)
A TEENAGER IN LOVE – Dion and the Belmonts
(Pomus/Shuman)
https://www.youtube.com/watch?v=o-Xvgv92GBc (Capo 1)
TIP: Can also be played in key of [G] using (G), (Em), (C), and (D) if you don't care
about singing along with the original (or capo 6 if you do).
TIP: For the last line in each verse the chords in bracket should be struck once
(although Dion sings the whole line a cappella).
C Am F G
INTRO: Oooooh, oooooh, whah ooooh, oooh
C Am F G
Oooooh, oooooh, whah ooooh, oooh
C Am F G
Each time we have a quarrel, it almost breaks my heart.
C Am F G
'Cause I'm so afraid, that we will have to part.
C Am F G
Each night I ask the stars up above,
C |Am| F G
Why must I be a teenager in love?
C Am F G
One day I feel so happy, next day I feel so sad.
C Am F G
I guess I'll learn to take, the good with the bad.
C Am F G
Cuz each night I ask the stars up above,
|C| |Am| F G
F G F G
I cried a tear, for nobody but you.
F G F G
I'll be a lonely one if you should say we're through.
C Am F G
Well if you want to make me cry, that won't be so hard to do.
C Am F G
If you should say goodbye, I'll still go on loving you.
C Am F G
|C| |Am| F G
F G F G
I cried a tear, for nobody but you.
F G F G
I'll be a lonely one if you should say we're through.
C Am F G
Well if you want to make me cry, that won't be so hard to do.
C Am F G
If you should say goodbye, I'll still go on loving you.
C Am F G
|C| |Am| F G
C Am F G
C Am F G
C Am F G
C Am F G |C|
(Dion) (Artist Index)(Oldies) - (Main Index) - (Song Index) (This Song)

A THOUSAND MILES FROM NOWHERE
Dwight Yoakam
https://www.youtube.com/watch?v=Tu3ypuKq8WE (Capo 0)
INTRO: C Am C Am
C Am C Am
I'm a thousand miles from nowhere. Time don't matter to me.
C Am F G
Cause I'm a thousand miles from nowhere, and there's no place I wanna be.
C Am C Am
I got heartaches in my pocket. I got echoes in my head.
C Am F G
And all that I keep hearing, are the cruel cruel things that you said.
C Am C Am
C Am F G
F G F G Am C Am C Am C Am F G G
Oh I. Oh I. Oh I. I-eye. I -eye-eye.
F G F G Am
Oh I. Oh I. Oh I. I-eye. I -eye-eye.
C Am C Am
I've got bruises on my memories. I've got tear stains on my hands.
C Am F G
And in the mirror there's a vision, of what used to be a man.
C Am C Am
C Am F G
C Am C Am
C Am F G
F . . . G . . . F . . . G C Am C Am C Am F G
Oh I . . . I . . .
C Am C Am C Am F G
I'm a thousand miles from nowhere.
C Am C Am C Am C Am F G
I'm a thousand miles from nowhere.
C Am C Am C Am F G |C|
(Dwight Yoakum) (Artist Index) - (Main Index) - (Song Index) (This Song)
A TIME FOR US – Johnny Mathis
(Kusik/Snyder/Rota)
https://www.youtube.com/watch?v=DeTxBzF5vpE (Capo 0)
INTRO: (a single slow strum of) Am
Em F
A time for us, some day there'll be.
Em Dm Am
When chains are torn, by courage born of a love that's free.
Em F Dm Em
A time when dreams, so long denied, can flourish.
Am Em Am
As we unveil the love we now must hide.
C G Dm Am
A time, for us, at last, to see.
Bb F Em Am
A life, worthwhile, for you, and me.
Em F
And with our love, through tears and thorns.
Em Dm Am
We will endure, as we pass surely through every storm.
Em F Dm Em
A time for us, some day there'll be, a new, world.
Am Em Am
A world of shining hope for you and me.
C G Dm Am, Bb F Em Am
For you, and me.
Em F
And with our love, through tears and thorns.
Em Dm Am
We will dure, as we pass surely through every storm.
Em F Dm Em
A time for us, some day there'll be, a new, world.
Am Em Am
A world of shining hope for you and me.
Am Em Am
A world of shining hope for you, and, me.
(Johnny Mathis) (Artist Index) - (Main Index) - (Song Index) (This Song)
A WELL RESPECTED MAN – The Kinks
(Davies)
https://www.youtube.com/watch?v=_bQsGiiPVFo (Capo 0)
INTRO: <single strum> |G|
C Em Am C Em Am
Cause he gets up in the morning, and he goes to work at nine,
C Em Am C Em Am
And he comes back home at five-thirty, gets the same train every time,
C Em Am C Em Am
Cause his world is built on punc-tual-ity it never fails.
C Am C Am
And he’s oh so good, and he’s oh so fine,
C Am C G Am
And he’s oh so healthy, in his body and his mind.
F Em F G D G
He’s a well respected man about town, doing the best things so conserva-tively.
C Em Am C Em Am
And his mother goes to meetings, while his father paws the maid,
C Em Am C Em Am
And she stirs the tea with countenance, while discussing foreign trade,
C Em Am C Em Am
And she passes looks as well as bills, at every suave young man.
C Am C Am
Cause he’s oh so good, and he’s oh so fine,
C Am C G Am
F Em F G D G
C Em Am C Em Am
And he likes his own back yard, and he likes his fags the best,
C Em Am C Em Am
Cause he’s better than the rest, and his own sweat smells the best,
C Em Am C Em Am
And he hopes to grab his father’s loot, when pater passes on.
C Am C Am
C Am C G Am
F Em F G D G
C Em Am C Em Am
And he plays at stocks and shares, and he goes to the regatta,
C Em Am C Em Am
And he adores the girl next door, cause he’s dying to get at her,
C Em Am C Em Am
But his mother knows the best about, the matrimonial stakes.
C Am C Am
C Am C G Am
F Em F G D G |G|
(The Kinks) (Artist Index) - (Main Index) - (Song Index) (This Song)
A WHITE SPORT COAT AND A PINK CARNATION
Marty Robbins
https://www.youtube.com/watch?v=zD8MnvyAi6I (Capo 1)
TIP: For the second half of the song Marty sharp'd all the chords making them messy to
play. I've kept them the same, which means it will no longer match the recording unless
you move the capo up one fret where indicated.
INTRO: C C Dm G7
C Dm G7 F G7 C Dm G
A white, sport coat, and a pink, carnation. I'm all dressed up for the dance.
C Dm G7 F G7 C
A white, sport coat, and a pink, carnation, I'm all alone in romance.
G7 C
Once you told me long ago, to the prom with me you'd go.
D7
Now you've changed your mind it seems.
G7 C
Someone else will hold my dreams a white, sport coat,
Dm G7 F G7 C
And a pink, carnation, I'm in a blue blue mood.
<capo +1>
C Dm G7 F G7 C Dm G
A white, sport coat, and a pink, carnation. I'm all dressed up for the dance.
C Dm G7 F G7 C
A white, sport coat, and a pink, carnation, I'm all alone in romance.
G7 C
Once you told me long ago, to the prom with me you'd go.
D7
Now you've changed your mind it seems.
G7 C
Someone else will hold my dreams a white, sport coat,
Dm G7 F G7 C F C F C
And a pink, carnation, I'm in a blue blue mood.
(Marty Robbins) (Artist Index) - (Main Index) - (Song Index) (This Song)
ACROSS THE GREAT DIVIDE – Nanci Griffith
(Wolf)
https://www.youtube.com/watch?v=TyqgWYIVgQI (Capo 2)
INTRO: G, C G, G Em, Em C; C G, G Em, Em C C D G |G|
NC G C G
I've been walkin', in my sleep.
Em C
Countin' trou-bles, 'stead of countin' sheep.
G Em
Where the years went, I can't say.
C D G
I just turned around, and they've gone away.
C G
And I've been siftin', through the lay-ers,
Em C
Of dusty books, and faded pa-pers.
G Em
They tell a story, I used to know,
C D G
And it was one that happened, so long ago.
C G Em C
It's gone away, yesterday. Now I fiiind myself on the mountain side.
G Em D G
Where the rivers change direction across the Great Divide.
C G
Now I heard, the owl a callin',
Em C
Softly as, the night was fallin'.
G Em
With a question, and I replied.
C D G
But he's gone, across the borderline.
C G Em C
He’s gone away, yesterday. And now I fiiind myself on the mountain side.
G Em D G
G, C G, G Em, Em C; C G Em C D G |G|
NC G C G
The finest hour, that I have seen,
Em C
Is the one, that comes between,
G Em
The edge of night, and the break of day.
C D G
It's when the darkness, rolls away.
C G Em C
And it’s gone away, yesterday. And now I fiiind myself on the mountain side.
G Em D G
C G Em C
And it’s gone away, yesterday. And now I fiiind myself on the mountain side.
G Em D G G |G|
(Nanci Griffith) (Artist Index) - (Main Index) - (Song Index) (This Song)
ACROSS THE UNIVERSE – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=90M60PzmxEE (Capo 1)
TIP: (Fm) isn't played too often. Just barre the bottom three fingers of the 1st fret
and try not to hit the strings above them.
TIP: (Dm7) isn't played very often either. If you like you can play an (F) instead,
then lift off the middle, ring, and pinky for an index finger barre on the (Fm).
INTRO: C Em Em G G
C Am Em
Words are flowing out like endless rain into a paper cup.
Dm7 G G7
They slither while they pass they slip away across the universe.
C Am Em
Pools of sorrow waves of joy are drifting thorough my open mind,
Dm7 Fm |Fm|-|Fm|
Possessing and caressing me.
C G G7
Jai gu-ru-u da-ay-va. Ohm. Nothing's gonna change my world.
F C G G7
Nothing's gonna change my world. Nothing's gonna change my world.
F C
Nothing's gonna change my world.
Am Em Dm7
Images of broken light which dance before me like a million eyes
G G7
They call me on and on across the universe.
C Am Em
Thoughts meander like a restless wind inside a letter box,
Dm7 G G7
They tumble blindly as they make their way across the universe.
C G G7
F C G G7
F C
Am Em
Sounds of laughter shades of life are ringing through my open ears
Dm7 Fm
Inciting and inviting me.
C Am Em Dm7
Limitless undying love which shines around me like a million suns
G G7
It calls me on and on across the universe.
C G G7
F C G G7
F C
Jai gu-ru-u da-ay-va. Jai gu-ru-u da-ay-va. Jai gu-ru-u da-ay-va.
Jai gu-ru-u da-ay-va. Jai gu-ru-u da-ay-va. Jai gu-ru-u da-ay-va.
ACT NATURALLY - Buck Owens/Ringo Starr
(Russell/Morrison)
https://www.youtube.com/watch?v=yjJd8rZPcAQ Ringo Starr (Capo 0)
https://www.youtube.com/watch?v=GpBEBV1wkq4 Buck Owens (Capo 0)
TIP: This is Ringo's version which has a different intro than Buck's.
INTRO: D, G-G
C
They'rrrrrre gonna put me in the movies.
G D
They’re gonna make a big star out of me.
G C
We'll make a film about a man that's sad and lonely,
D7 G
And all I gotta do is act naturally.
D G D G
Well I'll bet you, I'm gonna be a big star. Might win an Oscar, you can never tell.
D G A A7 D D7
The movie's gonna make me a big star. ‘Cause I an play the part so well.
G C
Well I hope you'll come and see me in the movies.
G D
Then I'll know that you will plainly see,
G C
The biggest fool that ever hit the big time,
D7 G
And all I gotta do is, act naturally.
D, G-G; D, G-G
C
We'll make the scene about a man that's sad and lonely.
G D
And beggin' down upon his bended knee.
G C
I'll play the part, but I won't need rehearsing,
D7 G
All I have to do is, act naturally.
D G D G
Well I'll bet you, I'm gonna be a big star. Might win an Oscar, you can never tell.
D G A A7 D D7
The movie's gonna make me a big star, ‘cause I can play the part so well.
G C
Well I hope you'll come and see me in the movies.
G D
Then I'll know that you will plainly see,
G C D7 G D, G-G
The biggest fool that ever hit the big time, and all I gotta do is, act naturally.
(Buck Owens) (The Beatles) (Ringo Starr) (Artist Index)

AFTER THE GOLD RUSH
Neil Young
https://www.youtube.com/watch?v=z9C2NxO_dJs (Capo 0)
TIP: (Dsus2) is just (D) without the bottom finger. At the end there’s a (CaddD) – just
play a (C) and add your pinky to the 2nd string/3rd fret.
INTRO: D Dsus2 G, D Dsus2 G
D G D G
Well I dreamed I saw the knights in armor comin’ sayin' something abou-out a queen.
D A Bm A
There were peasants singin' and drummers drummin’ and the archer split the tree.
Bm C Bm C C
There was a fanfare blowin', to the sun that was floating on the breeze.
D A C G
Look at mother nature on the run in the Nineteen Seventies.
D A C G
Look at mother nature on the run in the Nineteen Seventies.
D G D G
I was lyin' in a burned out basement, with a full moon in my eyes.
D A Bm A
I was hopin' for-or replacement when the sun burst through the sky.
Bm C Bm C C
There was a band, playin', in my head and I felt like getting high.
D A C G
I was thinkin' about what a friend had said. I was hopin' it was a lie.
D A C G
Thinkin' about what a friend had said. I was hopin' it was a lie.
<horns> D D G D G, G D D A Bm A, A Bm C Bm C C
D D A C G, D D A C G
D G D G
Well I dreamed I saw the silver spaceships flyin’ in the yellow haze of the sun.
D A Bm A
There were children cryin’ and colors flyin’ all around the chosen ones.
Bm C Bm C C
All in a dream, alllll in a dream, the loading had begun.
D A C G
Flyin' mother nature's silver seed to a new home in the sun.
D A CaddD |Gadd|
Flyin' mother nature's silver seed to a new hooooopoooome.
(Neil Young) (Artist Index) - (Main Index) - (Song Index) (This Song)
AGAINST THE WIND
Bob Seger
https://www.youtube.com/watch?v=PBJRD1VkxmI (Capo 0)
INTRO: G D7-D7-G; D G D7-D7-G D7 G
Bm
It seems like yesterday, but it was long ago.
C G
Janey was lovely she was the queen of my nights,
D C D G
There in the darkness with the radio, playing low and,
Bm
And the secrets that we shared, the mountains that we moved.
C G
Caught like a wildfire out of control,
C D
Til there was nothing left to burn and nothing left to prove.
Em D G Em C Gadd
And I remember what she said to me. How she swore that it never would end.
Em D C D
I remember how she held me, oh so tight. Wish I didn't know now what I didn't know then.
G Bm C G
Against the wind. We were runnin' against the wind.
C Bm Am7 D G
We were young and strong we were runnin' against the wind.
G D7-D7-G; D G D7-D7-D7-G D7 G
Bm
And the years rolled slowly past, I found myself alone.
C G
Surrounded by strangers I thought were my friends,
D C D
I found myself further and further from my home and I,
G Bm
Guess I lost my way. There were oh so many roads.
C G
I was living to run and running to live,
C D
Never worried about paying or even how much I owed.
Em D G
Moving eight miles a minute for months at a time.
Em C Gadd
Breaking all of the rules that would bend.
Em D C
I began to find myself searchin'.
D
Searchin' for shelter again and again.
G Bm C G
Against the wind. A little somethin' against the wind.
C Bm Am7 D G
I found myself seeking shelter against the wind.
G G G G Bm Bm C G D C; G G Bm Bm C G C D D
Em D G Em C G
Well those drifters days are past me now. I've got so much more to think about.
Em D C D
Deadlines and commitments. What to leave in, what to leave out.
G Bm C G
Against the wind. I'm still runnin' against the wind.
C Bm Am7 D G
I'm older now and still runnin', against the wind.
C Bm D C
Well I'm older now and I'm still running, against the wind.
G
Against the wind.
C
Against the wind (still running).
G
Against the wind (I’m still running against the wind).
C
Against the wind (I’m still running).
G
Against the wind (I’m still running against the wind).
C
Against the wind (still running).
G
Against the wind (running against the wind, running against the wind).
C
Against the wind (see the young man run).
G
Against the wind (watch the young man run).
C
Against the wind (watch the young man runnin').
G
Against the wind (he’ll be running against the wind).
C G
Against the wind (let the cowboys ride). Against the wind (Ohhhh).
C
Against the wind (let the cowboys ride).
G
Against the wind (they’ll be riding against the wind).
C G
Against the wind (against the wind). Against the wind (riding against the wind).
C G
Against the wind. Against the wind.
(Bob Seger) (Artist Index) - (Main Index) - (Song Index) (This Song)
AIN'T THAT LONELY YET - Dwight Yoakam
(House/Kostas)
https://www.youtube.com/watch?v=4APfLNbdao4 (Capo 3)
[An easier, better sounding (to me) version without the (Bm) and (F#) follows afterward.]
TIP: The (F#), which is just (F) on the 2nd fret, follows the (Bm) so just “collapse”
down onto the 2nd fret.
INTRO: D A Bm, G A D-|G|-|D|
D G D A7 Bm
You keep calling me, on the telephone. You say you're all alone.
G A D G D
Well that's, real sad. And you keep leavin', notes stuck on my door.
A7 Bm G A D G-D
Guess you're hungry for some more. Girl, that's, too bad.
Bm F# G A D
'Cause I ain't that lonely yet. No I ain't that lonely yet.
Bm F# G A D
After what you put me through, oh I ain't that, lonely yet.
D A Bm, G A D-|G|-|D|
G D A7 Bm
Once there was this, spider in my bed. I got caught up in her web,
G A D G D
Of love and lies. She spun her chains around my heart and soul.
A7 Bm G A D G-D
Never to let go. Oh but I, survived.
Bm F# G A D
Bm F# G A D
F# G D
Nothing left, you can do to try and bring me 'round.
G E A F#
'Cause everything you do, just brings me downnnn, oh-oh and I . . .
Bm F# G A D
Ain't that lonely yet. No I ain't that lonely yet.
Bm F# G A D G-D
Bm F# G A D
Bm F# G A D G-D
Bm F# G A D
Bm F# G A D G-D
(Dwight Yoakam) (Artist Index) - (Main Index) - (Song Index) (This Song)
AIN'T THAT LONELY YET - Dwight Yoakam
(House/Kostas)
https://www.youtube.com/watch?v=4APfLNbdao4 (Capo 5)
TIP: Capo 5 to sing with Dwight but I think it sounds better in the lower registers.
INTRO: C G Am, F G C-|F|-|C|
F C G Am
You keep calling me, on the telephone. You say you're all alone.
F G C
Well that's, real sad.
F C
And you keep leavin, notes tuck on my door.
G7 Am F G C F-C
Guess you're hungry for some more. Girl, that's, too bad.
Am E E7 F G C
Am E E7 F G C
C G Am, F G C-|F|-|C|
F C
Once there was this, spider in my bed.
G Am F G C
I got caught up in her web, of loves and lies.
F C
She spun her chains around my heart and soul.
G Am F G C F-C
Never to let go. Oh but I survived.
Am E E7 F G C
Am E E7 F G C
E F C
Nothing left, you can do to try and bring me ‘round.
F D7 G E E7
'Cause everything you do, just brings me downnnn, oh-oh and I . . .
Am E E7 F G C
Ain't that lonely yet. No I ain't that lonely yet.
Am E E7 F G C F-C
Am E E7 F G C
Am E E7 F G C F-C
Am E E7 F G C
Am E E7 F G C F-C
(Dwight Yoakam) (Artist Index) - (Main Index) - (Song Index) (This Song)
ALICE'S RESTAURANT
Arlo Guthrie
https://www.youtube.com/watch?v=m57gzA2JCcM (Capo 2)
TIP: Arlo of course is fingerpicking this song but we'll give it a whirl using chords.
TIP: The (C7) always follows a (C) so keep the (C) form and just add your pinky to the
3rd string/3rd fret.
TIP: You can play a (D7) instead of the (Fm) which you may find much easier but the (Fm)
it will always follow the (F) so your index finger is already there. Just play a barre.
TIP: With my feeble brain and mono-tasking abilities I find it impossible to play both
the melody and speak the words. Maybe that's just me. Might go better if one person
plays the melody and another tells the story. And remember, if you want to end war and
stuff, you gotta sing loud.
, ,
INTRO: C A-A7 D7 G C; C A-A7 D7 G7 ; C C-C7, F F-Fm; C A-A7 D7 G C
This song is called Alice's Restaurant. It's a, 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 A A7 D7 G C
You can get anything you want at Alice's Restaurant.
A A7 D7 G7
You can get anything you want, at Alice's Restaurant.
C C7 F Fm
Walk right in it's around the back, just a half a mile from the railroad track.
C A A7 D7 G C
Now it all started two Thanksgivings ago, it 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, bein' 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 me 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 the circles and arrows and a paragraph on the back of each one and 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 the 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 the 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 fifty dollars 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 I 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?" and
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 - 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 a paragraph on the back of each one and he stopped me right there and said "Kid, I
want you to go over and sit down on that bench that says 'Group W'. Now kid!"
<play slowly> And I, I walked over to the to the bench there and there is, is Group W's
where they where they put you if you may not be moral enough to, 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
sittin' right there on the bench next to me and one, they was, mean and nasty and ugly
and horrible and crime-fightin' guys sittin' on the bench. 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 stabbin' father
raping all kinds of groovy things that we was talkin' 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-on-the-top" 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 and said "Sergeant you got a, 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. Walk in to the shrink wherever you are, just walk in say "Shrink?"
C A A7 D7 G7 C
You can get anything you want at Alice's Restaurant."
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 feelin'. So we'll wait 'til it comes
around on the guitar here, and sing it when it does.
Here it comes.
C A A7 D7 G C
A A7 D7 G7
C C7 F Fm
C A A7 D7 G C
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.
Alright now?
C A A7 D7 G C G
You can get anything you want at Alice's Restaurant – excepting Alice.
C A A7 D7 G7
C C7 F Fm
C A A7 D7 G C
And you can get anything you want at Alice's Restaurant.
D7 G7 C C G7-C
Da da da da da da da dum. At Alice's, Restaurant.
(Arlo Guthrie) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
ALL DAY AND ALL OF THE NIGHT - The Kinks
(Davies)
https://www.youtube.com/watch?v=fOGMRnKl5co (Capo 5)
TIP: Unless you want to play some uncomfortable chords you'll have to capo 5 to sing
along with The Kinks. Sounds much better in the lower registers.
INTRO: D, C, F F-D; D, C, F F-D
C F D C, F F-D
I'm not, content, to be with you in the daytime.
C F D C, F F-D
Girl, I want, to be with you all of the time.
F C E
The only time I feel alright is by your side.
A G C A G C A
Girl, I want, to be with you all of the time all day, and all of the night.
A G C A A G C A
All day, and all of the night. All day, and all of the night.
D C F D C, F F-D
I, believe, that you and me last forever.
C F D C, F F-D
Oh yeah, all day, and night time yours, leave me never.
F C E
A G C A G C A
A G C A A, A G C A G C A
All day, and all of the night. Oh come on.
D, C, F F-D; D, C, F F-D; D, C, F F-D; D, C, F F-D; D, C, F F-D
C F D D C, F F-D
I, believe, that you and me last forever.
C F D C, F F-D
Oh yeah, all day, and night time yours, leave me never.
F C E
A G C A G C A
A G C A A G C A
All day, and all of the night. All day, and all of the night.
<semi violently> |A| |G| |C| |A|
ALL I HAVE TO DO IS DREAM – The Everly Brothers
(Bryant)
https://www.youtube.com/watch?v=tbU3zdAgiX8 (Capo 4)
TIP: You’ll already be playing the (C) so to play (C7) just add a pinky to the 3rd
string/3rd fret.
INTRO: <single strum> |C|
C Am F G C Am F G
Dreee-eam, dream dream dream. Dreee-eam, dream dream dream.
C Am Dm G7 C Am Dm G
When I want you, in my arms. When I want you, and all your charms.
C Am F G7 C Am F G7
Whenever I want you, all I have to do, is dre-eam. Dream dream dream.
When I feel blue, in the night, and I need you, to hold me tight.
C Am F G7 C F C C7
Whenever I want you, all I have to do, is dre-ee-eam.
F Em Dm G7 C C7
I can make you mine, taste your lips of wine, anytime, night or day.
F Em D7 G G7
Only trouble is, gee wiz, I'm dreamin' my life away.
I need you so, that I could die. I love you so, and that is why,
C Am F G7 C Am F G7 C F C C7
Whenever I want you, all I have to do, is dre-eam. Dream dream dream. Dre-ee-eam.
F Em Dm G7 C C7
I can make you mine, taste your lips of wine, anytime, night or day.
F Em D7 G G7
Only trouble is, gee wiz, I'm dreamin' my life away.
I need you so, that I could die. I love you so, and that is why,
C Am F G7 C Am F G7 C Am
Whenever I want you, all I have to do, is dre-eam. Dream dream dream. Dre-eam.
F G7 C Am F G7 C F C
Dream dream dream. Dre-eam. Dream dream dream. Dre-ee-eam.
(The Everly Brothers) (Artist Index) - (Main Index) - (Song Index) (This Song)
ALL MY LOVING - The Beatles
(Lennon McCartney)
https://www.youtube.com/watch?v=TSpiwK5fig0 (Capo 2)
[A version without the (Bm) comes afterwards.]
(NC) Em A7 D Bm
Close your eyes and I'll kiss you, tomorrow I'll miss you.
G Em C A
Remember I'll always be true.
Em A7 D Bm
And then while I'm away, I'll write home ev'ry day.
G A7 D
And I’ll send all my loving to you.
(NC) Em A7 D Bm
I'll pretend that I'm kissing, the lips I am missing,
G Em C A
And hope that my dreams will come true.
Em A7 D Bm
And then while I'm away, I'll write home every day.
G A7 D
And I'll send all my loving to you.
(NC) Bm D
All my loving, I will send to you.
Bm D D G D, Em-A7, |D|
All my loving, darling I'll be true.
(NC) Em A7 D Bm
G Em C A
Em A7 D Bm
And then while I'm away, I'll write home ev'ry day.
G A7 D
(NC) Bm D Bm D
All my loving, I will send to you. All my loving, darling I'll be true.
Bm D Bm D
All my loving. All my loving. Ooo-oooh all my loving, I will send to you.
ALL MY LOVING – The Beatles
(Lennon McCartney)
TIP: You won't be able to sing along with Paul unless you capo 9 which will sound tinny
but this version is easier to play than the one above.
TIP: Even though it says no chord (NC), the first note of each verse is the 2nd
string/first fret, note <c> which will be covered by your index finger from the (Am). So
if you want, you can form (Am), pick that first note, lift off the index finger for the
second note, and then start the song on (Am).
(NC) Am D7 G Em
C Am F D
Am D7 G Em
C D7 G
(NC) Am D7 G Em
I'll pretend that I'm kissing, the lips I am missing,
C Am F D
And hope that my dreams will come true.
Am D7 G Em
C D7 G
And I'll send all my loving to you.
(NC) Em G
All my loving, I will send to you.
Em G G C7 G, Am-D7, |G|
All my loving, darling I'll be true.
(NC) Am D7 G Em
C Am F D
Am D7 G Em
C D7 G
(NC) Em G Em G
All my loving, I will send to you. All my loving, darling I’ll be true.
Em G Em G
All my loving. All my loving. Ooo-ooh all my loving, I will send to you.
ALL SHOOK UP – Elvis Presley
(Blackwell)
https://www.youtube.com/watch?v=23zLefwiii4 (Capo 1)
TIP: In the intro strum (A) first aiming for strings 5-4-3 and then strings 6-5-4.
Repeat this cadence four times.
TIP: The "slaps" and "grunt" can be omitted. By "slap" I mean tap the strings over the
soundhole so they meet the frets.
INTRO: A A A A
(NC) A
Well a bless my soul what's wrong with me? I'm itching like a man on a fuzzy tree.
(NC)
My friends say I'm actin' wild as a bug I'm in love. <slap> I'm all shook up.
D E A
Muh hoo hoo, muh hoo, yay yay, yay.
Well my hands are shaky and my knees are weak. I can't seem to stand on my own two feet.
(NC)
Who do you thank when you have such luck I'm in love. <slap> I'm all shook up.
D E A
D7 A
Well a please don't ask me what's on my mind I'm a little mixed up but I'm feelin' fine.
D7 E7 E
When I'm near that girl, that I love best, my heart beats so it scares me to death.
A
When she touched my hand what a chill I got. Her lips are like a volcano that's hot.
(NC)
I'm proud to say she's my, buttercup. I'm in love. <slap> I'm all shook up.
D E A
D7 A
My tongue gets tied when I try to speak. My insides shake like a leaf on a tree.
D7 E7
There's only one cure for this body of mine and that's to hound the girl that I
E
love so fine.
A
She touched my hand and what a chill I got. Her lips are like a volcano that's hot.
(NC)
I'm proud to say she's my, buttercup. I'm in love. <grunt "uh"> I'm all shook up.
D E A D E A
Muh hoo hoo, muh hoo, yay yay, yay. Muh hoo hoo, muh hoo, yay yay, I’m all shook up.
(Elvis Presley) (Artist Index) - (Main Index) - (Song Index) (This Song)
ALL THAT HEAVEN WILL ALLOW
Bruce Springsteen/The Mavericks
(Springsteen)
https://www.youtube.com/watch?v=z06IMSuctlQ The Mavericks (Capo 0)
https://www.youtube.com/watch?v=SdJIpyiupJo Springsteen (Capo 0)
[The Boss wrote it but the Mavericks kill it and it's their version that's presented
here.]
TIP: The intro riff is easy. Form (C) and pick the strings indicated by the numbers
with 2/3 being the 2nd string/3rd fret. You play it again as an intro to the
instrumental.
INTRO <Form C>: 2 - 2 - 2 - 2 - 2/3 - 1 – Gadd, C G |D|
(NC) G C G
I got a dollar in my pocket. There ain't a cloud up above.
D7 G C D
I got a picture in a locket. That says baby I love you.
C G
Well if you didn't look the-hen boys. Then fellas don't go lookin' now.
C C D G D7
Well here she comes a walkin' all that heaven will allow.
G C G
Say-hey-there mister bouncer, now all I want to do is dance.
D7 G C D
But I swear I left my wallet, back home in my workin' pants.
C G
C'mon Slim slip me i-in man, I'll make it up to you somehow.
C C D7 G
I can't be late I got a date with all that heaven will allow.
C Em
Rain and storm and dark skies, well now they don't mean a thing.
C Am Am D7 G
If you got a girl that loves you and who wants to wear your ring.
C Em
So c'mon mister trouble, we'll make it through you somehow.
C C D7 G
We'll fill this house with all the love all that heaven will allow.
<Form (C)>: 2 – 2 – 2 – 2 – 2/3 – 1 – G,
C G, D7 G, C D, D-C C G, G C, D7 G
C Em
Rain and storm and dark skies, well now they don't mean a thing.
C Am Am D7 G
If you got a girl that loves you and who wants to wear your ring.
C Em
So c'mon mister trouble, we'll make it through you somehow.
C C D7 G
We'll fill this house with all the love all that heaven will allow.
D7 G C G
Now some may want to die young man, young and gloriously.
D7 G C D
Get it straight now mister. Hey buddy that ain't me.
C G
'Cause I got something on my mi-ind yeah. That sets me straight and walkin' proud.
C C D7 G
And I want all the time all that heaven will allow.
C C D7 G G Am, D |G|
And I want all the time all that heaven will allow.
(The Mavericks) (Bruce Springsteen) (Artist Index)

ALL THE BEST
John Prine
https://www.youtube.com/watch?v=e58y60Ozhxs (C5)(Young John)
https://www.youtube.com/watch?v=kP3_yJIa_fY (C2)(Mature John)
[Two versions here but with the same music and chords. When John was younger he did the
song in [C]. Later, as his voice became a bit rougher he switched to [A]. To make both
versions match the recordings I've done it here in [G], capo'd as indicated.
TIP: For the intro form up (G) and pick the top string twice before the first (G). Then
strum the |C| in brackets once where indicated.
TIP: The same pattern with the |C|-(G) occurs in the verse and I've left it in but you
can skip over it if you want and just play the previous (G) straight on through the line.
INTRO (Form G): 6-6-G, |C|-|C|-G, |C|-|C|-G, D G
|C|-|C|-G, |C|-|C|-G, |C|-|C|-G, D G
|C|-G |C|-G
I wish you love, and happiness.
D G
I guess I wish, you all the best.
|C|-G |C|-G
I wish you don't, do like I do,
D G
And never fall in love with, someone like you.
C G
Cause if you fell, just like I did,
D D7
You'd probably walk around the block like a little kid.
G |C|-G |C|-G
But kids don't know, they can only guess.
D G G
How hard it is, to wish you happiness.
|C|-|C|-G, |C|-|C|-G, |C|-|C|-G, D G
|C|-G |C|-G
I guess that love, is like a Christmas card.
D G
You decorate a tree, you throw it in the yard.
|C|-G |C|-G
It decays and dies, and the snowmen melt.
D G
Well I once knew love, I knew how love felt.
C G D D7
Yeah I knew love, love knew me. And when I walked, love walked with me.
G |C|-G |C|-G
And I got no hate, and I got no pride.
D G
Well I got, so much love that I cannot hide.
D G G
Yeah I got, so much love that I cannot hide.
|C|-|C|-G, |C|-G; |C|-|C|-G, |C|-G; |C|-|C|-G, D G
|C|-G |C|-G
Say you drive a Chevy, say you drive a Ford.
D G
You say you drive around the town 'till you just get bored.
|C|-G |C|-G
And then you change you mind, for something else to do.
D G
And your heart gets bored with your mind and it changes you.
C G
Well it's a doggone shame, and it's an awful mess.
D G D G
I wish you love, I wish you happiness. I wish you love, I wish you happiness.
D G
I guess I wish, you all the best (good luck).
|C|-|C|-G, |C|-G; |C|-|C|-G, |C|-G; |C|-|C|-G, D G, G <forcefully> |G|
(John Prine) (Artist Index) - (Main Index) - (Song Index) (This Song)
ALL THE ROADRUNNING – Mark Knopfler & Emmylou Harris
(Knopfler)
https://www.youtube.com/watch?v=JnboNMqUnus (Capo 0)
TIP: You’ll have a tendency to want to play too fast. Don’t. Keep the tempo down.
INTRO: C C G Am F C
G C Am F C
A million miles our vagabond heels clocked up, beneath the clouds.
G C F C F
They're counting down, to showti-ime, when we do it for real with the crowds.
G C F C F
Air miles are owin', but they don't come for free, and they don't give you any for pain.
C G C Am F C
But if it's all for nothin', all the road runnin', 'sbeen in vain.
C C G Am F C
G C Am F C
The rimshots come down like, cannon fire and thunder, off the wall.
G C F C F
There's a man in every corner-er, and each one is giving his all.
Dm C F C F
This is my fife, this is my drum so you never will hear me complain.
C G C Am F C
And if it's all for nothin', all the road runnin', 'sbeen in vain.
F G F C
All the road runnin’. All the road runnin’.
G C Am F C
Well-if you're inclined to go up on the wall, it can only be, fast and high.
G C F C F
And thooose who don't like the danger soon find something, different to try.
G C F C F
And when there's only a ring in your ears and an echo down memory lane.
C G C Am F C
F G F C
F G F C
G C Am F C
The show's packing up I, sit and watch the convoy, leavin' town.
G C F C F
And there's no pretending, I'm not a fool for riding around and around.
Dm C F C F
Like the pictures you keep, of your old wall of death you showed me one time on a plane.
C G C Am F C
But if it's all for nothin', all the road runnin', 'sbeen in vain.
C C G Am F C
G C Am F C
I’ve a million miles of vagabond sky, clocked up, above the clouds.
G C F C F
I'm still your man, for the roamin’, for as long as there's roamin' allowed.
Dm C F C F
There'll be a rider and there'll be a wall as long as the dreamer remains.
C G C Am F C
F G F C
F G F C
F G F C
F G F C
C C G Am <slow down> F C
(Mark Knopfler) (Emmylou Harris) (Artist Index) - (Main Index) - (Song Index) (This Song)
ALL THE WAY HOME - Spinal Tap
(McKean/Guest)
https://www.youtube.com/watch?v=-lnI1IA01-s (Capo 0)
TIP: Keep it below 11.
INTRO: D, D
A D
Well I'm sittin' here beside the railroad track.
A7
And I'm waitin' for that train to bring her back.
D D7 G E7
If she's not on the five-nineteen then I'm gonna know what sorrow means
D A7 D
And I'm gonna cry cry cry all the way home.
G D
All the way home (all the way home). All the way home (all the way home).
A7 D
Yes I'm gonna cry cry cry all the way home.
A D
Now her daddy never liked me this he said.
A7
And he could not get it through his old grey head.
D D7 G E7
That I loved his daughter so. Did not mean to see her go.
D A7 D
Now I'm gonna cry cry cry all the way home.
G D
A7 D
D–A–D D, D D A7 D D7 G E7, D A7 D
(here it come, here it come)
G D
A7 D
(One more time all the way home)

G D
All the way home (all the way home). All the way home.
A7 G7 D7
And I'm gonna <slowly> cry cry cry all the way hooooooome.
(Spinal Tap) (Artist Index) - (Main Index) - (Song Index) (This Song)
ALL THESE YEARS - Sawyer Brown
(McAnally)
https://www.youtube.com/watch?v=aTisgKe-tAo (Capo 4)
INTRO: Em D-D-D, Em D-D-D, Em D-D-D, G
Em Bm Em D Em Bm G D
She likes adventure with security, and more than one man can provide.
Em Bm Em D Em Bm G
She planned adventure feeling sure that he, would not be home 'til afterrr five.
D Am C Em
He turned on the lights and turned them off again, and said the one thing he could say.
G D
"All these years, where have I been?
Em D C
Well I've been down the road to work and home again.
D G D
And I'm still here, until I'm gone,
Em D C D G G D Em
And don't you rub it in too hard that I've been wrong, all these years."
Bm Em D Em Bm G D
She said "You're not the man you used to be." And he said "Neither is thiiis guy.
Em Bm Em D Em Bm G
She said "There's some things you refuse to see, but I guess sometimes sooo do I."
D Am C Em
She made no excuse why she was lyin' there. She said the one thing she could say.
D G D Em D C
"All these years, what have I done? I made your supper and your daughter and your son.
D G D Em D C
Still I'm here, and still confused, but I can finally see how much I stand to lose.
D G D Em D C
All these years.
D G D Em D C
I'm still here, and sooo confused, but I can finally see how much I stand to lose.
D G D Em D C |G|
All these years.
(Sawyer Brown) (Artist Index) - (Main Index) - (Song Index) (This Song)
ALL TOGETHER NOW - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=73lj5qJbrms (Capo 0)
INTRO: G
D7
One, two, three, four, can I have a little more?
G D G
Five, six, seven eight nine ten, I love you.
D7
A, B, C, D, can I bring my friend to tea?
G |D| G
E, F, G-H-I- J, I love you.
C G
Bom bom bom bompa-bom. Sail the ship. Bompa-bom. Chop the tree.
C D D7
Bompa-bom, skip the rope. Bompa-bom. Look at me. (All together now.)
G
All together now. (All together now.) All together now. (All together now.)
D7 G
All together now. (All together now.) All together now.
D7
Black, white, green, red. Can I take my friend to bed?
G |D| G
Pink, brown, yellow orange and blue, I love you. (All together now.)
D7 G
D7 G
All together now. (All together now.) All together now.
C G
Bom bom bom bompa-bom. Sail the ship. Bompa-bom. Chop the tree.
C D D7
Bompa-bom, skip the rope. Bompa-bom. Look at me. (All together now.)
G
D7 G
All together now. (All together now.) All together now. (All togther now.)
<A little quicker> All together now. (All together now.)
All together now. (All together now.)

D7
G
<Quicker still> All together now. (All together now.)

D7
A7 D7 G |G|
All together nowwwwwwwwwwwwwww. <honk honk>
ALL YOU NEED IS LOVE – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=_7xMfIp-irg (Capo 0)
TIP: The voicing after "easy" is tricky. Begin the last syllable of "easy" with a
double strums of (D) and (G), then a quick (G)-(G)-(D) and three quick (D). Then right
into the next verse or chorus.
TIP: In the outro you need two people. The first sings flat in lower (G) while the
other sings in a higher register. The second person also has the "She loves you" bit.
INTRO: G D G Em C-C D7-D7 <proceed into song>
G D Em G D Em
Love, love, love. Love, love, love.
Am G D7 D C G-G-D, D-D-D
Love, love, love.
G D Em
There's nothing you can do that can't be done.
G D Em
Nothing you can sing that can’t be sung.
Am G D D7
Nothing you can say but you can learn how to play the game.
|D|-|D|, |C|-|C|, |G|-|G|-|D|, |D|-|D|-|D|
It's easy.
G D Em
Nothing you can make that can't be made.
G D Em
No one you can save that can't be saved.
Am G D D7
Nothing you can do but you can learn how to be you in time.
|D|-|D|, |C|-|C|, |G|-|G|-|D|, |D|-|D|-|D|
It's easy.
G A D D-D7-G G A D D-D7-G
All you need is love. All you need is love.
G B7 Em G C D G
All you need is love, love. Love is all you need.
G D Em, G D Em, Am G D7; D C G-G-D, D-D-D
G B7 Em G C D G
D Em
There's nothing you can know that isn't known.
G D Em
Nothing you can see that isn’t shown.
Am G D D7
Nowhere you can be that isn't where you're meant to be.
|D|-|D|, |C|-|C|, |G|-|G|-|D|, |D|-|D|-|D|
It's easy.
G B7 Em G C D G
G A D G A D
All you need is love. (All together now) All you need is love. (Everybody)
G B7 Em G C D G
G
Love is all you need. Love is all you need. (repeat . . .)
Em G D Em G D Em
She loves you yeah yeah yeah, she loves you yeah yeah yeah.
G
Love is all you need. Love is all you need. (repeat . . .)
<one strum> |G|
ALREADY GONE - Eagles
(Tempchin/Strandlund)
https://www.youtube.com/watch?v=SoduRTF9J-o (Capo 0)
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.
INTRO: G, D, C; G D, C
G D C
Well I heard some people talkin' just the other day.
G D C
And they said you were gonna put me on a shelf.
G D C
Let-me-tell-you-I got some news for you, and you'll soon find out it's true,
G D C
And then you'll have to eat your lunch all by yourself.
G D C G D C
'Cause I'm all- all ready gone. And I'm fee - eelin' strong.
G D C G D C
I will sin - ing this vict'ry song, woo hoo hoo, my my, woo hoo hoo.
G D C
The letter that you wrote me, made me stop and wonder why.
G D C
But I guess you felt like you had to set things right.
G D C
Just remember this my girl, when you look up in the sky,
G D C
You can see the stars and still not see the light (that's right).
G D C G D C
And I'm all- all ready gone. And I'm fee - eelin' strong.
G D C G D C
I will sin - ing this vict'ry song, woo hoo hoo, woo hoo hoo.
G D C, G D C, G D C, G D C
G D C
Well I know it wasn't you who held me down.
G D C
Heaven knows it wasn't you who set me free.
G D C
So often times it happens, that we live our lives in chains,
G D C
And we never even know we have the key.
G D C G D C
But me I'm all- already gone. And I'm fee - eelin' strong.
G D C G D C
I will sin - ing this vict'ry song. ‘Cause I’m al- already gone.
G F C G F
Yes I'm allllllll - already gone. And I'm fee - eelin' strong.
C G F C G F
I will sin - ing this vict'ry song. 'Cause I'm al - already gone.
C G F C G F
Yes I'm al - already gone. Al - already gone. All right, nighty-night.
C G F C G F |C|
Al - already gone. Al - already gone.
(Eagles) (Artist Index) - (Main Index) - (Song Index) (This Song)

ALWAYS LOOK ON THE BRIGHT SIDE OF LIFE
Eric Idle
https://www.youtube.com/watch?v=kE186w91YVU (Capo 1)
TIP: Begin the song on the open 2nd string, note <b>.
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 the (F#m) as a barre on
the 2nd fret.
TIP: I included all of Eric Idle's bits at the end which he speaks over the outro. No
reason, other than it's the Pythons. Go on then.
;
|Am| |D| |G| |Em|
Some things in life are bad. They can really make you mad.
|Am| |D| |G|
Other things just make you swear and curse.
|Am| |D| |G| |Em|
When you're chewing an life's gristle, don't grumble, give a whistle.
|Am| |D7|
And this'll help things turn out for the best.
G Em Am7 D7 G Em-Am-D
And, always look on the bright side of life.
Always look on the light side of life.
Am D G Em
If life seems jolly rotten, there's somethin' you've forgotten.
Am D G
And that's to laugh and smile and dance and sing.
Am D G Em
When you're feeling in the dumps, don't be silly chumps.
Am D7
Just purse your lips and whistle - that's the thing.
And always look on the bright side of life. Come on.
Always look on the light side of life.
Am D G Em
For life is quite absurd, and death's the final word.
Am D G
You must always face the curtain with a bow.
Am D G Em
Forget about your sin, give the audience a grin.
Am D7
Enjoy it it's your last chance anyhow.
So always look on the bright side of death. Come on.
Just before you draw your terminal breath.
Am D G Em
Life's a piece of shit, when you look at it.
Am D G
Life's a laugh and death's a joke it's true.
Am D G Em
You'll see it's all a show, keep'em laughing as you go.
Am D7
Just remember that the last laugh is on you.
And always look on the bright side of life.
Always look on the right side of life. (Come on boys, cheer up.)
<key change>
A F#m D E7 A F#m-D-E
Always look on the right side of life.
A F#m D E7 A F#m-D-E
Always look on the bright side of life.
< Repeat and end with |A| >
(Worse things happen at sea, you know. What are you gonna do, you know, you come from
nothing, you're going back to nothing. What have you lost? Nothing! Nothing will come
from nothing, you know what they say? Cheer up you old bugger, come on give us a grin,
there you are. See, it's end of the film. Incidentally this record is available in the
foyer. Some of us got to live as well, you know. They'll dismantle all this in three
weeks. Who pays for this publicly? They won't make their money back. I told them, I
said to them, Bernie, I said, they'll never make that money back.)
(Eric Idle) (Artist Index) - (Main Index) - (Song Index) (This Song)
AMANDA - - Waylon Jennings/Don Williams
(McDill)
https://www.youtube.com/watch?v=R_WjVFhAgCo Waylon Jennings (Capo 0)
https://www.youtube.com/watch?v=U5zTsJ2cZtk Don Williams (Capo 1)
TIP: The lyrics are slightly different between Waylon and Don. This is Waylon's
version. To play Don's version, capo the 1st fret and mentally lower the chords down
one, from (A)(D)(E) to (G)(C)(D).
INTRO: A, A; A, A
D A
I've held it all inward, God knows I've tried.
E A
But it's an awful awakening, in a country boy's life.
D A
To look in the mirror in total surprise,
E A
At the hair on my shoulders and the age in my eyes.
D A E A
Amanda, light of my life. Fate should have made you, a gentleman's wife.
D A E A
A D A, A E A
A D A
It's a measure of people, who don't understand,
E A
The pleasures of life, in a hillbilly band.
D A
I got my first guitar, when I was fourteen.
E A
Well I finally made forty, still wearing jeans.
D A E A
D A E A
A D A, A E A
(Waylon Jennings) (Don Williams) (Artist Index) - (Main Index) - (Song Index) (This Song)
AMARILLO BY MORNING – George Strait
(Stafford/Fraser)
https://www.youtube.com/watch?v=IZBf16B5vhs (Capo 2)
TIP: There's a key change in which you'll be playing the (F#m) from the (D). Two of
your fingers are already on the 2nd fret so just collapse and play a barre.
INTRO: C Em F G, C Em F G7
C Em F C
Amarillo by mornin', up from San Antone.
Em F G7
Everything that I got, is just what I've got on.
F G C Em F
When that sun is high in that Texas sky, I'll be buckin' at the county fair.
C G F G7 C Em F G7
Amarillo by mornin', Amarillo I'll be there.
C Em F C
They took my saddle in Houston, broke my leg in Santa Fe.
Em F G7
Lost my wife and a girlfriend, somewhere along the way.
F G
I'll be lookin' for eight when they pull that gate,
C Em F
And I hope that judge ain't blind.
C G F G7 C Em F Em
Amarillo by mornin', Amarillo's on my mind.
<key change>
D F#m G D
Amarillo by mornin', up from San Antone.
F#m G A
Everything that I got, is just what I've got on.
G A D F#m G
I ain't got a dime but what I got is mine. I ain't rich, but Lord I'm free.
D A G A7 D
Amarillo by mornin', Amarillo's where I'll be.
G-A7 D A G A7 D
Amarillo by mornin', Amarillo's where I'll be.
D F#m G A, D F#m G A, D F#m G A, D
(George Strait) (Artist Index) - (Main Index) - (Song Index) (This Song)
AMAZING GRACE – Traditional/Judy Collins
(Newton)
https://www.youtube.com/watch?v=AtteRD5bBNQ (Capo 1)
TIP: So many versions and ways to sing this song. This is Judy's version and she likes
to stretch out the syllables. The lyric pacing reflects that. Also pretty in [A] using
(A),(D),(E) - capo 6 to match Judy, or in [C] using (C)(F)(G) - capo 3 to match Judy.
D G D A
A-a-ma, zi-ing Grace, how sweet, the sound, tha-at saved, a-a-a wretch, li-ike me.
D G D A D
I-I once, was lost, bu-ut now, I'm found. Wa-as blind, bu-ut now, I see.
G D A
T'wa-as Grace, that taught, my heart, to fear. A-and Grace, my fears, relieved.
D G D A D
Ho-ow prec, ious did, tha-at Grace, appear, the-ee hour, I-I first, believed.
G D A
Throu-ough man, y-y dan, gers toils and snares, we-ee have, al-alread, dy-y come.
D G D A D
T'wa-as Grace, that brought, us safe, thus far, a-and Grace, will-ill lead, us home.
G D A
Whe-en we've, be-en there, ten thou, sand years, bright shine-, -ing as, the sun.
D G D A D
We've no, less days, to-oo sing, God's praise, the-en when, we've first, begun.
D G D A
A-a-ma, zi-ing Grace, how sweet, the sound, tha-at saved, a-a-a wretch, li-ike me.
D G D A G D
I-I once, was lost, bu-ut now, I'm found. Wa-as blind, bu-ut now, I see-ee-ee.
(Traditional)(Spiritual)(Judy Collins) (Artist Index)

AMAZING JOURNEY - The Who
(Townshend)
https://www.youtube.com/watch?v=d9U-7GdvuEc (Capo 0)
TIP: A little messy but not too bad once you go over it once or twice. Lots of Pete
Townshend one-strum anchor chords. Strike chords in |brackets| just once and be prepared
to move quickly to the next verse. Think of the song in your head as you're playing.
TIP: The quick |C|-(G) that starts each line is correct but the |C| can be skipped if
it's easier.
TIP: In the bridge you'll play (Dm) and then (D4) so just keep formation and add pinky
to bottom string and release to get back to (Dm). Finally you'll play (D#) which is just
(D) up one fret, followed by another (D) so just slide back down.
TIP: Opening note to sing is the <b> (open 2nd string).
INTRO: |C|-|G|, |A|-|E|, |D|-|A|, |D|-|A|;
|C|-|G|, |A|-|E|, |D|-|A|, |D|-|A|, |D|-|A|, |D|-|A|
|C|-G A E D A |D|-|A|
Deaf dumb and blind boy he's in a quiet vibration land.
|C|-G A E A |D|-|A|
Strange as it seems, his musical dreams, ain't quite so bad.
|G|, |E|; |A| |A|-|D|, |A| |A|-|D|; |G|, |E|; A
|C|-|G|, |A|-|E|, |D|-|A|; |C|-|G|, |A|-|E|, |D|-|A| |D|-|A|
|C|-G A E D A |D|-|A|
Ten years old, with thoughts as bold, as thoughts can be.
|C|-G A E D A |D|-|A|
Loving life, and becoming wise, in simplicity.
Dm D4 Dm Em E
Sickness can surely take the mind, where minds can't usually go.
D# D D4 D
Come on the amazing journey, and learn all you should know.
G D
A vague haze of delirium creeps up on me.
G D
All at once a tall stranger I suddenly see.
G D
He's dressed in a silver sparked glittering gown,
G D F
And his golden beard flows nearly down to the ground.
|A|-|E|, |D|-|A|, |D|-|A|
|C|-|G|, |A|-|E|, |D|-|A|, |D|-|A|, |D|-|A|, |D|-|A|
|C|-G A E D A D A
Nothing to say, nothing to hear, nothing to see.
|C|-G A E D A D A
Each sensation makes a note in my symphony.
|G|, |E|; |A| |A|-|D|, |A| |A|-|D|; |G|, |E|; A
Dm D4 Dm Em E
Sickness can surely take the mind, where minds can't usually go.
D# D D4 D
Come on the amazing journey, and learn all you should know.
G D
His eyes are the eyes that transmit all they know.
G D
Sparkle warm crystalline glances to show.
G D
He is your leader, he is your guide,
G D F
On the amazing journey together you'll ride.
|A|-|E|, |D|-|A|, |D|-|A|;
|C|-|G|, |A|-|E|, |D|-|A|, |D|-|A|, |D|-|A|, |D|-|A|
(The Who) (Artist Index) - (Main Index) - (Song Index) (This Song)
AMERICA THE BEAUTIFUL – Traditional
(Bates/Ward)
D7 G D D7 G
O beautiful for spacious skies, for amber waves of grain.
D7 G D A7 D
For purple mountain majesties, above the fruited plain.
D7 G D7 G D7 G
A merica. America. God shed his grace on thee.
C G C D7 G
And crown thy good with brotherhood from sea to shining sea.
D7 G D D7 G
O beautiful for pilgrim feet, whose stern impassioned stress.
D7 G D A7 D
A thoroughfare for freedom beat, across the wilderness.
D7 G D7 G D7 G
A merica. America. God mend thine every flaw.
C G C D7 G
Confirm thy soul in self-control, thy liberty in law.
D7 G D D7 G
O beautiful for heroes proved, in liberating strife.
D7 G D A7 D
Who more than self their country loved, and mercy more than life.
D7 G D7 G D7 G
A merica. America. May God thy gold refine,
C G C D7 G
Til all success be nobleness, and every gain divine.
D7 G D D7 G
O beautiful for patriot dream, that sees beyond the years.
D7 G D A7 D
Thine alabaster cities gleam, undimmed by human tears.
D7 G D7 G D7 G
A merica. America. God shed his grace on thee,
C G C D7 G
And crown thy good with brotherhood, from sea to shining sea.
(Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)

AMERICAN GIRL - Tom Petty & the Heartbreakers
(Petty)
https://www.youtube.com/watch?v=SIhb-kNvL6M (Capo 0)
TIP: For the intro start by strumming (D) for six bars. Then for each subsequent chord
it's a strike, centered on a particular note (all on the 4th string), and a strum for two
bars. So after the initial (D) the next (D) is the initial strike at the <f> (4th
string/4th fret). Then it's the (E) aiming for the <e> (4th string/2nd fret), then the
(G) aiming for the <d> (open 4th string), and ending with the (A) aiming again for the
<e> (4th string/2nd fret). Repeat this sequence a second time.
TIP: The body of the song is all about cadence. Because of Tom's strumming pattern,
notice in most cases the first chord of the next sentence is started right after the last
word of the previous one.
TIP: For the outro you repeat the intro but then there's a change in the strumming
pattern (actually it's a second guitar) for the middle part in which the cadence goes
kind of 1, 2-3, 4-5-6 for each chord, especially emphasizing the bottom treble strings on
the (D). This strum pattern repeats and then returns to the rapid strum of the intro
through the fade.
INTRO: <Strum> D D D D D D D
<then> D . . . E . . . G . . . A . . . D . . . E . . . G . . . A . . .
D E7 G A D
Well she was an American girl, raised on promises.
E7 G A
She couldn't help thinkin' that there was a little more to life, somewhere else.
D G Em
After all it was a great big world, with lots of places to run to.
A G
Yeah-and-if-she-had-to-die, trying she, had one little promise she was gonna kee-ep.
A D Bm G
Oh yeah, alright. Take it easy baby, make it last all night.
A D D D D
She was, an American girl.
E7 G A D
Well it was kind of cold that night. She stood alone on her bal-con-ny.
E7 G
Yeah she could hear the cars roll by out on four forty-one,
A
Like waves, crashin' on the beach.
D G Em A
And for one desperate moment there, he crept back in her memory.
G
God it's so painful something that's so close, and still, so, far out of reach.
A D Bm G
Oh yeah, alright. Take it easy baby, make it last all night.
A D
She was, an American 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 D
D D D D D D
D . . . E . . . G . . . A . . . ; D . . . E . . . G . . . A . . .
D . . . E . . . G . . . A . . . ; D . . . E . . . G . . . A . . .
D . . . E . . . G . . . A . . . ; D . . . E . . . G . . . A . . .
<repeat and finish with a> |D|
(Tom Petty) (Artist Index) - (Main Index) - (Song Index) (This Song)
AMERICAN MADE - Oak Ridge Boys
(DiPiero/McManus)
https://www.youtube.com/watch?v=Zxq8n9fcXqI (Capo 1)
INTRO: G
(NC) C G
Seems everything I buy these days, has got a foreign name.
C D
From the kind of car I drive, to my video game.
C G
I got a Nikkon camera, a Sony color T. V.
C D G
But the one that I love is from the U.S. A. and standing next to me.
D
My baby is American made. Born and bred in the U.S.A.
G D G
From her silky long hair to her sexy long legs, my baby is American made.
C G
She looks good in her tight blue jeans, she bought in Mexico.
C D
And she loves wearing French perfume, everywhere we go.
C G
But when it comes to the lovin' part, one thing is true.
C D G
My baby's genuine U.S. A., red white and blue.
D
G D G
D
G D G
D
G D G
D
G D G
G D G D G-C G D G
(Oak Ridge Boys) (Artist Index) - (Main Index) - (Song Index) (This Song)
AMERICAN PIE
Don McLean
https://www.youtube.com/watch?v=iX_TFkut1PM (Capo 0)
TIP: Wherever you see a chord in vertical brackets - |Am| - means strum just once at
that position.
TIP: February 3rd, 1959. (The day the music died.)
|G| |D| |Em| |Am| |C| |Em} D

A long long time ago, I can still remember how that music, used to make me smile.
|G| |D| |Em| |Am| |C|
And I knew if I had my chance, that I could make those people dance
|Em| |C| |D|
And maybe they’d be happy for a while.
|Em| |Am| |Em| |Am|

But February made me shiver, with every paper I'd deliver.
|C| |G| |Am| |C| |D|
Bad news on the doorstep, I couldn't take one more step.
|G| |Em| |C| |D|
I can't remember if I cried when I read about his widowed bride.
|G| |D| |Em| |C| |D| |G|
Something touched me deep inside, the day, the music, died.
G C G D G C G D
So bye bye Miss American Pie drove my Chevy to the levee but the levee was dry.
G C G D
And them good ol’ boys were drinking whiskey and rye singin'
|Em| |A| |Em| D
This'll be the day that I die. This’ll be the day that I die.
Am C Am
Did you write the book of love and do you have faith in God above,
Em D
If the Bible tells you so?
G D Em Am C
Now do you believe in rock and roll can music, save your mortal soul and,
Em A7 D
Can you teach me how to dance real slow?
|Em| |C| |Em| |C|

Well I know that you're in love with him cause I saw you dancin' in the gym.
C Am C D
You both kicked off your shoes, man I dig those rhythm and blu-ues
G Em Am C
I was a lonely teenage broncin' buck, with a pink carnation and a pickup truck.
G D Em C D G C G D
But I knew I was out of luck the day, the mu-sic died. I started singin'
G C G D G C G D
Bye bye Miss American Pie drove my Chevy to the levee but the levee was dry.
G C G D |Em| |A|
Them good ol’ boys were drinking whiskey and rye singin' this’ll be the day that I die.
|Em| D
This'll be the day that I die.
G Am C Am
Now for ten years we've been on our own and moss grows fat on a rolling stone but,
Em D
That's not how it used to be.
G D Em Am C
When the jester sang for the king and queen in a coat, he borrowed from James Dean
Em A A7 D
And a voice, that came from you and me.
|Em| |C| |Em| |C|

Oh and while the king was looking dow-own the jester stole his thorny crown.
C Am C D
The courtroom was adjourned, no verdict was returned.
G Em Am C
And while Lennon read a book on Marx, the quartet practiced in the park,
G Em C D G C G D
And we sang dirges in the dark the day, the mu-sic died. We were singin'
G C G D G C G D
G C G D |Em| |A|
Them good ol’ boys were drinking whiskey and rye singin' this’ll be the day that I die.
|Em| D
This'll be the day that I die.
G Am C Am
Helter skelter in a summer swelter the birds, flew off with a fallout shelter.
Em D G Em
Eight miles high and falling faaaaaaaasss-st it landed foul on the grass,
Am C Em A D D
The players tried for a forward pass with the jester, on the sidelines, in a cast.
|Em| |D| |Em| |D|

Now the half-time air was, sweet perfume while the sergeants played a marching tune.
C Am C D
We all got up to dance ohhhh but we, never got the chance.
G Em Am C
Cause the players tried to take the field, the marching band refused to yield.
G Em C D G C G D
Do you recall what was revealed the day, the mu-sic died? We started singin'
G C G D G C G D
G C G D
Them good ol’ boys were drinking whiskey and rye singin'
|Em| |A| |Em| D
This’ll be the day that I die. This’ll be the day that I die.
G Am C Am
Ohhhh and there we were all in one place, a generation lost in space with
Em C D
No time left to start again.
G Em Am C Em
So come on, Jack be nimble, Jack be quick, Jack Flash sat on a candlestick cause,
A D
Fire is the devil's only friend.
|Em| |D| |Em| |D|

Ohhhh and as I watched him on the stage my hands were clenched in fists of rage,
C G Am C D
No angel born in Hell, could break that Satan's spell.
G D Em Am C
And as the flames climbed high into the night, to whom light the sacrificial rite I saw
G Em C D G C G D
Satan laughing with delight the day, the mu-sic died. He was singin'
G C G D G C G D
G C G D
Them good ol’ boys were drinking whiskey and rye singin'
|Em| |A| |Em| D
This’ll be the day that I die. This’ll be the day that I die.
|G| |D| |Em| |Am| |C|

I met a girl who sang the blues, and I asked her for some happy news,
|Em| |D|
But she just smiled and turned away.
|G| |D| |Em| |Am| |G| |Am| |C|
I went down to the sacred store, where I'd heard the mu-sic, years before,
|Em| |C| G D
But the man there, said the music, wouldn't pla-y.
|Em| |Am| |Em| |Am|

And in the streets the children screamed, the lovers cried and the poets dreamed.
|C| |Am| |C| |D|
But not a word was spoken, the church bells all were broken.
|G| |D| |Am| |D|
And the three men I admire most, the Father Son and, the Holy Ghost,
|G| |G| |Em| |C| |D7| |G|
They caught the last train for the coast, the day, the mu-sic died.
(NC)
And they were singin'
G C G D G C G D
<gently> Bye bye Miss American Pie drove my Chevy to the levee but the levee was dry.
G C G D
And them good ol’ boys were drinking whiskey and rye singin'
|Em| |A| |Em| D7
This’ll be the day that I die. This’ll be the day that I die. They were singin’
G C G D G C G D
G C G D C D G C G
Them good ol boys were drinking whiskey and rye singin' this’ll be the day that I die.
(Don McLean) (Artist Index) - (Main Index) - (Song Index) (This Song)
AMERICAN TRILOGY – Elvis Presley
(Traditional/arr. Newbury)
https://www.youtube.com/watch?v=5MIpi12x4hA (Capo 0)
TIP: There's a little instrumental interlude before the final chorus. It repeats the
chords "Oh I wish I was . . . " followed by a three stroke cresendo. For the lone
(Fmaj7) at the end just lift off the pinky from the mini-barre on the bottom string of
the first fret.
TIP: Note the single (Gm) in the transition verse. Simple barre of the 3rd fret.
INTRO: <single strum> |C|
Em F D7
Oh I wish I was, in the land of cotton. Old things they are not forgotten.
C Am G C
Look away, look away, look away, Dixieland.
F D G
Oh I wish I was in Dixie, away, away.
C F C G
In Dixieland I take my stand to live and die in Dixie.
C F D7
'Cause Dixieland, that's where I was born. Early Lord one frosty morn’.
C Am G C
Look away, look away, look away, Dixieland.
F C
Glory glory, halleluuuujah. Glory glory, hallelujah.
E7 Am F Dm G Am F C C
Glory glory, halleluuuuujah. His truth, is, mar, ching, on.
Gm C Am F
So hush, little baby, don't you cry. You know your daddy's, bound to die.
C Am Dm G7 C
But alll-llll, my trials Lord, soon will be over.
C C, F F, C Am G C; C-G-F, C
E Am F Dm G Am F
Glory glory, halleluuuujah. His truth, is, mar, ching, on-on.
Dm F Fmaj7 C |C|
His truth, is, mar-ching onnnnnn.
(Elvis Presley) (Spiritual) (Artist Index) - (Main Index) - (Song Index) (This Song)
AMIE - Pure Prairie League
(Fuller)
https://www.youtube.com/watch?v=lPgNbFni0oI (Capo 0)
TIP: For the intro, pick the 3rd string letting it rest on the 2nd string and then
continue strumming the bottom strum strings with a downstroke. Do this 8 times. Then
it's measure of (A) and a second measure of (A) ending on the (E). Then four measures of
(A). Then pick the 5th string and strum |A| once, etc. This last voicing repeats after
the chorus.
INTRO: 3-A x 8; A A, A E; A A A A, 5-|A|, G D A |A|, G D
A D A G D
I can see why you think you belong to me.
A D A D
I never tried to make you think or let you see one thing for yourself.
C D
But now you're off with someone else and I'm alone.
C E E E
You see I thought that I might keep you for my owwwwwwwn.
A G D A
Amieeeee what you want to dooo?
G D Bm E E
I think I could stay with you, for a while maybe longer if I dooooo.
A |A|, G D A |A|, G D
A D A G D
Don't you think the time is right for us to find,
A D A D
All the things we thought weren't proper could be right in time and can you see?
C D
Which way we should turn together or alone.
C E
I can never see what's right or what is wronnnnng. Will it take to long to see?
A G D A
Amieeeee what you want to dooo?
G D Bm E E
A |A|, G D A |A|, G D
A G-D, A G-D, A G A A D D C C D D C C E E E
E A G D A
Wellll, Amieeeee what you want to dooo?
G D Bm E A |A|, G D
A D A G D
Now it's come to what you want you've had your way.
A D A D
And all the things you thought before just faded into gray and can you see?
C D
That I don't know if it's you or if it's me.
C E
If it's one of us I'm sure we'll both will seeeee. Won't you look at me and tell me?
A G D A G D
Amieeeee what you want to do-oo? I think I could stay with you
Bm E
For a while maybe longer if I longer if I dooo yeah now
A G D A G D
Amieeeee what you want to do-oo? I think I could stay with you,
Bm E
For a while maybe longer if I longer if I doooo I keep
A D A D A
Fallin' in and out of love with you. Fallin' in and out of love with you.
D
Don't know what I'm gonna doooo-ooo I keep,
A D F Dm A |A|
Fallin' in and out of loooove with you-oo- oo- ooooooooh.
(Pure Prairie League) (Artist Index) - (Main Index) - (Song Index) (This Song)
AND THE BAND PLAYED WALTZING MATILDA - John McDermott
(Bogle)
https://www.youtube.com/watch?v=VktJNNKm3B0 (Capo 2)
(On April 25th, 1915, as part of the British Empire, troops from Australia and New
Zealand landed at Anzac Cove in Gallipoli, Turkey. By the time of their withdrew at the
end of the year they had suffered over 35,000 dead and wounded.)
INTRO: G G G G
C G Em G D G
Now when I was a young man, I carried me pack, and I lived the free life of a rover.
C G Em G D G
From the Murray's green basin, to the dusty Outback, I waltzed, my matilda, all over.
D C G
Then in 1915, my country said "Son,
D C G
It’s time to stop ramblin’, there’s work, to be done.”
C G Em |Em| G D G
So they gave me a tin hat, and they gave me, a gun, and they sent me away to the war.
C G C D
And the band, played Waltzing Matilda, as our ship, pulled away from the quay.
C G C G D G
And amid all the cheers, flag wavin' and tears, we sailed off, to Gal-lipoli.
C G Em
Well, I remember, that terr-ible day,
G D G
When our blood, stained the sand and the water.
C G Em
And how, in that hell that they called Suvla Bay,
G D G
We were butchered, like lambs at the slaughter.
D C G
Johnny Turk, he was ready, aye he primed himself well.
D C G
He rained us with bullets, and shot out with shell.
C G Em |Em|
And in five minutes flat, we were all blown to hell.
G D G
Nearly blew us, back home, to Australia.
C G C D
But the band, played Waltzing Matilda, as we stopped, to bury our slain.
C G C G D G
We, buried ours, and the Turks, buried theirs, then we started, all over, again.
C G Em
Those who were living, just tried to survive,
G D G
In a mad world, of blood, death, and fire.
C G Em
And for ten, weary weeks, I kept myself alive,
G D G
While around me, the corpses, piled higher.
D C G
Then a big Turkish shell, knocked me arse, over head.
D C G
And when, I awoke, in me hospital bed,
C G Em
I saw what, it had done, and I wished I were dead.
G D G
I never knew, there were worse things, than dyin'.
C G C D
For I'll go no more Waltzing Matilda. All around the green bush, far and near.
C G C G D G
For to hump tent, and pegs, a man needs both legs. No more Waltzing, Matilda, for me.
C G Em
They collected the crippled, the wounded, the maimed,
G D G
And they shipped us, back home, to Australia.
C G Em
The armless, the legless, the blind, the insane.
G D G
Those proud, wounded heroes, of Suvla.
D C G
And as our ship pulled into Circular Quay,
D C G
And I looked at the place, where my legs, used to be,
C G Em |Em|
I thanked Christ, there was no one there waiting, for me,
G D G
To grieve, and to mourn, or to pity.
C G C D
And the band played Waltzing Matilda. As they carried us down the gangway.
C G C
But nobody cheered, they just stood there and stared,
G D G
And they turned all their faces away.
C G Em G D G
So now, every April, I sit on my porch, and I watch, the parade pass before me.
C G Em G D G
I see my old comrades, how proudly they march. Renewing their dreams, of past glories.
D C G
I see the old men, all tired stiff and sore.
D C G
The weary old heroes, of a forgotten war.
C G |Em|
And the young people ask, "What are they marching for . . . ?"
G D G
And I ask, myself the same question.
C G C D
And the band played Waltzing Matilda. And the old men, still answer the call.
C G C G D7 G
But year after year, the numbers grow fewer. Someday no one, will march there, at all.
<pause>
|G| |C| |G| |Em| |D|

Waltzing Matilda, Waltzing Matilda, who'll come a Waltzing, Matilda with me?
|G| |D| |C| |Em|
And their ghosts, may be heard, as you past by, the billabong.
|G| |Em| |Am| |D| |G| |G|
Who'll come a Waltzing, Matilda, with me?
(John McDermott) (Artist Index) - (Main Index) - (Song Index) (This Song)
ANGEL FLYING TOO CLOSE TO THE GROUND
Willie Nelson
https://www.youtube.com/watch?v=3_cEMvRwyRE (Capo 2)
TIP: The first chord comes at the (Bm) on "fallen" but to prepare for the opening note
on which to begin the song, it's <g> (bottom string/3rd fret). You can pick it softly or
strum (G) softly.
(NC) Bm C G
If you had not have fallen. Then I would not have found you.
C D G D
Angel flying too close, to the ground.
G Bm C G
And I patched up your broken wing, and hung around a while.
A A7 D D7
Trying to keep your spirits up, and your fever down.
G Bm C
I knew someda-ayyy that you, would fly away.
A A7 D D7
For love's the greatest healer, to be found.
G Bm C
So leave me if you need to. I will still remember.
G D G D7
Angel flying too close, to the ground.
G Bm C G, C D G D, G Bm C G, A A7 D G
Bm C
So fly on, fly on past, the speed of sound.
A D D7
I'd rather see you up, than see you down.
G Bm C
So leave me if you need to. I will still remember.
G D G D
Angel flying too cloooose, to the ground.
G Bm C
Leave me, if you need to. I will still remember.
G D C G
Angel, flying too close, to the ground.
(Willie Nelson) (Artist Index) - (Main Index) - (Song Index) (This Song)
ANGEL FROM MONTGOMERY - John Prine & Bonnie Raitt
(Prine)
https://www.youtube.com/watch?v=q3qr4xi0RTk (John) (Capo4)
https://www.youtube.com/watch?v=1T5NuI6Ai-o (John & Bonnie) (Capo 2)
[Two versions here, one John playing solo from 2018 and a duet with Bonnie Raitt. The
intro and instrumental bridges are a little different, and Bonnie reverses "thunder" and
"lightning" in the first verse. Bonnie also plays a (C) instead of an (A) in the last
line of the verse.]
TIP: <Rake> means to strum once slowly downward from the 6th string to the 1st string.
INTRO <John>: <rake> |D|, D D C G D, D C G D, D C G D, D G A D
INTRO <John & Bonnie>: D G D G D G D G D
G D G
I am an old woman, named after my mother.
D G A D D
My old man is another, child that's grown old.
G D G
If dreams were lightnin', and thunder were desire,
D G A D
This old house would have burnt, down a long time ago.
C G D
Make me an angel, that flies from Montgomery.
C G D D
Make me a poster, of an old rodeo.
C G D
Just give me one thing, that I can hold onto.
G A D D G
To believe in this livin' is just a, hard way to go.
D G D G
When I was a young girl, I had me a cowboy.
D G A D D
He wadn't much to look at, just free ramblin' man.
G D G
But that was a long time, and no matter how I try,
D G A D D
The years just flow by, like a broken down dam.
C G D
C G D D
C G D
G A D
<John> D G D G, D G A D, D G D G, D G A D
<John & Bonnie> G D G D G D G D
G D G
There's flies in the kitchen, I can hear 'em they're buzzin'.
D G A D D
And I ain't done nothin', since I woke up today.
G D G
How the hell can a person, go to work in the mornin',
D G A D D
And come home in the evenin', and have nothing to say?
C G D
C G D D
C G D
G A D
|G| |A7| |D| D |D|
To believe in this <rake> livin' is just a <rake> harrrd way, to, <rake> go.
(John Prine) (Bonnie Raitt) (Artist Index) - (Main Index) - (Song Index) (This Song)
ANGEL OF THE MORNING – Juice Newton
(Taylor)
https://www.youtube.com/watch?v=HTzGMEfbnAw (Capo 1)
INTRO: Em C, D Em; C C D-G G C C D D D
G D C G C D C
There'll be no strings to bind your hands, not if my love can't bind your hearrrt.
G D C G C D
There's no need to, take a stand, for it was I who chose to starrrt.
|C|-|G|-|Am| C D Am C D
I see no need to, take me home. I'm old enough to face the dawn.
G C D C D G C D C D
Just call me angel of the morning angel. Just touch my cheek before you leave me, baby.
G C D C D C G C D C
Just call me angel of the morning angel. Then slowly, turn away, from me.
G D C G C D C
Maybe the sun's light will be dim, and it won't matter any howwww.
G D C G C D
If morning's echo says we sinned, well it was what I wanted nowww.
|C|-|G|-|Am| C D Am C D
And if we're victims of the night, I won't be blinded by the liiiight.
G C D C D G C D C D
Just call me angel of the morning angel. Just touch my cheek before you leave me, baby.
G C D C D
Just call me angel of the morning angel.
C G G C G
Then slowly turn away. I won’t, beg you to stay, with me.
C G G C G C G D
Through the tears, of the day, of the years. <hold> . . . Ba-ay-ay-by.
G C D C D
G C D C D
Just touch my cheek before you leave me, baby.
G C D C D
G C D C D
Just touch my cheek before you leave me, darlin’.
G C D C D
G C D Cmaj7 G
Just touch my cheek before you leave me, dar – ar -lin’.
C D C-D, G C D C-D, G C D C-D, |G|
(Juice Newton) (Artist Index) - (Main Index) - (Song Index) (This Song)
ANGIE - The Rolling Stones
(Richards/Jagger)
https://www.youtube.com/watch?v=K5_EBAzIPJM (Capo 0)
INTRO: Am, E E-E7, G F F C, G
Am E E7 G F C
Angie, Angie, when will those clouds all disappear-ar?
Am E E7 G F C
Angie, Angie, where will it lead us from here-ere?
G Dm Am C F G
With no loving in our souls, and no money in our coats, you can't say we're satisfied.
Am E E7 G F C
But Angie, Angie, you can't say we never tri-ied?
Am E E7 G F C
Angie, you're beautiful, yeah. But ain't it time we said goodbye-eye?
Am E E7 G F C
Angie, I still love you, remember all those nights we cri-ied?
G Dm Am
All the dreams we held so close, seemed to all go up in smoke.
C F G Am E G F C
Let me whisper in your ear: "Angie, Angie, where will it lead us, from here-ere?"
Am E E7, G F C; Am E E7, G F C
G Dm Am
Ohhh Angie don't you weep, all your kisses still taste sweet.
C F G
I hate that sadness in your eyes.
Am E E7 G F C
But Angie, Angie, ain't it time we said goodbye-eye?
Am E E7, G F C
G Dm Am C F G
With no loving in our souls, and no money in our coats, you can't say we're satisfied.
Dm Am Dm Am
But Angie, I still love you baby. Everywhere I look, I see your eyes.
Dm Am C F G
There ain't a woman that comes close to you. Come on baby dry your eyes.
Am E E7 G F C
Angie, Angie, ain't it good to be ali-ive?
Am E E7 G F |C|
Angie, Angie, they can't say we never tri-ied.
(The Rolling Stones) (Artist Index) - (Main Index) - (Song Index) (This Song)
ANIMAL INSTINCT – The Cranberries
(O’Riordan/Hogan)
https://www.youtube.com/watch?v=ky4CdN0x58A (Capo 0)
TIP: It the first part of the first and second lines of the verse, the melody descends
and then climbs. For example, in the first line you begin the descent on (Am7), bottom
out on “happened” and then climbing to the (C) on “me.” So the first note and the last
note are both <e>. If you don’t sing it this way the (C) will sound off.
TIP: Dolores drags the syllable on “reality” and “away” in the second verse so hold the
(D) through the word and move to the (Em) at the very last moment.
TIP: At the end are inflection cues, i.e. <up> in which Dolores sings “animal.”
INTRO: Em Am7 C D, Em Am7 C D Em
Am7 C D Em
Suddenly something has happened to me, as I was having my cup of tea.
Am7 C D Em
Suddenly I was feeling depressed. I was utterly and totally stressed.
Am C D
Do you know you made me cry ee-eye-eye? Whoa oh.
Am7 C D
Do you know you made me die ee-eye-eye?
Em Am7 C D
And the thing that gets to me, is you'll never really see.
Em Am7 C D G
And the thing that freaks me out, is I'll always be in dou-oubt.
D Em D G
It is the lovely thing that we have. It is the lovely thing that we-ee.
D C D
It is the lovely thing. The animal, the animal instinct.
Em Am7 C D
Woo hoo hoo, woo hoo hoo, woo hoo hoo ooh.
Em Am7 C D Em
Am7 C D Em
So take my hands and come with me, we will change reality-y.
Am C D Em
So take my hands and we will pray, they won't take you away-ay.
Am C D
They will never make me cry ee-eye-eye. No oh ohh.
Am7 C D
They will never make me die ee-eye-eye.
Em Am7 C D
And the thing that gets to me, is you'll never really see.
Em Am7 C D
And the thing that freaks me out, is I'll always be in doubt.
Em Am7 C D
The animal, the animal, the animal instinct in me.
Em Am7 C D
It's the animal, the animal, the animal instinct in me.
Em Am7 C D
<up> It's the animal, it’s the animal, the animal instinct in me.
Em Am7 C D
<up> It's the animal, it’s the animal, it’s the animal instinct in me.
Em Am7 C D
The animal, the animal, the animal instinct in me.
Em Am7 C D Em
<up> It's the animal, it’s the animal, it’s the animal instinct in me-ee.
Am7 C D, Em Am7 C D, Em Am7 C D, Em Am7 C D, |Em|
(The Cranberries) (Artist Index) - (Main Index) - (Song Index) (This Song)
ANKLE DEEP
Tom Petty
https://www.youtube.com/watch?v=Ue9UYWSX9hw (Capo 0)
INTRO: C, C, C, C,
G C F C
Well they raised, that horse, to be a jumper. He was owned by a Midwest bible thumper.
F Am G C
His preacher was a Louisiana drummer. Took all winter, to get through the summer.
G C F C
The fieldhand, hit the switch, and stumbled. Outside, the big engine roared and rumbled.
F Am
The sto, len horse, spooked, and tumbled.
G C
She didn't speak, for a week, just kinda mumbled.
Am Em Am G
Ankle deep, in love. Ankle deep, in love.
C G C, F C, G C, C C C C, C C C C
Am Em Am G
C G C F C
He was caught up, in a lie, he half believed. Found her hiding high in the family tree.
F Am G C
Washed his hands, and put her cross his knee. She said "Daddy, you been a mother to me."
Am Em Am G
Am Em Am G
C C C C, C C C |C|
ANNIE’S SONG
John Denver
https://www.youtube.com/watch?v=RNOTF-znQyw (Capo 0)
INTRO: D
G A Em G D
You fill up me senses, like a night in a forest.
A G A Em G A
Like the mountains in springtime, like a walk in the rain.
G A Bm G D
Like a storm in the desert, like a sleepy blue ocean.
A G A E A D
You fill up my senses, come fill me again.
G A Em G D
Come let me love you. Let me give my life to you.
A G A Em G A
Let me drown in your laughter, let me die in your arms.
A G A Bm G D
Let me lay down beside you, let me always be with you.
A G A Em A D
Come let me love you, come love me again.
D G A Em, G D A Em, A G A Em, G A, A G A Em
G D A G A Em A D
Let me give my life to you. Come let me love you, come love me again.
G A Em G D
You fill up me senses, like a night in a forest.
A G A Em G A
Like the mountains in springtime, like a walk in the rain.
A G A Em G D
Like a storm in the desert, <gently> like a sleepy blue ocean.
A G A Em A D |D|
You fill up my senses, come fill me again.
(John Denver) (Artist Index) - (Main Index) - (Song Index) (This Song)
ANOTHER DAY
Paul McCartney
https://www.youtube.com/watch?v=vH6v9JS26xc (Capo 0)
TIP: A little tricky in spots but give it a try. Most of the sequence tips are nuances
and can be ignored without effect. Also, while the chorus is jumpy don't rush the
verses. Keep the cadence down or you'll play it too fast.
TIP: For the (A)(A)(D) sequence, strum the (A) seven times, aiming for the middle
strings, and then hit (D).
TIP: Where you see (strum Em quickly) use rapid downstrokes on the top 3 or 4 strings
and then a full strum with the bottom string for the first (E) of the bridge on "Ahhh".
TIP: When you see <slap> just palm the strings against the lower fret board.
TIP: The verse with (D)(Daug) 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
(Daug), and then to play the (Bm) just slide the pinky up to the 4th fret (same string).
Then move on to the (B7).
G B7
Every day she takes a morning bath she wets her hair.
Em Am D G
Wraps a towel around her as she’s heading for the bedroom chair. It’s just another day.
C G C G C G A A A D
Slipping into stockings, stepping into shoes, dipping in the pocket of her raincoat.
G
It’s just another day.
B7
At the office where the papers grow she takes a break.
Em Am
Drinks another coffee and she finds it hard to stay awake.
D G C Am
It’s just another day. Du du du du du du.
D G E7 Am D G G D Em
It’s just another day. Du du du du du du. It’s just another day.
C A C Em
So sad, so sad. Sometimes she feels, so sad.
C A C Em
Alone in her apartment she’d dwell, til the man of her dreams comes to break, the spell.
<strum Em quickly> E Am7 D Daug Bm

Ahhhhh, stay, don’t stand her up, and he comes, and he stays,
B7 Em C A C Em <slap>
But he leaves the next day. So sa-ad. Sometimes she feels, so sad.
G B7
As she posts another letter to the sound of five,
Em Am
People gather ’round her and she finds it hard to stay alive. D G
C Am
It’s just another day. Du du du du du du.
D G E7 Am D G G D Em
It’s just another day. Du du du du du du. It’s just another day.
C A C Em
So sad, so sad. Sometimes she feels, so sad.
C A C Em
Alone in her apartment she’d dwell, til the man of her dreams comes to break, the spell.
<strum Em quickly> E Am7 D Daug Bm

Ahhhhh, stay, don’t stand her up, and he comes, and he stays,
B7 Em C A C Em <slap>
But he leaves the next day. So sa-ad. Sometimes she feels, so sad.
G B7
Every day she takes a morning bath she wets her hair.
Em Am D G
Wraps a towel around her as she’s heading for the bedroom chair. It’s just another day.
C G C G C G A A A D
Slipping into stockings, stepping into shoes, dipping in the pocket of her raincoat.
G C Am D G E7 Am
It’s just another day. Du du du du du du. It’s just another day. Du du du du du du.
D G F C |G|
It’s just another day- -ay.
(Paul McCartney) (Artist Index) - (Main Index) - (Song Index) (This Song)
ANTS ON A LOG – Randy Travis
(Ewing/Kees)
https://www.youtube.com/watch?v=-_nek-pMz0w& (Capo 0)
NC D D A A
Ants on a log, floatin' down a river.
D A
Runnin' arouuund but not gettin' anywhere.
D D A A
Powersteerin' wheels, just ain't connected.
G D
And we can't jump off like flees on a dog,
G D
Can't fly away like flies on a hog,
G A D D |D|
We're really just along for the ride like ants on a log.
D A A
I got an uncle, he plays a game he can't win it.
D D
He's got a mold tries to fit everybody else in it.
G G
When's he gonna learn he's bangin' his head on the wall?
E E7
He ain't gonna change and he looks at me strange
A |A|
When I tell him I think we’re all
NC D D A A
D A
D D A A
G D
G D
G A D
D A A A A D |A|
NC D A A
We all know people, we yell at the cars and the traffic.
D D
Folks in a hurry, life's full of heartache and havoc.
G G
I finally learned how to lay back and let life happen.
E E7 A
I just image the angels up in heaven lookin' down at us and laughin'
D D A A
At ants on a log, floatin' down a river.
D A
D D A A
G D
G D
G A D D
G A
Whoa and just about the time you think you're rollin' in clooover,
E A
A long comes a rabbit, and the world tips over.
D D A A
D A
Runnin' arouuund but never gettin' anywhere.
D D A A
G D
G D
G A D D
G A D E-A-D |D|
Yeah we're really just along for the ride like ants on a log.
(Randy Travis) (Artist Index) - (Main Index) - (Song Index) (This Song)
APRIL, COME SHE WILL - Simon & Garfunkel
(Simon)
https://www.youtube.com/watch?v=ITXBjDTXS90 (Capo 3)
TIP: The first word in each verse is held for two counts. That's what the ... means.
TIP: (Fmaj7) isn't played too often. Play it like you're going to play a regular (F)
but don't barre the bottom string. If it’s too difficult then just play an (F) instead.
INTRO: G C-G, G C; G C-G D G, G C-G, G C-G
G C G C G C G
A... a-pril, come she will.
Am Em Fmaj7 Em
When streams are ripe and swelled with rain.
C D G Em Am Em Am Em G C-G, G C-G
Ma- ay she will sta- ay. Resting in my arms again.
G C G C G C G
Ju... un-une, she´ll change her tune.
Am Em Fmaj7 Em
In restless walks she´ll prowl the night.
C D G Em Am Em Am Em G C-G, G C-G
July-y, she will fly- y. And give no warning to her flight.
G C G C G C G
Au... au-gust, die she must.
Am Em Fmaj7 Em
The autumn winds blow chilly and cold.
C D G Em Am Em D G
September I´ll remember. A love once new has now, grown 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
https://www.youtube.com/watch?v=sxLtXJzo3Ew (Capo 0)
INTRO: <slowly> C, C; C, C
F
I wish a buck was still silver. It was back, when the country was strong.
G C
Back before Elvis, and before, the Vietnam war, came along.
F
Before The Beatles and 'Yesterday'. When a man could still work, and still would.
G C
Is the best of the free life behind us now? And are the good times really over for good?
F
And are we rolling down hill like a snowball headed for hell?
G C
With no kind of chance for the flag or the liberty bell.
F
I wish a Ford and a Chevy, would still last ten years like they should.
G C G
Is the best of the free life behind us now? Are the good times really over for good?
C F
I wish coke was still cola, and a joint, was a bad place to be.
G C
And it was back before Nixon, lied to us, all on T.V.
F
Before microwave ovens, when a girl, could still cook, and still would.
G C
F
Are we rolling down hill like a snowball headed for hell?
G C
With no kind of chance for the flag or the liberty bell.
F
I wish a Ford and a Chevy, would still last ten years like they should.
G C
F
Stop rolling down hill like a snowball headed for hell.
G C
Stand up for the flag and let's all ring the liberty bell.
F
Let's make a Ford and a Chevy, that’ll still last ten years like they should.
G
Cuz the best of the free life is still yet to come,
C
And the good times ain't over for good.
(Merle Haggard) (Artist Index) - (Main Index) - (Song Index) (This Song)
ARE YOU SURE HANK DONE IT THIS WAY
Waylon Jennings
https://www.youtube.com/watch?v=TNpLSaCirj8 (Capo 2)
[Afterwards is a version in [G] with (G) and (C) . . . uh, just because.]
TIP: Super easy song with just two chords but there's a distinct rhythm that goes from
beginning to end. You'll pick it up immediately.
INTRO: A D, A D, A D, A D
A D A D
Lord it's the same old tune, fiddle and guitar. Where do we take it from here?
A D A D A
Rhinestone suits and new shiny cars. It's been the same way for years.
D A D
We need a change.
A D A D
Somebody told me, when I came to Nashville, "Son you finally got it made."
A D A
Old Hank made it here, we're all sure that you will but I don't think Hank done it this
D A D
way, naw, I don't think Hank done it this way. Okay.
A D, A D, A D, A D, A D
A D A D
Ten years on the road makin' one-night stands. Speedin' my young life away.
A D A D
Tell me one more time just so's I'll understand are you sure Hank done it this way?
A D A D
Did ol' Hank really do it this way?
A D A D
Lord I've seen the world with a five-piece band, lookin' at the back side of me.
A D A D
Singing my songs one of his now and then, but I don't think Hank done 'em this way, no,
A D
I don't think Hank done 'em this way. Take it home.
A D, A D, A D, A D, A D, A D, A D, A D, A D, |A|
(Waylon Jennings) (Artist Index) - (Main Index) - (Song Index) (This Song)
ARE YOU SURE HANK DONE IT THIS WAY
Waylon Jennings
https://www.youtube.com/watch?v=TNpLSaCirj8 (Capo 4)
TIP: Super easy song with just two chords but there's a distinct rhythm that goes from
beginning to end. You'll pick it up immediately.
TIP: When you get to the (G) in the fourth couplet of the instrumental bridge emphasize
the bottom string to cover the little treble zing.
INTRO: G C, G C, G C, G C
G C G C
Lord it's the same old tune, fiddle and guitar. Where do we take it from here?
G C G C G
Rhinestone suits and new shiny cars. It's been the same way for years.
C G C
We need a change.
G C G C
Somebody told me, when I came to Nashville, "Son you finally got it made."
G C G
Old Hank made it here, we're all sure that you will but I don't think Hank done it this
C G C
way, naw, I don't think Hank done it this way. Okay.
G C, G C, G C, G C, G C
G C G C
Ten years on the road makin' one-night stands. Speedin' my young life away.
G C G C
Tell me one more time just so's I'll understand are you sure Hank done it this way?
G C G C
Did ol' Hank really do it this way?
G C G C
Lord I've seen the world with a five-piece band, lookin' at the back side of me.
G C G C
Singing my songs one of his now and then, but I don't think Hank done 'em this way, no,
G C
I don't think Hank done 'em this way. Take it home.
G C, G C, G C, G C, G C, G C, G C, G C, G C, |G|
AROUND THE SUN - R.E.M.
(Berry/Mills/Buck/Stipe)
https://www.youtube.com/watch?v=xdUwyfRZeZ8 (Capo 0)
TIP: There are inflection cues for singing the "Around the Sun" outro.
E G D F#m
I want, the sun, to shine on me.
E G D A
I want, the truth, to set me free.
E G D F#m
I wish the followers would lead,
E G D A
With a voice so strong it could knock me to my knees.
G Bm D E
Hold on world 'cause you don't know what's coming.
G Bm D E
Hold on world 'cause I'm not jumpin' off.
G Bm D E
Hold onto this boy a little longer.
C G D
Take another trip, around the sun.
E G D F#m
If-I-jumped-into-the ocean to believe.
E G D A
If-I-climbed-a-mountain-would I have to reach?
E G D F#m
Do I even dare to speak, to dream, believe?
E G D A
Give me a voice so strong, I can question what I have seen.
G Bm D E
Hold on world 'cause you don't know what's coming.
G Bm D E
Hold on world 'cause I'm not jumpin' off.
G Bm D E
Hold onto this boy a little longer.
C G D
Take another trip, around the sun.
G D
Around the <up> sun . . . around the <down> sun . . . Around the <up> sun . . .
G D |D|
Around the <down> sun . . . Around the <up> sun . . . . . . <sustain>
F C Em D F C G
Let my dreams . . . set me free. Believe. Believe.
Na na na na, na na; na na na na na; na na na na, na na; na na na na na;

F G C G
Na na na na, na na; na na na na na ah; Na na na na na; na na na na na na;
C
Na na na na na na.
(R.E.M.) (Artist Index) - (Main Index) - (Song Index) (This Song)

AT THE HOP – Danny and the Juniors
(Singer/Medora/White)
https://www.youtube.com/watch?v=F3SrtN6tMyg (Capo 1)
TIP: The Chalypso was a dance popular in 1958. Yes, I had to look that up.
INTRO: G
Em C D
Bah, bah, bah, bah. Bah, bah, bah, bah. Bah, bah, bah, bah. Bah, bah, bah, bah.
G
At the hop.
Well you can rock it you can roll it do the stomp and even stroll it at the hop.
C G
When the record starts a spinnin' you chalypso when you chicken at the hop.
D7 C G
Do the dance sensation that is sweepin' the nation at the hop.
C
Let's go to the hop. Let's go to the hop (oh baby). Let's go to the hop (oh baby).
G D C G
Let’s go to the hop. Come, on, let's go to the hop.
Well you can swing it you can groove it you can really start to move it at the hop.
C G
Where the jockey is the smoothest and the music is the coolest at the hop.
D C G
All the cats and chicks can get their kicks at the hop. Let's go!
G G, C, G, D7 C G
Well you can rock it you can roll it do the stomp and even stroll it at the hop.
C G
When the record starts a spinnin' you chalypso when you chicken at the hop.
D7 C G
Do the dance sensation that is sweepin' the nation at the hop.
Youuuuu can swing it you can groove it you can really start to move it at the hop.
C G
Where the jockey is the smoothest and the music is the coolest at the hop.
D7 C G
All the cats and chicks can get their kicks at the hop. Let's go!
C
Let's go to the hop. Let's go to the hop (oh baby). Let's go to the hop (oh baby).
G D C G
Let’s go to the hop. Bah, bah, let’s go to the hop.
Em C D
Bah, bah, bah, bah. Bah, bah, bah, bah. Bah, bah, bah, bah. Bah, bah, bah, bah.
|G|
At the hop.
(Danny & The Juniors) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
ATLANTA BLUE - The Statler Brothers
(Reid)
https://www.youtube.com/watch?v=QnghH9UvYVA (Capo 0)
TIP: There's a key change for the final reprise
INTRO: G Em C, C D7
G Em C D7 G C G
I'm dreamin' of you- ou, and that makes me Atlanta blu-ue. Blue-ue. Blue-ue.
Am D7 G Am D7 G G
Just a name I remember. Just someone I used to know.
Am D7 G Em Am D7 G D7
Someone, I never quite got over. A long, long, time ago.
G Em C D7 G Em C
I'm Atlanta blue- ue. Wishin' I could be with you-oo-oo- oo-oo- ou.
D7 G Em C
Summertime in Georgia I'm dreamin' of you- oo-oo- ou,
D7 G C G
And that makes me Atlanta blu-ue. Blue-ue. Blue-ue.
Am D7 G G Am D7 G G
Don't wipe away, my mem'ries. By makin' all my dreams come true.
Am D7 G Em Am D7 G
The way it was always seems better. So let me keep on missin' you.
<key change> (E)
A F#m D E A F#m D
I'm Atlanta blue- ue. Wishin' I could be with you-oo-oo- oo-oo- ou.
E A F#m D
Summertime in Georgia I'm dreamin' of you- oo-oo- ou,
E A D A F#m D
And that makes me Atlanta blue-ue. Blue-ue. Blue-ue. Wooo-oo-oo- oo-oooooh.
E A A
And that makes me Atlanta blueeee - oooooh.
(The Statler Brothers) (Artist Index) - (Main Index) - (Song Index) (This Song)
BABY WE'RE REALLY IN LOVE
Hank Williams
https://www.youtube.com/watch?v=SppUh24iHto (Capo 0)
INTRO: G G C
G
If you're lovin' me like I'm lovin' you, baby we're really in love.
C
If you're happy with me like I'm happy with you, old cupid just gave us a shove.
G
If you're thinkin' of me like I'm thinkin' of you, then I know what you're thinkin' of.
C
F C F C
I run around in circles, and turn in fire alarms.
F C D G
I'm nutty as a fruit cake, when you're not in my arms.
C G
If you're meant for me like I'm meant for you, baby we fit like a glove.
C
F C, F C, F C D G, C G, G C
G
C
If you're countin' on me like I'm countin' on you, old cupid just gave us a shove.
G
If you're dreamin' of me like I'm dreamin' of you, then I know what you're dreamin' of.
C
F C F C
My folks think I've gone crazy, and I don't feel too sure.
F C D G
And yet there's nothin' wrong with me that weddin' bells won't cure.
C G
If you go for me like I go for you, baby we fit like a glove.
C
(Hank Williams) (Artist Index) - (Main Index) - (Song Index) (This Song)
BACK HOME AGAIN
John Denver
https://www.youtube.com/watch?v=bohTOHvz1G8 (Capo 2)
INTRO: D
D7 G
There's a storm across the valley, clouds are rollin' in.
A A7 D A
The afternoon is heavy on your shoulders.
D D7 G
There's a truck out on the four lane, a mile or more away.
A A7 D A
The whinin' of his wheels just makes it colder.
D D7 G
He's an hour away from ridin', on your prayers up in the sky.
A A7 D A
And ten days on the road are barely gone.
D D7 G
There's a fire, softly burning, supper's on the stove.
A A7 D
But it's the light, in your eyes, that makes him warm.
G A D D7
Hey it's good to be back home again.
G A D G
Sometimes this old farm feels like a long lost friend.
A A7 D
Yes 'n hey it's good, to be back home again.
D7 G
There’s all the news to tell him, how'd you spend your time.
A A7 D A
And what's the latest thing the neighbors say.
D D7 G
And your mother called last Friday, Sunshine made her cry.
A A7 D
You felt the baby move just yesterday.
G A D D7
G A D G
A A7 D
G A7 D G
And oh the time that I can lay this tired old body down.
Em A7 D D7
And feel your fingers, feather-soft upon me.
G A D G
The kisses that I live for, the love that lights my way.
Em G A
The happiness, that livin' with you brings me.
D D7 G
It's the sweetest thing I know of, just spending time with you.
A A7 D A
It's the little things, that make a house a home.
D D7 G
Like a fire softly burning and supper on the stove.
A A7 D
The light in your eyes that makes me warm.
G A D D7
G A D G
A A7 D
G A D D7
Hey it's good to be back home again, you know it is.
G A D G
A A7 D
‘N hey it's good, to be back home again.
A A7 G D
I said hey it’s good, to be back home again.
BAD CASE OF LOVING YOU - Robert Palmer
(Martin)
https://www.youtube.com/watch?v=7z9DwMKvqcc (Capo 2)
TIP: The (D) chords at the end of the line are simply rhythm placeholders.
INTRO: D D D C, D D D C D D C, D D
Whoa-oh
D G A D D
A hot summer night, fell like a net, I've gotta fiiii- ind my baby yet.
D G A D D D
I need you, to soothe my head, and turn my blue- ue heart to red.
|D| D
Doctor Doctor, gimme the news I got a, bad case of lovin' you.
G D A D D D
No pill's gonna cure my ill I got a, bad case of lov-in' you.
D G A D D
A pretty faaaaace don't make no pretty heart. I learned that, buddy from the start.
D G A D D D
You think I'm cute, a little bit shy. Mama I-I-I ain't that kind of guy.
|D| D
G D A D D D
No pill's gonna cure my ill I got a, bad case of lov-in' you.
D D, D G G, A A, G
Well-ell.
G D D G
I know you like it, you like it on top.
Em A D D |D|
Tell me mamma, are you gonna stopppppppp?
(NC) D D G A D D
You had me down, twenty-one to zip. Smile of Juuuu- uu- uudas on your lip.
D G A D D D
Shake my fist, knock on wood. I got it baaa - aad and I got it good.
|D| D
G D A D D |G|-|D|
No pill's gonna cure my ill I got a, bad case of lovvvvv-in' you.
(Robert Palmer) (Artist Index) - (Main Index) - (Song Index) (This Song)
BAD DAY - R.E.M.
(Berry/Buck/Mills/Stipe)
https://www.youtube.com/watch?v=Hyk-Vdd_Qrk (Capo 3)
TIP: There are subtle lyric differences between the video and the album. This is from
the video.
TIP: The intro is a light teaser downstroke strum on the (D), followed by two quick
strums of (D) and a rapid one-stroke burst with the |D|-|G|-|G|-|A| played as quickly as
you can, up/down on the (G)s focusing on strings 4 and 5. Then linger on another (G).
INTRO: D D D-G-G-A, G . . .
D A G
A Public Service Announcement followed me home the other day.
D A Em A
I paid it never mi-ind, go away.
D A G
Shit's so thick you could stir it with a stick free Teflon white-washed presidency
D A Em
We're sick of being jerked around, wear that on your sleeve.
A Bm G
Broadcast me a joyful noise unto the times Lord,
A Bm G F#m A
Count your blessings, we're sick of being jerked, a, round. We, all, fall down.
D A G
Have you ever seen the televised Saint Vitus subcommittee prize
D A Em
Investigation dance those, ants-in-pants, glances.
D A G
Well look behind the eyes, it's a hallowed hollow anesthesized,
D A Em
"Save my own ass screw these guys", smoke and mirror lock, down.
A Bm G
A Bm G F#m
Count your blessings, the papers wouldn’t lie, I, sigh, not, one, more
A D A Em D A Em
It's been a bad day, please don't take your picture. It's been a bad day, pleee - eease.
D A Em D A Em
It's been a bad day, please don't take a picture. It's been a bad day, pleee - eease.
D A G
We're dug in the deep the price is steep the auctioneer is such a creep.
D A Em A
The lights went out the oil ran dry we blamed it on the other guy.
D A G A
Sure all men are created equal, here's the church, here's the steeple.
D A Em
Please stay tuned we cut to sequel, ashes ashes we all fall down.
A Bm G
A Bm G F#m
Count your blessings, ignore the lower fear, ugh, this, means, war.
A D A Em D A Em
D A Em D A G
<gently> D . . . D G A Em D G A Em
Ditt-it-it dit dit, ahh. Ditt-it-it dit dit ooh-ooh-ooh-ooh.
A Bm G
A Bm G F#m A
Count your blessings, we're sick of being jerked, a, round. We, all, fall down.
A D A Em D A Em
D A Em D A G
A D A Em D A Em
D A Em D A G
D G A Em D G A Em
D G A Em D G A Em |D|

BADLANDS
Bruce Springsteen
https://www.youtube.com/watch?v=7T_6Ua6fd5s (Capo 2)
TIP: Not the easiest song to sing as Bruce just runs everything together. If you don't
see punctuation just keep going. Also, you can skip the (Bm) if you must.
INTRO: D, G Bm-A; D, G Bm-A; D, G Bm-A; D, G A
D G Bm A
Girl lights out tonight, trouble in the heartland
D A
Got-a- head-on collision, smashin' in my guts man
D G A D
I'm caught in a crossfire, that I don't understand.
G A
But there's one thing I know for sure girl
D G A
I don't give a damn, for the same old played out scenes
D G A
Baby I don't give a damn, for just the in betweens.
D G A D
Honey I want the heart I want the soul I want control right now.
G A
You better listen to me baby.
G
Talk about a dream, try to make it real,
A
You wake up in the night, with a fear so real.
G
You spend your life waitin' for a moment,
A G-A G A
That just don't come don't waste your time waitin'.
D G A D
Badlands you gotta live it everyday let the broken hearts stand
G A D
As the price you gotta pay. Keep pushing til-it’s-understood
G A D G A
And these badlands start treating us good.
D G A
Working in the field till you get your back burned,
D G A
Working 'neath the wheels till you get your facts learned.
D G A D
Baby I got my facts, learned real good right now.
G A
You better get it straight darlin'.
D G A
Poor man wanna be rich, rich man wanna be king,
D G A
And a king ain't satisfied till he rules everything.
D G A D G A
I wanna go out tonight, I wanna find out what I got
G A
Well I believe in the love, that you gave me I believe in the faith,
G A
That could save me I believe in the hope and I pray, that someday it,
G A
May raise me, above these
D G A D
G A D
G A D G A
And these badlands start treating us good. Whoa whoa whoa whoa.
<guitar> D G A D G A D G A D G A
<sax> D G A D G A D G A D G A
D G A D G A
<quietly> Mmmmm mmmm mmmm; Mmmmm mmmm mmmm
D G A D G A
Mmmmm mmmm mmmm; Mmmmm mmmm mmmm
D G A
For the ones who had a notion and a notion deep inside
D G A
That it ain't no sin to be glad you're alive.
D G A
I wanna find one face, that ain't looking through me.
D G A
I wanna find one place I wanna spit in the face of these
D G A D
G A D
G A D G A
And these badlands start treating us good. Whoa whoa whoa whoa.
D G A D G A
Badlands, whoa whoa whoa whoa. Badlands, whoa whoa whoa whoa.
D G A D G A
Badlands, whoa whoa whoa whoa. Badlands, whoa whoa whoa whoa.
D G A |D|
Badlands, whoa whoa whoa whoa whoa.
(Bruce Springsteen) (Artist Index) - (Main Index) - (Song Index) (This Song)
BAD MOON RISING - Creedence Clearwater Revival
(Fogerty)
https://www.youtube.com/watch?v=5BmEGm-mraE (Capo 0)
INTRO: D A G D
A D A D
I see, a bad moon a rising. I see, trouble on the way.
A D A D
I see, earthquakes and lightnin'. I see, bad times today.
G D
Don't go around tonight, well it's bound to take your life.
A G D
There's a bad moon on the rise.
A D A D
I hear, hurricanes a blowing. I know, the end is coming soon.
D A D A D
I fear, rivers overflowing. I hear, the voice of rage and ruin.
G D
A G D
D A G D, D A G D, G D A G D
A D A D
Hope you, got your things together. Hope you, are quite prepared to die.
A D A D
Looks like, we're in for nasty weather. One eye, is taken for an eye.
G D
Well don't go around tonight, well it's bound to take your life.
A G D
G D
A G D |D|
(CCR) (Artist Index) - (Main Index) - (Song Index) (This Song)

BALLAD OF JED CLAMPETT (BEVERLY HILLBILLYS THEME)
Flatt & Scruggs
(Henning/Scoggins)
https://www.youtube.com/watch?v=0_XAPku7SgE (Capo 2)
TIP: Find a good banjo player to accompany you. The intro is the chords for the entire
verse. That final (G) on the intro and instrumental bridge is meant to be strummed on
the lower three strings emphasizing the open 2nd and 3rd strings.
TIP: That (A7) should actually be a (C#) but the (A7) is very close and is much easier
to play. It will follow a (C) so you can just hold the (C) and bring the ring finger
down to the 2nd string/2nd fret. Or just come off the (C) and play a conventional (A7).
INTRO: G Am-D, D G, G C-A7, D D7-G, G . . .
Am D
Come and listen to my story 'bout a man named Jed.
G
A poor mountaineer barely kept his family fed.
C A7
Then one day he was shootin’ at some food,
D D7 G
And up through the ground come a bubblin’ crude.
(Oil that is, black gold, Texas tea.)
G Am-D, D G, G C-A7, D D7-G, G . . .
Am D
Well the first thing you know old Jed's a millionaire.
G
The kinfolk said “Jed move away from there.”
C A7
They said “Californy is the place you oughta be”
D D7 G
So he loaded up the truck and they moved to Beverly.
(Hills that is, swimming pools, movie stars.)
G Am-D, D G, G C-A7, D D7-G, G . . .
Am D
Now it's time to say goodbye to Jed and all his kin.
G
They would like to thank you folks for kindly droppin’ in.
C A7
You're all invited back again to this locality,
D D7 G
To have a heapin’ helpin’ of their hospitality.
(Beverly hillbillies, that's what they call them now. Nice folks.
Y'all come back now hear?)
(Flatt & Scruggs) (Kid Friendly)(Artist Index) - (Main Index) - (Song Index) (This Song)
BALLAD OF A TEENAGE QUEEN – Jack Clement/Johnny Cash
(Clement)
https://www.youtube.com/watch?v=hX48ztuZ3jw&t=16s Cowboy Jack/Johnny Cash (Capo 2)
https://www.youtube.com/watch?v=V-DjCdKcg_s Johnny Cash (Capo 4)
TIP: Two versions here, the most popular one by Johnny Cash but also a quieter duet with
both Johnny and Cowboy Jack Clement who wrote it. The lyrics are almost identical until
the final verse but both are presented. The timing and rhythm are based on the duet but
you can easily adjust.
TIP: For the intros, Johnny opens with a line from the chorus. Cowboy Jack opens with a
series of (G) chords.
INTRO (Duet): G G G G
INTRO (Johnny): G C G C G D G
Dream on dream on teenage queen prettiest girl we've ever seen.
C G D G
There's a story in our town of the prettiest girl around.
C G D G
Golden hair and eyes of blue how those eyes could flash at you.
D G
How those eyes could flash at you.
C G
Boys hung 'round her by the score,
D G D G
But she loved the boy next door who worked at the candy store.
C G C G D G G G G
C G D G
She was tops in all they said, never once went to her head.
C G D G
She had every thing it seemed, not a care this teenage queen.
D G
Not a care this teenage queen.
C G
Other boys could offer more,
D G D G
But she loved the boy next door, who worked at the candy store.
C G C G D G G G G
C G D G
He would marry her next spring saved his money up bought a ring.
C G D G
Then one day a movie scout came to town to take her out.
D G
Came to town to take her out.
C G
Hollywood could offer more,
D G D G
So she left the boy next door working at the candy store.
C G C G D G G G G
C G D G
Well very soon she was a star pretty house and shiny car.
C G D G
Swimmin’ pool and a fence around but she missed her old hometown.
D G
But she missed her old home town.
C G
All the world was at her door,
D G D G
All except for the boy next door who worked at the candy store.
C G C G D G G G G G
C G D G
Then one day the teenage star sold her house and all her cars.
C G D G
Gave up all her wealth and fame left it all and caught a train.
D G
She left it all and caught a train.
----------
C G
<Duet> Next day she was at the door,
D G D G G G G
Of the lonely boy next door who worked at the candy store.
C G C G D <rake> G
Now this story has some more you’ll <slower> hear it all at the candy store.
<End Song>
C G D G
<Johnny> Do I have to tell you more, she came back to the boy next door
D G
Who worked at the candy store.
C G C G D G
Now this story has some more you’ll hear it all at the candy store.
(Johnny Cash) (Cowboy Jack Clement) (Artist Index)

(Main Index) - (Song Index) (This Song)
BALLAD OF BOBBY AND JUNE (In D) – Mitch & Mickey
(Levy)
https://www.youtube.com/watch?v=iMB1aPq1uMk (Capo 2)
[Afterwards is a version in [G]. It won’t match the recording but is easier to play.]
TIP: In the intro and at the end of the chorus the (Dsus4) will always follow (D) so
just add your pinky to the bottom string/3rd fret.
INTRO: D Dsus4 D, D Dsus4 D, D Em
G D
This is the story of Bobby and June.
Em G D
A boy and a girl who kidnapped the moon.
A G
But they fell in looove to the souuund, of guns.
Em G D
The year was Eighteen Sixty One.
Em G D
The army came looking for men to recruit.
Em G D
Dressin' boys up like soldiers in blue Union suits.
A G
"Take this sword and cut dowwwwn Johnny Reb", they said,
Em G D
You'll come back a hero or you'll come back dead.
G D G D
Stayyyy with me Bobby. Don't go awayyyy from me now.
G D G D
I want you sayyyy that you love me. Don't go awayyyy from me now.
G D Dsus4 D, D Dsus4 D
I want you to stay.
Em G D
Now Bobby he marched to the eye of the storm.
Em G D
The blue coats were falling, the blood was still warm.
A G
A battle was raging and the only thing in, his eyes,
Em G Em D
Was the thought of his June, and making it hooooome alive.
Em G D
His army outnumbered they started to run.
Em G D
When Bobby went down with the crack of a gun.
A G
And as he lay still his face sinking in, the rain.
Em G Em D
He knew that he never and ever would seeee June again.
G D G D
G D G D
G D Dsus4 D, D Dsus4 D
I want you to stay.
Em G D
It was the morning of Christmas when June heard a sound.
Em G D
Of someone approaching their boots scraping on-the-gound.
A G
As she looked out the window her heart pounded in, her breast.
Em G Em D
A broken young Bobby was clutching a wounded chest.
Bm G
She ran out to help ease his pain. He looked up and whispered her name.
Bm |G| |A|
Then she cradled his head in her arms then he smiled, when he heard his June say:
G D G D
“Stayyyy with me Bobby. Don't go awayyyy from me now.
G D G D
G D Dsus4-D, D Dsus4-D
I want you to stay.
G D Dsus4-D, D Dsus4-|D|
I want you to stay.”
BALLAD OF BOBBY AND JUNE (In G) – Mitch & Mickey
(Levy)
[To play along with the recording try the version in [D].]
TIP: In the intro and end of the chorus the (G4) will always follow (G) so just move
your index finger from the 5th string down to the 2nd string/1st fret (note <c>) and back.
Doesn’t matter if you lift off the middle finger of the (G).
INTRO: G G4 G, G G4 G, G Am
C G
This is the story of Bobby and June.
Am C G
A boy and a girl who kidnapped the moon.
D C
But they fell in looove to the souuund, of guns.
Am C G
The year was Eighteen Sixty One.
Am C G
The army came looking for men to recruit.
Am C G
Dressin' boys up like soldiers in blue Union suits.
D C
"Take this sword and cut dowwwwn Johnny Reb", they said,
Am C G
You'll come back a hero or you'll come back dead.
C G C G
C G C G
C G G4 G, G G4 G
I want you to stay.
Am C G
Now Bobby he marched to the eye of the storm.
Am C G
The blue coats were falling, the blood was still warm.
D C
A battle was raging and the only thing in, his eyes,
Am C Am G
Was the thought of his June, and making it hooooome alive.
Am C G
His army outnumbered they started to run.
Am C G
When Bobby went down with the crack of a gun.
D C
And as he lay still his face sinking in, the rain.
Am C Am G
He knew that he never and ever would seeee June again.
C G C G
C G C G
C G G4 G, G G4 G
I want you to stay.
Am C G
It was the morning of Christmas when June heard a sound.
Am C G
Of someone approaching their boots scraping on-the-gound.
D C
As she looked out the window her heart pounded in, her breast.
Am C Am G
A broken young Bobby was clutching a wounded chest.
Em C
She ran out to help ease his pain. He looked up and whispered her name.
Em |C| |D|
Then she cradled his head in her arms then he smiled, when he heard his June say:
C G C G
C G C G
C G G4-G, G G4-G C G G4-G, G G4-|G|
I want you to stay. I want you to stay.
THE BALLAD OF JOHN AND YOKO – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=vzd_DfGGx0I (Capo 2)
INTRO: <Galloping> D
Standing in the dock at Southampton, trying to get to Holland or France.

D7
The man in the mac said "You've got to turn back"
G
You know they didn't even give us a chance Christ you know it ain't easy.
D
You know how hard it can be.
A7 D
The way things are goin', they're going to crucify me.
Finally made the plane into Paris, honeymooning down by the Seine.
D7
Peter Brown-called-to-say, "You can make it okay,
G
You can get married in Gibraltar near Spain" Christ you know it ain't easy.
D
A7 D
The way things are going, they're going to crucify me.
Drove from Paris to the Amsterdam Hilton. Talking in our beds for a week.
D7
The newspapers said "Say what you doing in bed?
G
I said "We're only trying to get us some peace" Christ you know it ain't easy.
D
A7 D |D|-|D|-|D|-|D|-|D|-|D|-|D|
The way things are going, they're going to crucify 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
A7
You don't take nothing with you but your so-oul think!"
|A|-|A|-|A|-D
Made a lightning trip to Vienna. Eating chocolate cake in a bag.
D7
The newspapers said, "She's gone to his head,
G
They look just like two gurus in drag" Christ you know it ain't easy.
D
A7 D |D|-|D|-|D|-|D|-|D|-|D|-|D|
The way things are goin’, they're going to crucify me.
Caught the early plane back to London. Fifty acorns tied in a sack.
D7
The men from the press said, "We wish you success,
G
It's good to have the both of you back" Christ you know it ain't easy.
D
A7 D
A7 D A . . . A7 A7 |D|-|G|-|G|-|A|-|D|
THE BALLAD OF MRS. BEGG – Jarvis, McDade & Ingram
(Kiernan/Hemphill/Riley)
https://www.youtube.com/watch?v=pensqu8TtuE (Capo 2)
[Aye, for all me Scottish friends, ye jammy bastards.]
G C G
This is the ballad of Mrs. Begg,
G C D G
Who doubted Winston’s dodgy leg.
G C G
Now she waits on me round the clock.
D G
Because she got fond of old . . . Bert’s . . . cock.
(Jarvis, McDade & Ingram) (Artist Index) - (Main Index) - (Song Index) (This Song)
BALLAD OF THE GREEN BERETS - Barry Sadler
(Sadler/Moore)
https://www.youtube.com/watch?v=iWjkeXKPQOI (Capo 0)
INTRO: C
G C G C
Fighting soldiers from the sky. Fearless men, who jump and die.
F C G C
Men who mean, just what they say. The brave men, of the Green Beret.
G C G C
Silver wings, upon their chest. These are men, America's best.
F C G C
One hundred men, will test today, but only three, win the Green Beret.
G C G C
Trained to live, off nature's land. Trained in combat, hand to hand.
F C G C
Men who fight, by night and day. Courage taken, from the Green Beret.
G C G C
Silver wings, upon their chest. These are men, America's best.
F C G C
One hundred men, will test today, but only three, win the Green Beret.
G C G C
Back at home, a young wife waits. Her Green Beret, has met his fate.
F C G C
He has died, for those oppressed. Leaving her, his last request.
G C G C
Put silver wings, on my son's chest. Make him one, of America's best.
F C G C F C
He'll be a man, they'll test one day. Have him win, the Green Beret.
(Barry Sadler) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE BANANA BOAT SONG (DAY-O) - Harry Belafonte
(Burgie/Attaway)
https://www.youtube.com/watch?v=LVUcz6wPrCs (Capo 3)
TIP: In the original recording Harry sings acapella through "rum". If you have a great
voice, go for it. But here is just another way to do the song. Strike the chords in
brackets once, strum the chords in parenthesis.
|D| |A| |D| D A7 D

Day-o, Day-ay-ay- o. Daylight come and me wan' go home.
|D| |A| |G| |D| |G| |D|
Day. Me say day, me say day, me say day, me say day, me say day-ay-ay-o.
D A7 D
Daylight come and me wan' go home.
A7 D
Work all night on a drink o' rum. Daylight come and me wan' go home.
A7 D
Stack banana til the mornin' come. Daylight come and me wan' go home.
|D| |D| |A7| |A| D A7 D

Come Mister tally man tally me banana. Daylight come and me wan' go home.
|D| |D| |A7| |A| D A7 D
|D| |D| |D| |D| D A7 D

Six foot seven foot eight foot bunch! Daylight come and me wan' go home.
|D| |D| |D| |D| D A7 D
|D| |A| |D| D A7 D

Day. Me say day- ay -ay- o. Daylight come and me wan' go home.
|D| |A| |G| |D| |G| |D|
D A7 D
A7 D
A beautiful bunch o' ripe banana. Daylight come and me wan' go home.
A7 D
Hide the deadly black tarantula. Daylight come and me wan' go home.
|D| |D| |D| |D| D A7 D

|D| |D| |D| |D| D A7 D
|D| |A| |D| D A7 D
|D| |A| |G| |D| |G| |D|
D A7 D
|D| |D| |A7| |A| D A7 D

|D| |D| |A7| |A| D A7 D
|D| |A| |D| D A7 D

|D| |A| |G| |D| |G| |D|
D A7 D
(Harry Belafonte) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
BAND ON THE RUN - Paul McCartney and Wings
(McCartney)
https://www.youtube.com/watch?v=UiFZGzYvYL0 (Capo 0)
TIP: The transition between (C) and (Fmaj7) and back isn't hard. The key is to hold the
index finger where it is and move up your other fingers up and down one fret as
necessary, like a pivot. Even easier when moving to it from the (F) as you just lift off
the bottom string.
INTRO: G D, D; D Em, Em; G D, D; D Em, Em
G D, D-Em-G; G D, D-Em-G
D G D G
Stuck inside these four walls. Sent inside forev-er. Never seeing no one, nice again.
D Em G D Em G D G
Like you-ou, Ma ma, you-ou, Ma ma, you-ou.
Am D, Am D, Am; Am D, Am D, Am
D Am
If I ever get out of here, thought of giving it all away, to a registered charity.
D Am
All I need is a pint a day if I ever get out of here (If we ever get out of here).
|C| x 6 |D|-|D|-|C|; |C| x 6 |D|-|D|-|C|; |C|-|C|-|C|, |C|-|C|
C Fmaj7, C Fmaj7
C Fmaj7 C
Well the rain exploded with a mighty crash, as we fell into the sun.
Fmaj7 Em
And the first one said to the second one there, "I hope you're having fun!"
G C Em C Am
Band on the run, band on the run.
F C F Fmaj7
And the jailer man, and Sailor Sam, were searching every one.
C
For the band on the run. Band on the run. Band on the run. Band on the run.
Fmaj7 C
Well the undertaker drew a heavy sigh, seeing no one else had come.
Fmaj7 Em
And a bell was ringing in the village square, for the rabbits on the run.
G C Em C Am
Band on the run, band on the run.
F C F Fmaj7
And the jailer man, and Sailor Sam, were searching every one.
C
For the band on the run. Band on the run. Band on the run. Band on the run.
|Em|-|G|-|C|; |Em|-|C|-|Am|; F C Fmaj7 . . . C

Yeah the band on the run.
Band on the run. Band on the run. Band on the run.
Fmaj7 C
Well the night was falling as the desert world, began to settle down.
Fmaj7 Em
In the town they're searching for us everywhere, but we never will be found.
G C Em C Am |F| |C|
Band on the run, band on the run. And the county judge, who held a grudge,
F Fmaj7 C
Will search for evermore. For the band on the run. Band on the run. Band on the run.
|Em|-|G|-|C|
Band on the run.
BANG A GONG (GET IT ON) - T. Rex
(Bolan)
https://www.youtube.com/watch?v=TVEhDrJzM8E (Capo 0)
INTRO: (Bass) E
A E
Well you're dirty and sweet clad in black don't look back and I love you.
A E
You're dirty and sweet oh yeah.
A E
Well you're slim and you're weak you've got the teeth of a hydra upon you.
A E
You're dirty sweet and you're my girl.
G A A7 E G A A7 E E . . .
Get it on, bang a gong, get-it on. Get it on, bang a gong, get-it on.
A E
Well you're built like a car you got a hub cap diamond-star halo.
A E
You're built like a car oh yeah.
A E
Well you're an untamed youth that's the truth with your cloak full of eagles.
A E
G A A7 E G A A7 E E . . .
A E
Well you're windy and wild you've got the blues in your shoes and your stockings.
A E
You're windy and wild oh yeah.
A E
Well you're built like a car you got a hub cap diamond-star halo.
A E
G A A7 E G A A7 E <Bass> E . . .
A E
Well you're dirty and sweet clad in black don't look back and I love you.
A E
You're dirty and sweet oh yeah.
A E
Well you dance when you walk so let's dance take a chance understand me.
A E
You're dirty sweet and you’re my girl.
G A A7 E G A A7 E
G A A7 E G E . . .
Get it on, bang a gong, get-it on. Get it on.
G A A7 E G A A7 E
G A A7 E G A A7 E
G A E, E E . . .
Take me. Meanwhile, I’m still thinking.
(T. Rex) (Artist Index) - (Main Index) - (Song Index) (This Song)
BARBARA ANN - The Beach Boys
(Fassert)
https://www.youtube.com/watch?v=vPRonG87eKw (Capo 6)
[A friendlier version in [G] follows.]
TIP: One strum for each of the |C| you see in brackets. And hold the (C) through the
first two syllables of "hand" before moving to the (F).
|C| |C| C F C
Ba ba ba, Ba-ba-ra Ann. Ba ba ba, ba ba-ba Ba - bara Ann. Take my ha-and, Barbara Ann.
G C
You got me rockin' and a-rollin' rockin' and a-reelin' Barbara Ann ba ba, ba Ba-bara Ann.
|C| |C| |C| Am C

Went to a dance, lookin' for romance, saw Barbara Ann so I thought I'd take a chance
F C
Barbara Ann Barbara Ann. Take my hand.
G C
|C| |C| C F C
G C
C C C Am-C F C G C
|C| |C| |C| Am C

Tried Peggy Sue, tried Betty Lou, tried Mary Lou but I knew she wouldn't do.
F C
G C
|C| |C| C F C
G C
F
Barbara Ann. Barbara Ann. Barbara Ann. Barbara Ann. Barbara Ann. Barbara Ann.
C
Barbara Ann. Barbara Ann.
G C
(The Beach Boys) (Artist Index) - (Main Index) - (Song Index) (This Song)
BARBARA ANN - The Beach Boys
(Fassert)
TIP: One strum for each of the |G| you see in brackets.
|G| |G| G C G
D G
|G| |G| |G| G

Went to a dance, lookin' for romance, saw Barbara Ann so I thought I'd take a chance
C G
D G
|G| |G| G C G
D G
G G G G C G D G
|G| |G| |G| G

Tried Peggy Sue, tried Betty Lou, tried Mary Lou but I knew she wouldn't do.
C G
D G
|G| |G| G C G
D G
C
Barbara Ann. Barbara Ann. Barbara Ann. Barbara Ann. Barbara Ann. Barbara Ann.
G
Barbara Ann. Barbara Ann.
D G
THE BARGAIN STORE
Dolly Parton
https://www.youtube.com/watch?v=K94QvVXoHCY (Capo 0)
TIP: Play the intro on the top 4 strings, especially the (G).
INTRO: Am G, Am G, Am G, Am <hold and strum>
G Am
My life is likened to a bargain store.
D Am
And I may have just what you're looking for.
D Am
If you don't mind the fact that all the merchandise is used,
D Am G Am
With a little mending it could be as good as new.
G Am
Why you take for instance this old broken heart.
D Am
If you will just replace the missing parts.
D Am
You would be surprised to find how good it really is.
D Am G Am
Take it and you never will be sorry that you did.
G Am G Am
The bargain store is open come inside. You can easily afford the price.
G Am
Love is all you need to purchase all the merchandise,
D Am G Am
And I can guarantee you'll be completely satisfied.
Am G, Am G, Am G, Am
G Am
Take these old used memories from the past.
D Am
And-these broken dreams and plans that didn't last.
D Am
I'll trade them for a future, I can't use them anymore.
D G Am
I've wasted love but I still have some more.
G Am
The bargain store is open come inside.
G Am
You can easily afford the price.
G Am
D Am G Am
G Am
My life is likened to a bargain store.
D Am
And I may have just what you're looking for.
D Am
If you don't mind the fact that all the merchandise is used,
D Am G Am
With a little mending it could be as good as new.
G Am G Am
The bargain store is open come inside. You can easily afford the price.
G Am
D Am G Am
(Dolly Parton) (Artist Index) - (Main Index) - (Song Index) (This Song)
BATTLE HYMN OF THE REPUBLIC – Traditional
(Howe)
C
Mine eyes have seen the glory of the coming of the Lord.
F C
He is trampling out the vintage where the grapes of wrath are stored.
E7 Am
He hath loosed the fateful lightning of His terrible swift sword.
Dm C G7 C
His truth is marching on.
C F C
Glory glory hallelujah. Glory glory hallelujah.
E7 Am Dm C G7 C
Glory glory hallelu jah. His truth is marching on.
I have seen Him in the watch-fires of a hundred circling camps.

F C
They have builded Him an altar in the evening dews and damps.
E7 Am
I can read His righteous sentence by the dim and flaring lamps.
Dm C G7 G
His day is marching on.
C F C
E7 Am Dm C G7 C
I have read a fiery gospel writ in burnished rows of steel.

F C
"As ye deal with my contemners so with you my grace shall deal.
E7 Am
Let the Hero born of woman crush the serpent with his heel.
Dm C G7 C
Since God is marching on."
C F C
E7 Am Dm C G7 C
He has sounded forth the trumpet that shall never call retreat.
F C
He is sifting out the hearts of men before His judgment seat.
E7 Am
Oh be swift my soul to answer Him be jubilant my feet.
Dm C G7 C
Our God is marching on.
C F C
E7 Am Dm C G7 C
In the beauty of the lilies Christ was born across the sea.
F C
With a glory in His bosom that transfigures you and me.
D7 Am
As He died to make men holy let us die to make men free.
Dm C G7 C
While God is marching on.
C F C
E7 Am Dm C G7 C
He is coming like the glory of the morning on the wave.

F C
He is wisdom to the mighty, He is succour to the brave.
E7 Am
So the world shall be His footstool and the soul of time His slave.
Dm C G7 C
Our God is marching on.
(Traditional) (Spiritual) (Artist Index) - (Main Index) - (Song Index) (This Song)
BATTLE OF NEW ORLEANS – Johnny Horton
(Driftwood)
https://www.youtube.com/watch?v=50_iRIcxsz0 (Capo 0)
INTRO: A D E A
D E7 A
In 1814 we took a little trip, along with Colonel Jackson down the mighty Mississip.
D
We took a little bacon and we took a little beans
E7 A
And we caught the bloody British in the town of New Orleans.
We fired our guns and the British kept a'comin.

E7 A
There wasn't nigh as many as there was a while ago.
We fired once more and they began to runnin,'

E7 A
On down the Mississippi to the Gulf of Mexico.
D
We looked down the river and we see'd the British come.
E7 A
And there must have been a hundred of'em beatin' on the drum.
D
They stepped so high and they made the bugles ring.
E7 A
We stood beside our cotton bales and didn't say a thing.

E7 A

E7 A
D
Old Hick'ry said we could take 'em by surprise
E7 A
If we didn't fire our muskets 'til we looked 'em in the eye.
D
We held our fire 'til we see'd their faces well
E7 A
Then we opened up with squirrel guns and really gave 'em well, we,
Fired our guns and the British kept a'comin.
E7 A

E7 A
Yeah they ran through the briars and they ran through the brambles
E7 A
And they ran through the bushes where a rabbit couldn't go.
They ran so fast that the hounds couldn't catch 'em,

E7 A
Down the Mississippi to the Gulf of Mexico.
D
We fired our cannon 'til the barrel melted down
E7 A
So we grabbed an alligator and we fought another round.
D
We filled his head with cannon balls and powdered his behind,
E7 A
And when we touched the powder off the gator lost his mind.

E7 A

E7 A
Yeah they ran through the briars and they ran through the brambles
E7 A
And they ran through the bushes where a rabbit couldn't go.
They ran so fast that the hounds couldn't catch 'em,

E7 A <strum> A, |A|
Down the Mississippi to the Gulf of Mexico.
(Johnny Horton) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
BE BOP A LULA - Gene Vincent
(Graves/Vincent)
https://www.youtube.com/watch?v=O4_5593-skQ (Capo 0)
[Two versions, Gene's original here from 1956 and afterwards the much quicker tempo 1958
version by the Everly Brothers.]
E E7 E E7 E
Well . . . be-bop-a- lula she's my baby. Be-bop-a- lula I don't mean maybe.
A E E7
Be-bop-a-lulu she's my baby. Be-bop-a- lula I don't mean maybe.
B7 A E B7
Be-bop-a-lula she - ee - ee's my baby doll my baby doll my baby doll.
E E7 E
Well-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 E E7 E
Be-bop-a- lula she's my baby. Be-bop-a- lula I don't mean maybe.
B7 A E B7
E E E E, A A E E, B7 A E E, B7
E E7 E
Well - 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 E E7 E
B7 A E B7
E E E E, A A E E, B7 A E E, B7
E E7 E E7 E
Well . . . be-bop-a- lula she's my baby. Be-bop-a- lula I don't mean maybe.
A E E7
B7 A E |E|
(Gene Vincent) (Artist Index)(Oldies) - (Main Index) - (Song Index) (This Song)
BE BOP A LULA - The Everly Brothers
(Graves/Vincent)
https://www.youtube.com/watch?v=tik1AO4vVSQ (Capo 3)
TIP: The movement from (A) to (A7) and back is quick and just involves the lifting of
the middle finger off the third string.
A G A A7 A A7 A
Well-ell . . . be-bop-a- lula she's my baby. Be-bop-a- lula I don't mean maybe.
D A A7 A
E D A E
|A| A7 |A| A7
She's the woman in the red blue jeans. She's the woman that's the queen of the teens.
|A| A7 |A| A
She's the woman-woman that I know. She's the woman that loves me so-oh-oh.
D A A7 A
Be-bop-a-lula she's my baby. Be-bop-a- lula I don't mean maybe.
E D A E
A A A A, D7 D7 A A, E D A E
|A| A7 |A| A7
She's the one that's got that beat. She's the woman with the flyin' feet.
|A| A7 |A| A
She's the woman-woman that I know. She's the one that loves me so-oh-oh.
D A A7 A
Be-bop-a-lula she's my baby. Be-bop-a- lula I don't mean maybe.
E D A E
A A A A, D7 D7 A A, E D7 A A
A7 A A7 A
D A A7 A
E D A |A|-|A|-|A|
(The Everly Brothers)(Artist Index)(Oldies) - (Main Index) - (Song Index) (This Song)
BEARS – Lyle Lovett
(Fromholz)
https://www.youtube.com/watch?v=4v4owphgX84 (Capo 1)
TIP: You can play an (F) in place of all the (Gsus4) but the (Gsus4) is actually easier
to play than an (F) as it will follow a (C) so just collapse down onto the bottom string
and lift off the 5th and 4th strings.
TIP: You'll see <up> at the beginning of certain verses as a reminder to sing that word
on an up-inflection. Also, although not included, whenever a line begins with an (F)
instead of a (Gsus4), as in the 3rd verse onwards with "some" and "even" they too are
sung with an up-inflection.
INTRO: G Em C, Gsus4 C G; G Em C, Gsus4 C G
Em C
Some folks say there ain’t no bears in Arkansas.
Gsus4 C G
Some folks never seen a bear at all.
Em C
Some folks say that bears go around eatin’ babies raw.
Gsus4 C G
Some folks got a bear across the hall.
Em C
Some folks say that bears go around smellin’ bad.
Gsus4 C G
Others say that a bear is honey, sweet.
Em C
Some folks say this bear’s the best I ever had.
Gsus4 C G
Some folks got a bear beneath their feet.
Em C
<Up> Some folks drive the bears out of the wilderness.
F C G
Some to see a bear would pay a fee.
Em C
Me I just bear up to my be wil, dered, best.
Gsus4 C G
And some folks even seen a bear in me.
G Em C, Gsus4 C G; G Em C, Gsus4 C G
Em C
Some folks drive the bears out of the wilderness.
F C G
Some to see a bear would pay a fee.
Em C
Me I just bear up to my be wil, dered, best.
Gsus4 C G
And some folks even seen a bear in me.
Em C
So <up> meet a bear and take him on out to lunch with you,
F C G
Even though your friends may stop and stare.
Em C
Just-remember that’s a bear there in the bunch with you.
Gsus4 G
And they just don’t come no better than a bear.
Em C
So <up> meet a bear and take him on out to lunch with you,
F C G
Even though your friends may stop and stare.
Em C
Just-remember that’s a bear there in the bunch with you.
Gsus4 G
And they just don’t come no better than a bear.
C Gsus4 G
No they just don’t come no better than a bear.
C Gsus4
No they just don’t come no better than no they
C Gsus4
Just don’t come no better than no they
C Gsus4 G
Just don’t come no better than a bear.
(Lyle Lovett) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
BEAUTIFUL NOISE
Neil Diamond
https://www.youtube.com/watch?v=UVLv1El1vh4 (Capo 0)
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 <b> (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 <a> and continue even higher to the
(G) on "love" which is note <b>. Keep raising to the (F) at "good" which is note <c>,
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."
INTRO: D . . .
A
What a beautiful noise, comin' up from the street.
D
Got a beautiful sound, it's got a beautiful beat.
A
It's a beautiful noise, goin' on everywhere.
D
Like the clickety-clack of a train on a track it's got a rhythm to spare.
G C
It's a beautiful noise. And it's a sound that I love.
F G
And it fits me as well, as a hand in a glove. Yes it does, yes it does.
(NC) C G
What a beautiful noise, comin' up from the park.
C
It's the song of the kids, and it plays until dark.
G
It's the song of the cars, on their furious flights.
C
But there's even romance in the way that they dance to the beat of the lights.
F G
F G
And it fits me as good. Like a hand in a glove.
C C G G C
Yes it does, yes it does. What a beautiful noise.
G
It's a beautiful noise, made of joy and of strife.
C
Like a symphony played by the passing parade it's the music of life.
F G
F G
And it makes me feel good, just like a hand in a glove. Yes it does, yes it does.
C G
<slower> What a beautiful noise, comin' into my room.
C C G C
And it's beggin' for me, <even slower> just to give it a tune.
(Neil Diamond) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE BED YOU MADE FOR ME – Highway 101
(Carlson)
https://www.youtube.com/watch?v=o2AN8KoHKxM (Capo 1)
INTRO: G, G–C–D-G
C G
Darling were you listenin’, when I called you late last night.
C G A D
Or did the sleep get in your eyes, did it blind me, from your sight?
G C G
Or was she lying with you, was it hard for you to speak?
C G D G
And did you tell her she was sleepin’ in the bed you made for me?
C G
D C D
Did she like my satin sheets, and did you sing her to sleep?
G C G
And my pillow that she slept on did it bring her sweet dreams?
C G D G
Did you tell her she was sleepin’, in the bed you made for me?
C G
The pillow that you made for me it was soft with feather down.
C G A D
And the headboard it came from an old house, that was ‘bout to be torn down.
G C G
And the songs you always sang to me, ohhh as I fall asleep.
C G D G
Did they sound the same to her, in the bed you made for me?
C G
D C D
G C G
C G D G
C G D G
C G
Now you can take my old pillow, and throw it out the door.
C G A D
You can buy another bed, you can find, another headboard.
G C G
Cause I ain't gonna lie beneath those satin sheets you tore.
C G D G
The bed you made for me, it isn't mine, anymore.
C G
D C D
G C G
C G D G
C G D C F C G
Did you tell her she was sleepin', in the bed you made for me- -ee.
(Highway 101) (Artist Index) - (Main Index) - (Song Index) (This Song)
BELLE STARR – Emmylou Harris and Mark Knopfler
(Harris)
https://www.youtube.com/watch?v=C6VOMB6eIMs (Capo 0)
TIP: In the bridge there's an (Fsus) which is easy to play. The trick is, since you're
coming off of an (F) and returning to an (F) afterwards, just hold the (F) and put your
pinky under the ring finger at the 3rd string/3rd fret. The pinky will block out the
middle finger so you can leave it right where it is. Then just lift off the pinky (or
put it back above the ringer finger if you're playing the bass note on the 5th string)
and you're back at (F). Easy peasy.
C F C
My momma and my daddy told me love is a two way street.
F C
But lately baby you've been finding new ways of dragging your feet.
E F G
So come on make your best shot you don't have to take the blame.
C G C
I'll be your Belle Starr you can be my Jesse James.
G C
There's lonely people everywhere from Abilene to Arkansas.
G C
The way they run for cover you'd think love was against the law.
E F G
Well I don't need a pistol baby you won't have to rob a train.
C G C G C G C
You can be my Belle Starr I can be your, Jesse James. Ohhh. Ohhh.
F Fsus F C
I know you've done some hard time baby and you've got your doubts.
E F G
When you feel surrounded and it's looking like there's no way out.
C F C
I'll-come-riding to your rescue all you gotta do is call- all my name.
G C G C G C
I'll be your Belle Starr you can be the Jesse James. Ohhh. Ohhh.
F C
It don't take a genius baby there ain’t no big mystery.
F C
You can't, play it safe, and still go down in history.
E F G
So saddle up the horses 'cuz we're headed for the hall of fame.
C G C
G C
G C G C G C G |C|
Ohhh. Ohhh. Ohhh. Ohhh.
(Mark Knopfler) (Emmylou Harris) (Artist Index) - (Main Index) - (Song Index) (This Song)
BETTE DAVIS EYES - Kim Carnes
(DeShannon/Weiss)
https://www.youtube.com/watch?v=2Wdu5FYGTRs (Capo 3)
TIP: The pacing is a little tricky with the three-chord triad. The (G) always comes on
the last word, followed by either a (Bm) or an (A). But then Kim either includes the
third chord with the the ending line, or begins it along with the first word of the next
line. It's always forward with "She's got Bette Davis . . .".
INTRO: G Bm A, G Bm A, G Bm A, G Bm A
G A G A D
Her hair is Harlowe gold. Her lips sweet surprise.
G D
Her hands are never cold.
A D G D A
She's got Bette Davis eyes she'll turn her music on you.
G A Bm G D
You won't have to think twice. She's pure as New York snow.
A D D D
She got Bette Davis eyes.
Bm D G D
And she'll tease you. She'll unease you. All the better just to please you.
Bm D G D
She's precocious, and she knows just what it, takes to make a pro blush.
G Bm A G D A, G D A
She got, Greta Garbo stand off sighs she's got, Bette Davis eyes.
G D A G A D
She'll let you take her home. It whets her appetite.
G D
She'll lay you on her throne.
A D G D A
She got Bette Davis eyes she'll take a tumble on you.
G A D G D
Rollll you like you were dice. Until you come out blue.
A D D D
She's got Bette Davis eyes.
Bm D
She'll expose you, when she snows you,
G D
Off your feet with the crumbs she throws you.
Bm D G D
She's ferocious, and she knows just what it takes to make a pro blush.
G D A G D A
All the boys, think she's a spy she's got, Bette Davis eyes.
G D A, G D A, D D
Bm D G D
And she'll tease you. She'll unease you. All the bet-ter just to please ya.
Bm D G D
She's precocious, and she knows just what it, takes to make a pro blush.
G D A G D A
All the boys, think she’s a spy she’s got, Bette Davis eyes.
G D A, G D A, G D A
G D A G D A G D
She'll tease you. She'll unease you. Just to please you.
A G D D
She's got Bette Davis eyes.
G D A G D A
She'll expose you, when she snows you.
G A G D D D |D|
She knowwwws ya she's got Bette Davis eyes.
(Kim Carnes) (Artist Index) - (Main Index) - (Song Index) (This Song)
BIG IRON (In C) - Marty Robbins/Michael Martin Murphey
(Robbins)
https://www.youtube.com/watch?v=zzICMIu5zFY (Marty)(Capo 4)
https://www.youtube.com/watch?v=CJieEl7vd74 (Michael and Marty duet)(Capo 4)
[Also a slightly easier to play version in [G] follows.]
TIP: The switch from (Am) to (Am7) in the outro is extremely fast and consists of just
lifting off the ring finger briefly for one count.
INTRO: Am . . . E-Am <pause>
C Am
To the town of Agua Fria rode a stranger one fine day.
C Am
Hardly spoke to folks around him didn't have too much to say.
F C
No one dared to ask his business no one dared to make a slip,
Am F C
For the stranger there among them had a big iron on his hip. Big iron on his hip.
Am
It was early in the morning when he rode into the town.
C Am
He came riding from the south side slowly lookin' all around.
F C
“He's an outlaw loose and running” came the whisper from each lip.
Am F C
And he's here to do some business with the big iron on his hip. Big iron on his hip.
Am
In this town there lived an outlaw by the name of Texas Red.
C Am
Many men had tried to take him and that many men were dead.
F C
He was vicious and a killer though a youth of twenty four.
Am F C
And the notches on his pistol numbered one and nineteen more. One and nineteen more.
Am
Now the stranger started talking made it plain to folks around.
C Am
Was an Arizona Ranger wouldn't be too long in town.
F C
He came here to take an outlaw back alive or maybe dead.
Am F C
And he said it didn't matter he was after Texas Red. After Texas Red.
Am
Wasn't long before the story was relayed to Texas Red.
C Am
But the outlaw didn't worry men that tried before were dead.
F C
Twenty men had tried to take him twenty men had made a slip.
Am F C
Twenty one would be the ranger with the big iron on his hip. Big iron on his hip.
Am
The morning passed so quickly it was time for them to meet.
C Am
It was twenty past eleven when they walked out in the street.
F C
Folks were watching from their windows everybody held their breath.
Am F C
They knew this handsome ranger was about to meet his death. About to meet his death.
Am
There was forty feet between them when they stopped to make their play.
C Am
And the swiftness of the ranger is still talked about today.
F C
Texas Red had not cleared leather when a bullet fairly ripped.
Am F C
And the ranger's aim was deadly with the big iron on his hip. Big iron on his hip.
Am
It was over in a moment and the folks had gathered round.
C Am
There before them lay the body of the outlaw on the ground.
F C
Oh he might have went on living, but he made one fatal slip.
Am F C
When he tried to match the ranger with the big iron on his hip. Big iron on his hip.
F C Am
Big iron, big iron. When he tried to match the ranger with the big iron on his hip.
F C C, Am Am7-Am, Am Am7-Am, Am Am7-Am <repeat & fade or |Am|>
Big iron on his hip.
(Marty Robbins)(Michael Martin Murphey) (Kid Friendly) (Artist Index)

BIG IRON (In G) - Marty Robbins/Michael Martin Murphey
(Robbins)
TIP: Don't sweat the (B7). It only comes once in the intro. Just play (Em) if you
want.
TIP: The switch from (Em) to (Em7) in the outro is extremely fast and consists of just
lifting off the ring finger briefly for one count.
INTRO: Em . . . B7-Em <pause>
G Em
To the town of Agua Fria rode a stranger one fine day.
G Em
Hardly spoke to folks around him didn't have too much to say.
C G
No one dared to ask his business no one dared to make a slip,
Em C G
For the stranger there among them had a big iron on his hip. Big iron on his hip.
Em
It was early in the morning when he rode into the town.
G Em
He came riding from the south side slowly lookin' all around.
C G
“He's an outlaw loose and running” came the whisper from each lip.
Em C G
And he's here to do some business with the big iron on his hip. Big iron on his hip.
Em
In this town there lived an outlaw by the name of Texas Red.
G Em
Many men had tried to take him and that many men were dead.
C G
He was vicious and a killer though a youth of twenty four.
Em C G
And the notches on his pistol numbered one and nineteen more. One and nineteen more.
Em
Now the stranger started talking made it plain to folks around.
G Em
Was an Arizona Ranger wouldn't be too long in town.
C G
He came here to take an outlaw back alive or maybe dead.
Em C G
And he said it didn't matter he was after Texas Red. After Texas Red.
Em
Wasn't long before the story was relayed to Texas Red.
G Em
But the outlaw didn't worry men that tried before were dead.
C G
Twenty men had tried to take him twenty men had made a slip.
Em C G
Twenty one would be the ranger with the big iron on his hip. Big iron on his hip.
Em
The morning passed so quickly it was time for them to meet.
G Em
It was twenty past eleven when they walked out in the street.
C G
Folks were watching from their windows everybody held their breath.
Em C G
They knew this handsome ranger was about to meet his death. About to meet his death.
Em
There was forty feet between them when they stopped to make their play.
G Em
And the swiftness of the ranger is still talked about today.
C G
Texas Red had not cleared leather when a bullet fairly ripped.
Em C G
And the ranger's aim was deadly with the big iron on his hip. Big iron on his hip.
Em
It was over in a moment and the folks had gathered round.
G Em
There before them lay the body of the outlaw on the ground.
C G
Oh he might have went on living, but he made one fatal slip.
Em C G
When he tried to match the ranger with the big iron on his hip. Big iron on his hip.
C G Em
Big iron, big iron. When he tried to match the ranger with the big iron on his hip.
C G G, Em Em7-Em, Em Em7-Em, Em Em7-Em <repeat & fade or |Em|>
Big iron on his hip.
(Marty Robbins) (Michael Martin Murphey) (Kid Friendly) (Artist Index)

BIG RIVER
Johnny Cash
https://www.youtube.com/watch?v=t_DSnfVNLwY (Capo 3)
TIP: The intro and instrumental bridges have a quick little 6-note step-down thing going
on. It’s hard to describe but it’ll be obvious. Focus on the 3rd and 4th strings.
INTRO: D D-D, D D-D, D . . .
Now I taught the weepin’ willow how to cry,

E A
And I showed the clouds how to cover, up a clear blue sky.
D G
And the tears that I cried for that woman, are gonna flood you Big River.
D A D
And I'm gonna sit right here until I die.
I met her accidentally in St. Paul, Minnesota.

E A
And it tore me up every time I heard her drawl southern drawl.
D G
Then I heard my dream was back downstream, cavortin' in Davenport,
D A D
And I followed you Big River, when you called.
D D-D, D D-D, D D-G, G G-D, D D-A, A A-D
Then you took me to St. Louis, later on, down the river.
E A
A freighter said she's been here, but she's gone boy she's gone.
D G
I found her trail in Memphis, but she just walked up the bluff.
D A D
She raised a few eyebrows and then she went on down alone.
Now won't you bat it down by Baton Rouge, River Queen roll it on.
E A
Take that woman on down to New Orleans, New Orleans.
D G
Go on I've had enough, dump my blues down in the gulf.
D A D
She loves you Big River, more than me.
D D-D, D D-D, D D-G, G G-D, D D-A, A A-D

Now I taught the weepin’ willow how to cry,
E A
And I showed the clouds how to cover, up a clear blue sky.
D G
And the tears that I cried for that woman, are gonna flood you Big River.
D A D D |D|
And I'm gonna sit right here until I die.
(Johnny Cash) (Artist Index) - (Main Index) - (Song Index) (This Song)
BIG ROCK CANDY MOUNTAIN – Harry McClintock
(Traditional)
https://www.youtube.com/watch?v=KSGuBNopzBw (Capo 5)
[Originally written and performed in the key of [C] on the O Brother soundtrack. That
version comes afterwards. Here it is capo'd at the 5th fret as most find it easier to
move between (G) and (C) than between (C) and (F).]
INTRO: G C G C G D G
C G C G D G
One evening as the sun went down and the jungle fire was burning.
G C G D G
Down the track came a hobo hikin’, and-he-said- "Boys I'm not turning.
C G C G C G D
I'm headed-for-a land that's far away, besides the crystal fountains.
G C G C G D G
So come with me we'll go and see the Big Rock Candy Mountains."
D G C G
In the Big Rock Candy Mountains, there's a land that's fair and bright.
C G C G D
Where the handouts grow on bushes, and you sleep out every night.
G C G
Where the boxcars all are empty, and the sun shines every day,
C G C G
On the birds and the bees and the cigarette trees,
C G C G D G
The lemonade springs where the bluebird sings in the Big Rock Candy Mountains.
D G C G
In the Big Rock Candy Mountains, all the cops have wooden legs.
C G C G D
And the bulldogs all have rubber teeth, and the hens lay soft-boiled eggs.
G C G
The farmers' trees are full of fruit, and the barns are full of hay.
C G C G
Oh I'm bound to go where there ain't no snow,
C G C G D G
Where the rain don't fall the winds don't blow in the Big Rock Candy Mountains.
D G C G
In the Big Rock Candy Mountains, you never change your socks.
C G C G D
And the little streams of alcohol, come trickling down the rocks.
G C G
The brakemen have to tip their hats and the railroad bulls are blind.
C G C G
There's a lake of stew and of whiskey too,
C G C G D G
You can paddle all around ‘em in a big canoe in the Big Rock Candy Mountains.
D G C G
In the Big Rock Candy Mountains, the jails are made of tin.
C G C G D
And you can walk right out again, as soon as you are in.
G C G
There ain't no short-handled shovels, no axes saws nor picks.
C G C G
I'm goin’ to stay where you sleep all day,
C G C G D G
Where they hung the jerk that invented work in the Big Rock Candy Mountains.
<whistle> G C G, C G – C G
C G C G D G
I'll see you all this coming fall in the Big Rock Candy Mountains.
(Traditional)(Harry McClintock) (Artist Index) (Folk)

BIG ROCK CANDY MOUNTAIN – Harry McClintock
(Traditional)
https://www.youtube.com/watch?v=KSGuBNopzBw (Capo 0)
INTRO: C F C F C G C
F C F C G C
One evening as the sun went down and the jungle fire was burning.
C F C G C
Down the track came a hobo hikin’, and-he-said- "Boys I'm not turning.
F C F C F C G
I'm headed-for-a land that's far away, besides the crystal fountains.
C F C F C G C
So come with me we'll go and see the Big Rock Candy Mountains."
G C F C
In the Big Rock Candy Mountains, there's a land that's fair and bright.
F C F C G
Where the handouts grow on bushes, and you sleep out every night.
C F C
Where the boxcars all are empty, and the sun shines every day,
F C F C
On the birds and the bees and the cigarette trees,
F C F C G C
The lemonade springs where the bluebird sings in the Big Rock Candy Mountains.
G C F C
In the Big Rock Candy Mountains, all the cops have wooden legs.
F C F C G
And the bulldogs all have rubber teeth, and the hens lay soft-boiled eggs.
C F C
The farmers' trees are full of fruit, and the barns are full of hay.
F C F C
Oh I'm bound to go where there ain't no snow
F C F C G C
Where the rain don't fall the winds don't blow in the Big Rock Candy Mountains.
G C F C
In the Big Rock Candy Mountains, you never change your socks.
F C F C G
And the little streams of alcohol, come trickling down the rocks.
C F C
The brakemen have to tip their hats and the railroad bulls are blind.
F C F C
There's a lake of stew and of whiskey too,
F C F C G C
You can paddle all around ‘em in a big canoe in the Big Rock Candy Mountains.
G C F C
In the Big Rock Candy Mountains, the jails are made of tin.
F C F C G
And you can walk right out again, as soon as you are in.
C F C
There ain't no short-handled shovels, no axes saws nor picks.
F C F C
I'm goin’ to stay where you sleep all day
F C F C G C
Where they hung the jerk that invented work in the Big Rock Candy Mountains.
<whistle> C F C, F C – F C
F C F C G C
I'll see you all this coming fall in the Big Rock Candy Mountains.
(Traditional)(Harry McClintock) (Artist Index) (Folk)

BIG WEEKEND
Tom Petty
https://www.youtube.com/watch?v=xBZr5nq0Yd0 (Capo 0)
INTRO: <strum> D
There's some friends that I know, living in this town
And I've come far to see them gonna track em' down.
A D
They live in a brick house, painted white and brown.
Left a tip for the maid and I, packed up my guitar
Dropped my key on the counter, rented a car.

A D
Gonna hook up with em' later, and go hit the bars.
G D A Em D A
I need a big, week, end. Kick up the dust.
G D A D
Yeah a big weekend. If you don't run you rust.
Well I may shake your hand but I, won't know your name.
The joke in your language don't come out the same.

A D
There's times when I'm down and, there's nothing to blame.
G D A Em D A <st>
G D A D
D, D, D; A A D; G D A, G D A, G D A, A D
I can work I can travel, sleep anywhere, cross every border with nothing to declare.
A D
You can look back babe, but it's best not to stare.
G D A Em D A
G D A D |D|-|D|-|G| |D| |A|-|D|
BILLY BAYOU - Jim Reeves
(Miller)
https://www.youtube.com/watch?v=KfYnePV916o (Capo 0)
TIP: "Bayou" is pronounced "Bye-yoh".
INTRO: D G D G D G A7 D
G D G D G A7 D
Back about eighteen hundred and some, a Louisiana couple had a red-headed son.
G D G D G A7 D
No name suited him Jim Jack or Joe, they just called him Billy Bayou.
G D A7 D
Billy Billy Bayou watch where you go. You're walkin' on quick sand, walk slow.
G D A7 D
Billy Billy Bayou watch what you say. A pretty girl'll get you one of these days.
D G D G D G A7 D
G D G D G A7 D
Billy was a boy kinda big for his size, red hair and freckles and big blue eyes.
G D G D G A7 D
Thirteen years from the day he was born, Bill fought the battles of the Little Big Horn.
G D A7 D
G D A7 D
D G D G D G A7 D
G D G D G A7 D
One sad day Billy cried "Ho Ho. I can whip the feathers of Gee-ronimo."
G D G D G A7 D
He smarted off, the Chief got mad. This nearly ended our Louisiana lad.
G D A7 D
G D A7 D
D G D G D G A7 D
G D E D G A7 D
One day in Eighteen Seventy Eight, a pretty girl walked through Bill's front gate.
G D G
He didn't know whether to stand there and run.
D G A7 D
He wound up married cause he did neither one.
G D A7 D
G D A7 D
A7 D
Pretty girl'll get you one of these days.
(Jim Reeves) (Artist Index) - (Main Index) - (Song Index) (This Song)
BLACK AND WHITE - Three Dog Night
(Arkin/Robinson)
https://www.youtube.com/watch?v=f0Xt-Zwh9nY (Capo 4)
TIP: At the end continue to play the alternating (C)(G) over the spoken gibberish.
INTRO: G D, G D; G D, G D; G C G-C-D
G D G D G C D
The ink is black, the page is white. Together we learn, to read and write.
G D G D G C D D7
A child is black, a child is white. The whole world looks upon the sight.
G C G
A beautiful si-i-ight.
D G D D7 D D7
And now a child, can understand, that this is the law, of all the land. All the land.
G D G D G C D
The world is black, the world is white. It turns by day, and then by night.
G D G D G C D D7
A child is black, a child is white. Together they grow, to see the light.
G C G
To see the li-i-ight.
D G D D7 D D7
And now at last, we plainly see. We'll have a dance, of liberty. Liberty.
G D G D G C D
G D G D G C D D7
G C G
G D G D G C D
G D G D G C D D7
G C G
G D G D G C D
G D G D G C D D7
G C G
G D G D G C D
G D G D G C D D7
G C G
C G C G <repeat>
Come on, get it, get it, ohhhhhh yeah, yeah,
Give it up now run 'em up, little boy, yeah, little girl, yeahhhh, yeahhhhhhh, ohhhhh.
(Three Dog Night) (Kid Friendly) (Artist Index)

THE BLIZZARD - Jim Reeves
(Howard)
https://www.youtube.com/watch?v=ZAz3odasyo0 (Capo 0)
TIP: For the opening, form (G) and pick the covered 5th string <b> and the note next to
it, 5th string/3rd fret <c>. Then strum (G) and (C).
INTRO: b - c G C
F C
There's a blizzard comin' on, how I'm wishin' I was home,
G
For my pony's lame and he can't, hardly stand.
C F C
Listen to that norther sigh, if we don't get home we'll die,
G Am G C
But it's only seven miles to Mary Ann's. It's only seven miles to Mary Ann's.
F C
You can bet we're on her mind, for it's nearly suppertime,
G
And I'll bet, there's hot biscuits, in the pan.
C F C
Lord my hands feel like they're froze, and there's a numbness, in my toes,
G Am G C
But it's only five more miles to Mary Ann's. It's only five more miles to Mary Ann's.
F C
That wind's howlin' and it seems, mighty like a woman's screams,
G
And we'd best be movin' faster, if we can.
C F C
Dan just think about that barn, with that hay so soft and warm,
G Am G C
For it's only three more miles to Mary Ann's. It's only three more miles to Mary Ann's.
F C
Dan get up, your ornery cuss, or you'll be the death of us.
G
I'm so weary but, I'll help you if I can.
C F C
All right Dan, perhaps it's best that we, just stop a while and rest,
G Am G C
For it's still a hundred yards to Mary Ann's. It's still a hundred yards to Mary Ann's.
F C
<spoken> Late that night the storm was gone, and they found him there at dawn.
G
He'd have made it but, he just couldn't leave ol' Dan.
C F C
Yes they, found him there on the plains, his hands froze to the reins.
G Am
He was just a hundred yards from Mary Ann's.
G C
(Jim Reeves) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE BLIZZARD - Jim Reeves
(Howard)
https://www.youtube.com/watch?v=ZAz3odasyo0 (Capo 5)
TIP: Pick the first two opening notes of <f> (4th string/4th fret) and <g> (open 3rd
string) and then the chords as indicated, which is the same as the last line of the
verse.
INTRO: f# - g D D7 G
G7 C G
There's a blizzard comin' on, how I'm wishin' I was home,
D7
For my pony's lame and he can't, hardly stand.
G G7 C G
Listen to that norther sigh, if we don't get home we'll die,
D Em D G
But it's only seven miles to Mary Ann's. It's only seven miles to Mary Ann's.
G7 C G
You can bet we're on her mind, for it's nearly suppertime,
D7
And I'll bet, there's hot biscuits, in the pan.
G G7 C G
Lord my hands feel like they're froze, and there's a numbness, in my toes,
D Em D G
But it's only five more miles to Mary Ann's. It's only five more miles to Mary Ann's.
G7 C G
That wind's howlin' and it seems, mighty like a woman's screams,
D7
And we'd best be movin' faster, if we can.
G G7 C G
Dan just think about that barn, with that hay so soft and warm,
D Em D G
For it's only three more miles to Mary Ann's. It's only three more miles to Mary Ann's.
G7 C G
Dan get up, your ornery cuss, or you'll be the death of us.
D7
I'm so weary but, I'll help you if I can.
G G7 C G
All right Dan, perhaps it's best that we, just stop a while and rest,
D Em D G
For it's still a hundred yards to Mary Ann's. It's still a hundred yards to Mary Ann's.
G7 C G
<spoken> Late that night the storm was gone, and they found him there at dawn.
D7
He'd have made it but, he just couldn't leave ol' Dan.
G G7 C G
Yes they, found him there on the plains, his hands froze to the reins.
D Em
D G
(Jim Reeves) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
BLOOD ON THE COAL - The Folksmen
(Guest/McKean/Shearer)
https://www.youtube.com/watch?v=KBGa9e2n_z4 (Capo 0)
TIP: To get the walk-up harmony at the end of the chorus right, you've got all three
notes right there within the (Dm). The line ends with note <d> (2nd string with (Dm)
formed). And this is key, the first refrain starts with <f> (bottom string with (Dm)
formed) so just tick the bottom string with the strum and it'll tell you right where your
voice needs to be for that first "blood on the coal". The last one begins with middle
<a> (3rd string with (Dm formed). So from that first "blood on the coal" you just
elevate your voice a little each time before dropping down to the (C) at the end.
TIP: Strum the chord in upright brackets |Dm| once at that position. At the end there's
a long drawn out "coal" and you strum the chord slowly once at each position.
INTRO: Dm
C
It was April 27th in the year of '91.
Am Dm
'Bout a mile below the surface, in the warm Kentucky sun.
C
The late shift was ending and the early shift was late,
Am Dm
And the foreman ate his dinner from a dirty tin plate.
C
Blood on the tracks, blood in the mine.
Am Dm
Brothers and sisters what a terrible time.
C
Old Ninety-Seven went in the wrong hole now in,
Am Dm
Mine number Sixty there's blood on the coal.
C Am Dm
Blood on the coal, blood on the coal.
C
Well the slag pits was steamin' it was seven twenty-five.
Am Dm
Every miner worked the coal face every one of them alive.
C
Train came round the corner you could hear the trestle groan.
Am |Dm| |Dm| |Dm|
But the switcher wasn't listenin' so he left the switch alone.
Dm C
Am Dm
C
Am Dm
C Am Dm
C
Well the walls began to tremblin' and the men began to yell.
Am Dm
They could hear that lonesome whistle like an echo out of, well.
C
They dropped their picks and shovels as to safety they did run,
Am |Dm| |Dm| |Dm|
For to stay amongst the living in the year of Ninety One.
Dm C
Am Dm
C
Am Dm
C Am Dm
C
Now an Irishman named Murphy said "I'll stop that iron horse."
Am Dm
As he stood athwart its passage, and it crushed him dead of course.
C
And I hope he hears the irony when e'er this tale is told
Am |Dm| |Dm| |Dm|
That the train that took his life was burnin' good Kentucky coal. (Hey!)
Dm C
Am Dm
C
Am Dm
|C| |Am| |Dm|
Blood on the coal, blood on the <slow down> co- oh- oh- oal.
(The Folksmen) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
BLOWIN’ IN THE WIND – Peter, Paul and Mary
(Dylan)
https://www.youtube.com/watch?v=HfrG6_TvTQw (Capo 3)
[There are 3 versions here. The first two are by Peter, Paul, and Mary, this one in [D]
and an easier to play version in [G] without the (Bm) that follows (although it won't
match the recording). After that is Dylan's original by the man himself which is the
easiest of all to play.]
INTRO: G A D Bm, G A D
G D G A
How many roads must a man walk down, before they call him a man?
D G D Bm D G A
How many seas must a white dove sail, before she sleeps in the sand?
D G D G A
How many times must the cannon balls fly, before they're forever banned?
G A D Bm G A D
The answer my friend, is blowin' in the wind, the answer is blowin' in the wind.
G D G A
How many years must a mountain exist, before it is washed to the sea?
D G D Bm D G A
How many years can some people exist, before they're allowed to be free?
D G D G A
How many times can a man turn his head and pretend that he just doesn't see?
G A D Bm G A D
G D G A
How many times must a man look up, before he can see the sky?
D G D Bm D G A
How many ears must one man have, before he can hear people cry?
D G D G A
How many deaths will it take till he knows, that too many people have died?
G A D Bm G A D
G A D Bm G A D
The answer is blowin' in the wind.
(Peter, Paul and Mary) (Kid Friendly) (Artist Index) (Folk)

BLOWIN’ IN THE WIND – Peter, Paul and Mary
(Dylan)
TIP: For the (Cmaj7) just lift off the index finger on the <c>.
INTRO: C D G Em, C D G
C G C D
G C G Em G C Cmaj7 D
G C G C D
How many times must the cannon balls fly, before they're forever banned?
C D G Em C D G
C G C D
How many years must a mountain exist, before it is washed to the sea?
How many years can some people exist, before they're allowed to be free?
G C G C D
How many times can a man turn his head and pretend that he just doesn't see?
C D G Em C D G
C G C D
How many times must a man look up, before he can see the sky?
How many ears must one man have, before he can hear people cry?
G C G C D
How many deaths will it take till he knows, that too many people have died?
C D G Em C D G
C D G Em C D C G C G
The answer is blowin' in the win- ind.
(Peter, Paul and Mary) (Kid Friendly) (Artist Index) (Folk)

BLOWIN’ IN THE WIND
Bob Dylan
https://www.youtube.com/watch?v=MMFj8uDubsE (Capo 0)
TIP: And at the end of the chorus Bob leaps right into the harmonica part so don't
dawdle after the (D).
INTRO: D
G A D G D
G A D G A
D G A D G D
Yes’n how many times must the cannon balls fly, before they're forever banned?
G A D G A D
<harmonica> G D A, D D G, G A D
G A D G D
Yes’n how many years must a mountain exist, before it is washed to the sea?
G A D G A
Yes’n how many years can some people exist, before they're allowed to be free?
D G A D G D
Yes’n how many times can a man turn his head and pretend that he just doesn't see?
G A D G A D
G A D G D
Yes’n how many times must a man look up, before he can seeee the sky?
G A D G A
Yes’n how many ears must one man have, before he can hear people cry?
D G A D G D
Yes’n how many deaths will it take till he knows, that too many people have died?
G A D G A D
BLUE BAYOU - Roy Orbison
(Orbison/Melson)
https://www.youtube.com/watch?v=fGB9cvWdn04 (Capo 2)
TIP: This is Roy's version from A Black & White Night which is played noticably slower
than the original. Also, strangely, to play the studio version recorded earlier in his
career capo at the 3rd fret, not the 2nd.
TIP: You can play the (Dmaj) by either collapsing down with the index finger on the 2nd
fret from the (D), or you can play it like an (A) but down one string set since the next
chord is an (A) and you can jump right back up. I kind of prefer the first way myself.
INTRO: (strum) D
Dmaj7 A A7
I feel so bad I got a worried mind. I'm so lonesome, all the time.
A A7 D
Since I left my baby behind on Blue Bayou. (Oh boe boe)
D Dmaj7 A A7
Saving nickels, saving dimes. Working til, the sun don't shine.
A A7 D
Looking forward to happier times on Blue Bayou.
A7
I'm going back someday, come what may to Blue Bayou.
A D
Where you sleep all day and the catfish play on Blue Bayou.
D7 G Em
All those fishing boats, with their sails afloat, if I could only see.
D A D
That familiar sunrise through sleepy eyes, how happy I'd be.
Dmaj7 A A7
(Boe boe boe) Oh to see my baby again. And to be with some of my friends.
A A7 D
Maybe I'll, be happy again, on Blue Bayou.
A7
I'm going back someday, gonna stay, on Blue Bayou.
A D
Where the folks are fine and the world is mine, Blue Bayou.
D7 G Em
Oh that girl of mine, by my side, silver moon and the evening tide.
D A D
Some sweet day, gonna take away, this hurting inside.
A7 A E A7 D
I'll never be blue, my dreams come true, on Blue, Bay, you.
Doh doh doh dim dummy ay, doh doh doh dim dummy ay, doh doh doh dim dummy ay.
(Roy Orbison) (Artist Index) - (Main Index) - (Song Index) (This Song)
BLUE BAYOU - Linda Ronstadt
(Orbison/Melson)
https://www.youtube.com/watch?v=_qqvdOwoN-Y (Capo 2)
TIP: For the intro, form (A) and pick the strings indicated.
TIP: Don't think of the (Amaj7) as a variation of (A) or you'll get your fingers all
twisted up. Think of it as a (D7) played up one string/set. Lift off the (A),
reposition, and come right back down. Then you can keep the index finger planted and
just move the other two fingers up to the 4th and 5th strings for the (E). Easy!
TIP: The movement to the (A+) from the (A) may feel a little awkward but the key is to
just keep the bottom two fingers from the preceding (A) where they are and bring the top
finger down to the bottom string/1st fret - kind of like an (Am) except down one
string/set - and put the pinky up top at the 4th string/3rd fret. Not bad.
TIP: There's a lonely (B) at the outro but you can play a (B7) or even a (Bm) if you
don't like the (B). The (B) is more correct but since you're already playing an (E) I
find it easier to just reposition within the first two frets for the final three chords
rather than come up to the 4th fret and back down again. And for that final (A) Linda
soars to a high <c#>, still within the (A) but it's the 2nd string note she's hitting not
the 3rd.
or
INTRO <Form (A)>: 5 - 4 - 6 - 5 - 4 – 6
A Amaj7 E E7
I feel so bad I got a worried mind. I'm so lonesome, all the time.
E E7 A E
Since I left my baby behind on Blue Bayou.
A Amaj7 E E7
E E7 A
E7 E
A
Where the folks are fine and the world is mine on Blue Bayou.
A+ D Dm
Where those fishing boats, with their sails afloat, if I could only see.
A E A E
A Amaj7 E E7
Gonna see my baby again. Gonna be with some of my friends.
E A
Maybe I'll feel better again, on Blue Bayou.
Amaj7 E E7
E E7 A
E7 E
A
Where the folks are fine and the world is mine on Blue Bayou.
A+ D Dm
Where those fishing boats, with their sails afloat, if I could only see.
A E A
A A E7 E, E E A
A+ D Dm
With that boy of mine, by my side. The silver moon and the evening tide.
A E A
Oh some sweet day, gonna take away, this hurting inside.
E E7 B E A
Well I'll never be blue, my dreams come true, on Blue, Bay, you.
(Linda Ronstadt) (Artist Index) - (Main Index) - (Song Index) (This Song)
BLUE EYES CRYING IN THE RAIN – Willie Nelson
(Rose)
https://www.youtube.com/watch?v=crgtWomWg90 (Capo 2)
TIP: For the intro, form and hold (D), then pick the open 4th string and strum (D), then
pick the open 5th string and strum (D). Do this twice.
INTRO: 4-D, 5-D; 4-D, 5-D
A D A
In the twilight glow I see her. Blue, eyes crying, in the rain.
D D A D
When we kissed goodbye and parted, I knew, we'd never, meet again.
G D A A7
Love is like, a dying ember, and on - ly memories remain.
D A D
And through, the ages, I'll remember, blue, eyes crying, in the rain.
<Repeat chords from first verse>: D, A D A; D, A D
G D A A7
Someday when we meet up yonder, we'll stroll hand in hand again.
D A D G D
In, a land, that knows no parting, blue eyes crying, in the rain.
BLUE MOON - The Mavericks
(Rodgers/Hart)
https://www.youtube.com/watch?v=1yBc-Sajh38 (Capo 0)
TIP: This is not the Marvel's version, it's the one by The Mavericks 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.
TIP: There's a bass vibe to the chord cadence and if you can, cover the bass <f> note
while playing the (F) by wrapping your thumb over the top string at the 1st fret. You
may have to lift off the bottom string to do so, so just don't strum the bottom string.
Otherwise just play (F) as usual and try not to strike the top string.
TIP: The first (G7) in the verse ("dream" and "saying" etc.) sounds off to some. You
can play a (G) or an (Em) if it sounds better to you, but the second (G7) should be
played.
or
<A capella/No Chords>: Blue moon. Ooo-ooh-ooh-ooh. Oooo-ooh-ooh-ooh-oooh.
C Am F G
Without a love of my own.
C Am F G C Am F
Blue moon, you saw me standing alone.
G7 C Am F G7 C Am F G
Without a dream in my heart. Without a love of my own.
C Am F G C Am F
Blue moon, you knew just what I was there for.
You heard me saying a prayer for. Someone I really could care for.
C Am F G C Am F G C Am F
Blue . . . . . . oooooh - ooh-ooh. Ooh- oooh- oooh.
G7 C Am F G
C Am F G C Am F
Blue moon, you saw me standing alone.
Without a dream in my heart. Without a love of my own.
Oooooh . . . . . . oooooh - ooh-ooh. Ooh- oooh- oooh.
G7 C Am F G
C Am
G F C Am F G C Am F
Blue moon oooooh - ooh-ooh. Ooh- oooh- oooh.
G7 C 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?
G7 C Am F G
G7 C 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
https://www.youtube.com/watch?v=9CaKmjFL1F8 (Capo 2)
TIP: Give the intro notes a try. You can play them two ways. In the lower register:
<g> = top string/3rd fret, <f#> = top string/2nd fret, and <e> = open top string, which
follow the melody of "...all my blue moon nights." Or if you'd rather play them in the
middle register: <g> = open 3rd string, <f#> = 4th string/4th fret, and <e> = 4th
string/3rd fret. In either case end and cover the final <d> (not shown) by strumming
(D).
TIP: Real important to get the strumming cadence down as it drives the whole song.
INTRO: g – g f# - e – e D
G D G D A
Help me fellas I'm feelin' kind a weak. The way-I'm-livin' just ain't right.
D G D G A7 D
I need somebody to watch over me. All my blue moon nights.
G D G D A
I want a girl to take me by the hand. Follow me right down the line.
D G D A A7 D
Hold me gently while we dance. All my blue moon nights.
G D A7 D
Heaven only knows I don't want to be, just a fool, passin' through.
G D G A7 D
Won't you send an angel to walk with me, all my blue moon nights?
D G D, G D A, D G D, G A7 D, G D A D G D, G A D, D . . .
G D G D A
Help me fellas it's gettin' kind a late. Runnin' out of pre - cious time.
D G D G A7 D
She might pass me while I waste, all my blue moon nights.
G D A7 D
Heaven only knows I don't want to be, just a fool, passin' through.
G D G A7 D
Won't you send an angel to walk with me, all my blue moon nights?
G A7 D G A7 D D G-A7-D
All my blue moon nights. All my blue moon nights.
(John Fogerty) (Artist Index) - (Main Index) - (Song Index) (This Song)
BLUE MOON OF KENTUCKY – Roy Acuff/Patsy Cline
(Monroe)
https://www.youtube.com/watch?v=dHMeXfMPHms Patsy (Capo 4)
https://www.youtube.com/watch?v=SkcQ2Ipuj4A Roy (Capo 0)
TIP: This is the immortal Patsy Cline's version. However there's a half-step key change
for the second half of the song in which all the chords are sharped (and messy). I've
increased them a full step which makes it much easier to play but (the second half) will
not match the recording. Or you can capo +1 at the key change and repeat the first half
of the song (lyrics are the same).
INTRO: G D G
(NC) G G7 C
I said blue moon of Ken-tucky keep on a-shinin'.
G D D7
Shine on the one that's gone and left me blue.
G G7 C
Blue moon of Ken-tucky keep on a-shinin'.
G D G
C G
It was on one moonlit night, stars shinin' bright.
C G D D7
Whispered on high, your love said goodbye.
G G7 C
G D G
<capo +1/key change> A
D
A E
A E
A E A
D A
It was on one moonlit night, stars shinin' bright.
E A E
Whispered on high, your love said goodbye.
A D
A E A
Left me blue. Left me blue. Le-eft me <up> blue.
(Roy Acuff) (Patsy Cline) (Artist Index) - (Main Index) - (Song Index) (This Song)
BLUE SUEDE SHOES – Carl Perkins/Elvis Presley
(Perkins)
https://www.youtube.com/watch?v=mvsYRAc-BWA Carl Perkins (Capo 0)
https://www.youtube.com/watch?v=Bm5HKlQ6nGM Elvis the Pelvis (Capo 0)
|A| |A|
Well it's one for the money. Two for the show.
|A| A7 D7 A
Three to get ready now go cat go but don't you, step on my blue suede shoes.
E D7 A
You can do anything but lay off of my blue suede shoes.
|A| |A| |A| |A|

Well you can knock me down, step in my face. Slander my name all over the place.
|A| |A|
Do anything that you want to do,
|A| A7 D7 A
But uh-uh Honey lay off of my shoes and don't you, step on my blue suede shoes.
E D7 A
A A, D7, A, E D A
|A| |A| |A| |A|

Well you can burn my house. Steal my car. Drink my liquor from an old fruit jar.
|A| |A|
Do anything that you want to do.
|A| A7 D7 A
But uh-uh Honey lay off of them shoes and don't you, step on my blue suede shoes.
E D7 A
A A, D7, A, E D A
|A| |A|
Well it's one for the money. Two for the show.
|A| A7 D7 A
Three to get ready now go cat go but don't you, step on my blue suede shoes.
E D7 A
Well it's blue blue, blue suede shoes. Blue blue, blue suede shoes.
D A
Yeah blue blue, blue suede shoes baby. Blue blue, blue suede shoes.
E D7 A A-A E A
(Carl Perkins) (Elvis Presley) (Artist Index) (Oldies)

BOATS TO BUILD – Jimmy Buffett & Alan Jackson
(Clark)
https://www.youtube.com/watch?v=pe0U7rG3xyw (Capo 2)
INTRO: D
G
It's time, for a change. I'm tired, of that same ol same.
A Bm C A
The same ol words, the same ol lines, the same ol tricks and the same ol rhymes.
D G
Days, precious days. Roll, in and out like waves.
A Bm C A
I got boards to bend, I got planks to nail, I got charts to make, I got seas to sail.
G A
I'm gonna build me a boat, with these two hands
D G
She'll be a, fair curve from a noble plan.
Em A D
Let the chips fall where they will, cause I, got boats to build.
D G
Sails, are just like wings. The wind, can make 'em sing.
A Bm C A
Songs of life, songs of hope, songs to keep your dreams afloat.
G A
I'm gonna build me a boat, with these two hands.
D G
Em A D
<steel drum> D G D G D A, D
G
Shores distant shores. There's, where I'm headed for.
A Bm C A
I got the stars, to guide my way, sail into the light of day.
G A
I'm gonna build me a boat, with these two hands.
D G
Em A
Let the chips fall where they will, cause I . . .
G A
Gonna build me a boat, with these two hands.
D G
Em A D
A D D |D|
I got boats to build. I got boats to build.
(Alan Jackson) (Jimmy Buffett) (Artist Index) - (Main Index) - (Song Index) (This Song)
BORN TO BE WILD - Steppenwolf
(Bonfire)
https://www.youtube.com/watch?v=igvP806798U (Capo 0)
TIP: This is a greatly simplified version. See the full Songbook for how you can spice
it up with just some simple additions of the pinky.
INTRO: E, E, E, E
E D E
Get your motor runnin'. Head out on the highway.
D E
Lookin' for adventure, and whatever comes our way.
G A E G A E
Yeah darlin' go make it happen. Take the world in a love embrace.
G A E G A E
Fire all of your guns at once and, explode into space.
D E
I like smoke and lightnin'. Heavy metal thunder.
D E
Racin' with the wind, and the feelin' that I'm under.
G A E G A E
G A E G A E
G A
Like a true nature's child, we were born, born to be wild. We can climb so high.
G E D E D E D E D
I never, wanna die. Born to be wild. Born to be wild.
E . . .
D E
Get your motor runnin'. Head out on the highway.
D E
Lookin' for adventure, and whatever comes our way.
G A E G A E
G A E G A E
G A
Like a true nature's child, we were born, born to be wild. We can climb so high.
G E D E D E D E D
I never, wanna die. Born to be wild. Born to be wild.
E . . .
(Steppenwolf) (Artist Index) - (Main Index) - (Song Index) (This Song)

BOTH SIDES NOW
Joni Mitchell
https://www.youtube.com/watch?v=Pbn6a0AFfnM (Capo 4)
[Afterwards is the version by Judy Collins which is easier to play.]
TIP: Joni plays with a unique strumming style with many subtle nuances that’s hard to
capture.
TIP: For the (D)(Dsus4)(D) sing-song just hold the (D) and add and remove your pinky to
the bottom string of the 3rd fret.
TIP: In the last line if the chorus you pause after “clouds/love/life” and play the (A).
INTRO: D Dsus4, D Dsus4, D Dsus4, D Dsus4
D Em G D A D
Rows and floes of angel hair, and ice cream castles in the air.
G Em G A
And feather canyons everywhere. I’ve looked at clouds that way.
D Em G D A D
But now they only block the sun. They rain and snow on everyone.
G Em G A
So many things I would have done, but clouds got in my way.
D Em D G D
I've looked at clouds from both sides now,
G D G D
From up and down, and still some how,
A G D
It's cloud illusions I recall.
G A D
I really don't know clouds, at all.
D Em G D A D
Moons and Junes and Ferris wheels. The dizzy dancing way you feel.
G Em G A
As every fairy tale comes real, I've looked at love that way.
D Em G D A D
But now it's just another show. You leave 'em laughin’ when you go.
G Em G A
And if you care, don't let them know, don't give yourself away.
D Em D G D
I've looked at love from both sides now,
G D G D
From give and take, and still some how,
A G D
It's love’s illusions I recall.
G A D
I really don't know love, at all.
D Em G D A D
Tears and fears and feeling proud, to say "I love you" right out loud.
G Em G A
Dreams and schemes, of circus crowds. I've looked at life that way.
D Em G D A D
But now old friends are acting strange. They shake their heads, they say I've changed.
G Em G A
Well something's lost, but somethin's gained, in living everyday.
D Em D G D
I've looked at life from both sides now,
G D G D
From win and lose, and still some how,
A G D
It's life’s illusions I recall.
G A D
D Em D G D
I've looked at life from both sides now,
G D G D
From up and down, and still some how,
A G D
G A D Dsus4, D Dsus4, D Dsus4
D Dsus4, D Dsus4, D Dsus4, D Dsus4 . . . |D|
(Joni Mitchell) (Artist Index) - (Main Index) - (Song Index) (This Song)
BOTH SIDES NOW – Judy Collins
(Mitchell)
https://www.youtube.com/watch?v=8L1UngfqojI (Capo 1)
TIP: In the chorus hold the (C) through “clouds/love/live” through the end of the word
and then quickly move to the (D).
INTRO: G C G C, G C G C
G C G Bm G
Bows and flows of angel hair, and ice cream castles in the air.
C Am C D
And feather canyons everywhere, I've looked at clouds that way.
G C G Bm G
But now they only block the sun. They rain and snow on everyone.
C Am C D
So many things I would have done, but clouds got in my way.
G Am C G
I've looked at clouds from both sides now.
C G C G
From up and down and still somehow,
Bm G
It's cloud’s illusions I recall.
C D G C G C, G C G C
I really don't know clouuuuuds, at all.
G C G Bm G
Moons and Junes and Ferris wheels. The dizzy dancing way you feel.
C Am C D
When every fairy tale comes real, I've looked at love that way.
G C G Bm G
But now it's just another show. You leave 'em laughin’ when you go.
C Am C D
And if you care don't let them know. Don't give yourself away.
G Am C G
I've looked at love from both sides now.
C G C G
From win and lose down and still somehow,
Bm G
It's love’s illusions I recall.
C D G C G C, G C G C
I really don't know looooove, at all.
G C G Bm G
Tears and fears and feeling proud, to say "I “love you" right out loud.
C Am C D
Dreams and schemes and circus crowds, I've looked at life that way.
G C G Bm G
But now old friends are acting strange. They shake their heads, they say I've changed.
C Am C D
Well something's lost but something's gained, in living everyday.
G Am C G
I've looked at life from both sides now.
C G C G
From win and lose down and still somehow,
Bm G
C D G C G C, G C G C, G C G C,
I really don't know liiiiife, at all.
G C G C, G C G C . . . |G|
(Judy Collins) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE BOXER – Simon and Garfunkel
(Simon)
https://www.youtube.com/watch?v=l3LFML_pxlY (Capo 4)
[Normally I prefer the key of [G] but this version just sounds off to me, maybe because
it's capo'd at the 4th and loses a bit of bass. I think the version in [C] that follows
afterwards just sounds better.]
TIP: In the outro you play the "lie lies" a total of 8 times. The first is the set up,
the next 6 are the same, and the last is the coda.
INTRO: G
Em D
I am just a poor boy though my story's seldom told I have squandered my resistance,
C D7 G
For a pocket full of mumble such are promises.
Em D C
All lies and jest, still a man hears what he wants to hear
G D G
And disregards the rest. Mmmm-mmmm, mmmm-mmmm.
Em D
When I left my home and my family I was no more than a boy in the company of strangers,
C D7 G
In the quiet of a railway station running scared.
Em D C G
Laying low seeking out the poorer quarters where the ragged people go,
D C Em D G
Looking for the places only they would know.
Em D Em
Lie la lie. Lie la lie Lie la lie lie. La lie lie
C D G
La lie lie lie lie lie, lie lie lie lie lie lie.
Em D
Asking only workman's wages I come looking for a job but I get no offers.
C D7 G
Just a come-on from the whores on 7th Avenue.
Em D C G
I do declare, there were times when I was so lonesome I took some comfort there.
D D D G
Ooh lah lah lah lah lah lah.
<flute> G Bm, G-D-Em D, D; G G, G G Em D, C C G D C G

Em D Em
Lie la lie. Lie la lie Lie la lie lie. La lie lie
C D G
Em D
Then I'm laying out my winter clothes and wishing I was gone going home.
C D7 G Bm Em D D G
Where the New York city winters ar-ent bleeding me. Leading me- ee, going home.
Em D
In the clearing stands a boxer and a fighter by his trade and he carries a reminderance,
D7 G
Of ev’ry glove that laid him down or cut him til he cried out,
Em D C
In his anger and his shame, I am leaving I am leaving
G D C G G-C-G
But the fighter still remains mmm - mmm.
Em D Em
Lie la lie. Lie la lie lie la lie lie. La lie lie.
C D Em
D Em
Lie la lie lie la lie lie. La lie lie.
C D Em
D Em
C D Em
D Em
C D Em
D Em
C D Em
D Em
C D Em
D Em
C D Em
D Em
C D G
G-D-Em, D D D, G G
G-D-Em, D C C G |D|-|G|-|D|, C G |G|-|D|-|G|
THE BOXER – Simon and Garfunkel
(Simon)
TIP: In the outro you play the "lie lies" a total of 8 times. The first is the set up,
the next 6 are the same, and the last is the coda.
INTRO: C
Am G
I am just a poor boy though my story's seldom told I have squandered my resistance,
F C
For a pocket full of mumble such are promises.
Am G F
All lies and jest, still a man hears what he wants to hear
C G C
And disregards the rest. Mmmm-mmmm, mmmm-mmmm.
Am G
When I left my home and my family I was no more than a boy in the company of strangers,
F C
In the quiet of a railway station running scared.
Am G F C
Laying low seeking out the poorer quarters where the ragged people go,
G F G C
Looking for the places only they would know.
Am G Am
Lie la lie. Lie la lie Lie la lie lie. La lie lie.
F G C
Am G
Asking only workman's wages I come looking for a job but I get no offers.
F C
Just a come-on from the whores on 7th Avenue.
Am G F C
I do declare, there were times when I was so lonesome I took some comfort there.
G G G C
Ooh lah lah lah lah lah lah.
<flute> C C, C-G-Am G, G; C Am, C C Am G, F F C G F C
Am G Am
F G C
Am G
Then I'm laying out my winter clothes and wishing I was gone going home.
F C Em Am G G C
Where the New York city winters ar-en’t bleeding me. Leading me- ee, going home.
Am G
In the clearing stands a boxer and a fighter by his trade and he carries a reminderance,
F C
Of ev’ry glove that laid him down or cut him til he cried out,
Am G F
In his anger and his shame, I am leaving I am leaving
C G F C C-F-C
But the fighter still remains mmm-mmm.
Am G Am
F G Am
G Am
F G Am
G Am
F G Am
G Am
F G Am
G Am
F G Am
G Am
F G Am
G Am
F G Am
G Am
F G C
C-G-Am, G G G, C C
C-G-Am, G F F C |G|-|C|-|G|, F C |C|-|G|-|C|
BRIDGE OVER TROUBLED WATER - Simon and Garfunkel
(Simon)
https://www.youtube.com/watch?v=H_a46WJ1viA (Capo 1)
[This version matches the recording but I think the version that follows, which does not,
is prettier.]
INTRO: D D-A-G G D, G A D, G D G
D G D G C G D G D
When you're weary, feelin’ small. When tears are in, your eyes, I will dry them all.
A Bm A A7 D Bm G Em A
I'm on your side, oh, when times get rough. And friends just can't, be, found.
D G A7 G D G A Bm
Like a bridge o ver troubled water, I will lay me down.
G A7 G D G A D G D G
D G D
When you're down and out. When you're on the street.
G C G D G D
When evening falls, so hard, I will comfort you.
A Bm A A7 D Bm G Em A
I'll take your part, oh, when darkness comes. And pain is all, a, round.
D G A7 G D G A Bm
G A7 G D Bm G Bm
D G Bm G D, D G D G D G
D G D G C G D G
Sail on Silver Girl. Sail on by. Your time has come, to shine.
D G D A Bm A
All your dreams are on their way. See how they shine.
A7 D Bm G Em A
Ohhhh, if you need a friend, I'm sailing right, be, hind.
D G A7 G D Bm G A Bm
Like a bridge o ver troubled water, I will ease your mind.
D G D A D Bm G Bm Em Bm
Like a bridge o ver trou-uh-bled water, I will ease your mind.
D G Bm G G D
BRIDGE OVER TROUBLED WATER - Simon and Garfunkel
(Simon)
TIP: In the instrumental bridge/outro there's a (Bm3) which is just (Bm) played on the
3rd fret.
INTRO: G C D7 D7 G G G C D G, C G C
G C D G C F C G C G
When you're weary, feelin’ small. When tears are in, your eyes, I will dry them all.
G D Em D D7 G Em C Am D
I'm on your side, oh, when times get rough. And friends just can't, be, found.
G C D7 C D Em
Like a bridge over troubled water, I will lay me down.
C D7 G C D G C G C
G C G
When you're down and out. When you're on the street.
C F C G C G
When evening falls, so hard, I will comfort you.
G D Em D D7 G Em C Am D
I'll take your part, oh, when darkness comes. And pain is all, a, round.
G C D7 C D Em
C D7 G C D7 G
G Em C Am Bm3-Bm3 G, G C G C G, C
G C G C F C G C
Sail on Silver Girl. Sail on by. Your time has come, to shine.
G C G D Em D
All your dreams are on their way. See how they shine.
D7 G Em C Am D
Ohhhh, if you need a friend, I'm sailing right, be, hind.
G C D7 G C D7 Em
Like a bridge over troubled water, I will ease your mind.
C D G C B7 Am Em
Like a bridge over trou-uh-bled water, I will ease your mind.
G Em C Am Bm3-Bm3 G
BRIGHT SIDE OF THE ROAD
Van Morrison
https://www.youtube.com/watch?v=rCDZzf4ragg (Capo 0)
INTRO: C Em F G, C F C G C
Em F G C Em F G C
From the dark end of the street, to the bright side of the road.
Em F G C F C G C
We'll be lovers once again, on the bright side of the road.
Em F G C Em F G C
Little darlin' come with me. Won't you help me share my load.
Em F G C F C
F F Fm C C
And into this life we're born. Baby sometime, sometime we don't know why.
F Fm Fm D D7 G G C
And times seem to go by so fast. In the twinkling of an eye.
Em F G C
Let's enjoy it while we can (let's enjoy it while we can).
Em F G C
Won't you help me share my load (help me share my load).
Em F G C F C G
<harmonica> C Em F G C C F G C Em F G C F C F
F F Fm C C
And into this life we're born. Baby sometime, sometime we don't know why.
F Fm Fm D D7 G G C
And times seem to go by so fast. In the twinkling of an eye.
Em F G C
Let's enjoy it while we can (let's enjoy it while we can).
Em F G C
Help me sing my song (help me sing my song).
Em F G C F C G C
Little darling come alone, to the bright side of the road.
Em F G C
On the dark end of the street (on the dark end of the street).
Em F G C
To the bright side of the road (to the bright side of the road).
Em F G C F C G C
Little darlin' come alone. On the bright side of the road.
Em F G C
On the dark end of the street (on the dark end of the street)
Em F G C
To the bright side of the road (to the bright side of the road)
Em F G C F C G
We'll be lovers once again. On the bright side of the road.
C Em F G C
Well we'll be, lovers once again. On the bright side of the road.
Em F G |C|
We'll be, lovers once again on the bright side of the road.
(Van Morrison) (Artist Index) - (Main Index) - (Song Index) (This Song)
BROTHER LOVE'S TRAVELING SALVATION SHOW
Neil Diamond
https://www.youtube.com/watch?v=U5va1iaLj2M (Capo 1)
TIP: In the intro, begin the first and last (D) of each couplet by focusing on the 4th
string.
TIP: There's a tricky little voicing at the end of some lines. Then there's sort of a
place holder to keep the timing. Listen and you'll hear it.
TIP: As for the preaching bit, it goes over the hallelujahs of the choir with a 1, 1-2
count of |D|. It's pretty hard to sing/speak both parts so play it however you want.
INTRO: D, D
Hahhht August night and the leaves hangin' down and the grass on the ground smellin',
Sweet.
Mooove up the road to the outside of town and the sound of that good gospel beat.
G C G C
Sits a ragged tent, where there ain't no trees, and that gospel group,
tellin' you and me it's
G C D
Love Brother Love say Brother Love's Traveling Salvation Show.
G C G
Pack up the babies and grab the old ladies and everyone goes, 'cause everyone knows,
D
Brother Love's show.
The roooom gets suddenly still and when you'd almost bet you could hear yourself sweat,
He walks in.
Eyyyyes black as coal and when he lifts his face every ear in the place is on him.
G C G C
Startin' soft and slow, like a small earthquake, and when he lets go,
Half the valley shakes it's

G C D
G C G
Pack up the babies and grab the old ladies and everyone goes, 'cause everyone knows,
D
That Brother Love's show.
Hallelujah, brothers. Halle - hallelujah I said brothers. (Hallelujah)
Now you got yourself two good hands, (Halle-hallelujah)
And when your brother is troubled you gotta reach out your one hand for him. Hallelujah)
'Cause that's what it's there for (Halle-hallelujah).
And when your heart is trouble you gotta reach out your other hand, (Hallelujah)
Reach it out to the man up there, (Halle-hallelujah) 'cause that's what he's there for.
G C G
Take my hand in yours, walk with me this day.
G C
In my heart I know, I will never stray.
Halle halle, halle halle, halle halle, halle halle
G C D
G C
Pack up the babies and grab the old ladies and everyone goes.
D G C D
I say love Brother Love say Brother Love's Traveling Salvation Show.
G C D
Pack up the babies and grab the old ladies and everyone goes.
G C D |G|
BUILD ME UP BUTTERCUP - The Foundations
(D'Abo/Tony Macaulay)
https://www.youtube.com/watch?v=64xcfvAk0wc (Capo 0)
TIP: In the intro emphasize the top bass strings on the final (G).
TIP: In each verse there's a (C7) which isn't played very often but the song just doesn't
sound right without it. But it's super easy to play because it follows a (C) and all it
is is that same (C) with your pinky added to the 3rd string/3rd fret. So you're already
set up, just drop your pinky down on the 3rd fret just below the ring finger.
INTRO: C, E, F, G; C E E7 F, G
C E E7 F
Why do you build me up (build me up), Buttercup baby just to let me down (let me down),
G C
And mess me around and then worst of all (worst of all),
E E7 F Dm G
You never call baby when you say you will (say you will), but I love you still.
C C7 F
I need you, (I need you) more than anyone darlin'. You know that I have from the start.
C G F G
So build me up (build me up), Buttercup, don't break my heart.
C G Bb F C
"I'll be over at ten" you told me time and again but you're late.
F C
I wait around and then. (Bah dah dah)
G Bb F C F Dm
I went to the door I can't take anymore it's not you. You let me down again hey hey hey.
G Em A7
Baby baby, try to find. Hey hey hey. A little time, and I'll make you happy.
Dm D7 G
I'll be home, I'll be beside the phone waiting for you. Oooh-oo-oooh, oooh-oo-oooh.
C E E7 F
G C
E E7 F Dm G
C C7 F
C G F G
C G Bb F C
You were my toy but I could be the boy you adore.
F C
If you'd just let me know (bah dah dah)
G Bb F C
Although you're untrue I'm attracted to you all the more.
F Dm
Why do I need you so hey hey hey.
G Em A7
Baby baby, try to find. Hey hey hey. A little time, and I'll make you happy.
Dm D7 G
I'll be home, I'll be beside the phone waiting for you. Oooh-oo-oooh, oooh-oo-oooh.
C E E7 F
G7 C
E E7 F Dm G
C C7 F
C G Am
C C7 F
I-I-I need you-oo-oo more than anyone baby. You know that I have from the start.
C G F C
(The Foundations) (Artist Index) - (Main Index) - (Song Index) (This Song)
BUSY BEING FABULOUS - Eagles
(Henley/Frey)
(No video available but Capo 0 if you find one or have the CD/mp3.)
TIP: Because of Don's singing and guitar cadence the chord for the next line actually
comes after the last word in the previous line. So finish the word, strum, change chord,
strum, begin next line. A little strange I know.
TIP: In the bridge there's a lone uncomfortable (Caug). It looks like you could play an
(F) form but the bottom string needs to remain open so that's out. So keep the index
finger where it is, and lift the middle and ring fingers and move them each down one
string while sliding each back into the 1st and 2nd frets. Then, if there's time, cover
the 5th string/3rd fret with your pinky.
INTRO: C Am F G, C Am F G
C Am C Am F
I came home to an empty house, and I found your little note:
G F G
"Don't wait up for me tonight." And that was all she wrote.
C Am C
Do you think I don't know that you're out on the town,
Am F
With all of your high-rollin' friends?
G F C
What do you do when you come up empty? Where do you go when the party ends?
C Am F G C
And you were just too busy being fabulous. Too busy, to think about us.
Am F
I don't know what you were dreaming of.
G C Am F G C
Somehow you forgot about love and you were just too busy being fabulous uh huh.
Am C Am
A little time in the country, a day or two to slowww down.
F G F G C
A bottle of wine and a walk in the moonlight. Maybe some foolin' around.
Am C Am F
But you think time, is just a magazine, and money's just a thrill.
G F
I've waited so-long-for-you-to change your way of livin'.
G
Now I realize that you never will.
C Am F G C
'Cause you were just too busy being fabulous. Too busy, to think about us.
Am F G
Lookin' for something you'll never find. You'll never know what you left behind
C Am F G C
'Cause you were just too busy being fabulous uh huh.
Caug Am C Am C
You tell a joke, and everybody's laughin'. That's something you know how to do.
Am D7 G
You've always been, the life of the party, but now my baby, the joke is on you.
C Am F G
'Cause you were just too busy being fabulous. Too busy, to think about us.
C Am F G
Running after something that never comes. What in the world are you running from?
C Am F G C
And you were just too busy being fabulous. Too busy, to think about us.
Am F G
To drink the wine from your winner's cup. To notice, the child-ren were growin' up
C Am F G
And you were just too busy being fabulous. Too busy. Too busy.
C Am F G, C Am F G, C Am F G, |C|

BYE BYE LOVE – The Everly Brothers
(Bryant/Bryant)
https://www.youtube.com/watch?v=LRyrWN-fftE (Capo 0)
TIP: For the intro, one strum on the (A), a short pause, then one quick stroke per chord
in the opening.
INTRO: |A|, |A|-|C|-|D|-|A|; <muted strum> |A|-|A|-|C|-|D|-|A| <muted strum>
D A D A D A E A
Bye bye love. Bye bye happiness. Hello loneliness. I think I'm a gonna cry- y.
D A D A D A E A
Bye bye love. Bye bye sweet caress. Hello emptiness. I feel like I could di- ie.
E A
Bye bye my love goodby- eye.
(NC) E A E A
There goes my baby, with a someone new. She sure looks happy, I sure am blue.
D E E7 A
She was my baby, til he stepped in. Goodbye to romance, that might have been.
D A D A D A E A
D A D A D A E A
E A
Bye bye my love goodby- eye.
(NC) E A
I'm a through with romance. I'm a through with love.
E A
I'm through with a countin', the stars above.
D E E7 A
And here's the reason, that I'm so free: My lovin' baby, is a through with me.
D A D A D A E A
D A D A D A E A
E A E A E A
Bye bye my love goodby- eye. Bye bye my love goodby- eye. Bye bye my love goodby- eye.
(The Everly Brothers) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
CALIFORNIA BLUE - Roy Orbison
(Lynne/Orbison/Petty)
https://www.youtube.com/watch?v=Ob9WtNANGzI (Capo 0)
INTRO: <single strum> |D|
D G A D
Working all day, and the sun don't shine. Trying to get by, and I'm just killin' time.
G Em A D
I feel the rain, fall the whole night through. Far away from you, California Blue.
(NC) G D A7 D
California Blue. Dreaming all alone. Nothing else to do. California Blue.
G D A7 D
Everyday I pray, I'll be on my way. Saving love for you. California Blue.
G A D G A D
One sunny day, I'll get back again. Somehow some way, but I don't know when.
A D
California Blue. California Blue.
(NC) D G A D
Living my life, with you on my mind. Thinking of things, that I left far behind.
G Em A D
It's been so long, doing all I can do, to get back to you. California Blue.
G D A7 D
California Blue. Dreaming all alone. Nothing else to do. California Blue.
G D A7 D
Everyday I pray, I'll be on my way. Saving love for you. California Blue.
G A D G A D
One sunny day, I'll get back again. Somehow some way, but I don't know when.
A D
California Blue. California Blue.
Em A D Em A D
Still missing you, California Blue. Still missing you, California Blue.
Em A D
Still missing you, California Blue.
CAN YOU FEEL THE LOVE TONIGHT – Elton John
(John/Rice)
https://www.youtube.com/watch?v=fTtgVSxfr5M (Capo 3)
TIP: For the transition from (C) to (Cmaj7) just lift off your index finger.
INTRO: G D C G G C G G D-G Am7 G
C G C G
There's a calm surrender, to the rush of day.
C G Am D
When the heat of a rolling wind, can’t be turned away.
C G C G
An enchanted moment, and it sees me through.
C G Em Am D
It's enough for this restless warrior just to be with you.
G D Em C G C G D
And cannn you feel the love tonight? It is where we are.
C G Em C Am G C Cmaj7 D
It's enough, for this wide-eyed wanderer, that we got this far.
G D Em C G C Cmaj7 D
And cannn, you feel the love tonight? How it's laid to rest.
C G Em C Am G D C G
It's enough, to make kings and vagabonds, believe the ver-y best.
G D C G G C G G D-G Am7 G
C G C G
There's a time for everyone, if they only learn.
C G Am D
That the twisting kaleidoscope, moves us all in turn.
C G C G
There's a rhyme and reason, to the wild out doors.
C G G Em Am D
When the heart of this star-crossed voyager, beats in time with yours.
G D Em C G C G D
And cannn you feel the love tonight? It is where we are.
C G Em C Am G C Cmaj7 D
It's enough, for this wide-eyed wanderer, that we got this far.
G D Em C G C Cmaj7 D
And cannn, you feel the love tonight? How it's laid to rest.
C G Gadd Em C Am G D C G
C G Em C Am G D C G
(Elton John) (Artist Index) - (Main Index) - (Song Index) (This Song)
CANDLE IN THE WIND - Elton John
(John/Taupin)
https://www.youtube.com/watch?v=5GLwA4P3QDk (Capo 2)
[Also presented in [G] afterwards to avoid the (Bm) but won’t match the recording.]
TIP: Strum chords in brackets just once. This one-strum pattern repeats at the end of
the chorus.
TIP: Also in the chorus extend the chord until the back half of the word “wind” even
though it’s one syllable.
INTRO: |A|, |G|-|G|-|G|-|D|, |D|-|Em|-|D| D, A-A7
D G D
Goodbye Norma Jean, though I never, knew you at all you had the grace to hold yourself,
G
While those around you crawled.
D
They crawled out of the woodwork, and they whispered,
G D G
Into your brain they set you on the treadmill, and they made you change your name.
A D G
And it seems to me, you lived your life, like a candle in the wi-nd.
D A A7
Never knowing who to cling to, when the rain set in.
G Bm
And I would have liked to have known you, but I was just a kid.
A G |G|-|G|-|G|-|D|, |D|-|Em|-|D|
Your candle burned out long before, your legend ever did.
A A, |G|-|G|-|G|-|D|, |D|-|A|-|D|, A7
D G D
Loneliness was tough, the toughest role, you ever played Hollywood created a superstar.
G
And pain was the price you paid.
D G D
Even when you died, oh the press still hounded you, all the papers had to say,
G
Was that Marilyn, was found in the nude.
A D G
D A A7
G Bm
A G |G|-|G|-|G|-|D|, |D|-|Em|-|D|
A A, |G|-|G|-|G|-|D|, |D|-|A|-|D|, A7
D G D
G
D G
Goodbye Norma Jean, from the young man in the twenty-second row,
D G
who sees you as something more than sexual. More than just our, Marilyn Monroe.
A D G
D A A7
G Bm
A G |G|-|G|-|G|-|D|, |D|-|Em|-|D|
A G |G|-|G|-|G|-|D|, |D|-|A|-|D|
CANDLE IN THE WIND - Elton John
(John/Taupin)
TIP: Strum chords in brackets just once. This one-strum pattern repeats at the end of
the chorus.
TIP: Also in the chorus extend the chord until the back half of the word “wind” even
though it’s one syllable.
INTRO: |D|, |C|-|C|-|C|-|G|, |G|-|Am|-|G| G, D-D7
G C G
C
G
They crawled out of the woodwork, and they whispered,
C G C
Into your brain they set you on the treadmill, and they made you change your name.
D G C
G D D7
C Em
D C |C|-|C|-|C|-|G|, |G|-|Am|-|G|
G G, |C|-|C|-|C|-|G|, |G|-|D|-|G|, D7
G C G
Loneliness was tough, the toughest role, you ever played Hollywood created a superstar.
C
And pain was the price you paid.
G C G
Even when you died, oh the press still hounded you, all the papers had to say,
C
Was that Marilyn, was found in the nude.
D G C
G D D7
C Em
D C |C|-|C|-|C|-|G|, |G|-|Am|-|G|
G G, |C|-|C|-|C|-|G|, |G|-|D|-|G|, D7
G C G
C
G C
Goodbye Norma Jean, from the young man in the twenty-second row,
G C
Who sees you as something more than sexual. More than just our, Marilyn Monroe.
D G C
G D D7
C Em
D C |C|-|C|-|C|-|G|, |G|-|Am|-|G|
D C |C|-|C|-|C|-|G|, |G|-|D|-|G|
CAN’T GET ENOUGH – Patty Loveless
(Daly/BlazyRambeaux)
https://www.youtube.com/watch?v=oAgXRVI56pQ (Capo 0)
INTRO: <drums> D D G-D, D-G
D G D D G
Wake up in the morning start the coffee boilin’ I can't get enough.
D G D D G
Throw the curtains open let the sunshine in I can’t get enough.
D C G
Well I work real hard for every penny I make. Just tryin’ to get the job done.
D G D
At the end of the day I'm overworked and underpaid I can't . . . get enough.
G D D G
When the week is done I like to have some fun I can't get enough.
D G D D G
You can find me hanging out where the music's turned loud I can't get enough.
D C G
Yeah I'm lookin' for a guy who can light up my night. Don't even have to be love.
D G D
A little huggin' and kissin' I'm a girl on a mission can't . . . get enough.
F C G D
We only get one time around you better get it while you can.
F C
If you let this old world go and get you down
A7 A
Life will slip right through your hands.
D D G D, D D G D, C G D D D
G D D G
So bring on the laughter, and bring on the tears I can't get enough.
D G D D G
It's a race against time just want to live 'til I die I can't get enough.
D C G
Yeah I'm going to take my turn gonna love gonna learn, until my numbers up.
D G D
But for now I gotta run the parties just begun I can’t . . . get enough.
F C G D
We only get one time around you better get it while you can.
F C
If you let this old world go and get you down
A7 A
Life will slip right through your hands.
A7 A D
Life will slip right through your hands can’t get enough.
G D G D G |D|
Uh-uh I can't get enough. No no I can't get enough. Oh I can’t . . . get enough.
(Patty Loveless) (Artist Index) - (Main Index) - (Song Index) (This Song)
CAN'T GET IT OUT OF MY HEAD– Electric Light Orchestra
(Lynne)
https://www.youtube.com/watch?v=hdRJ3zSZ6vA (Capo 0)
TIP: The bridge and outro looks messy but it's all playing common chords higher up the
neck. You start with a sing-song of (C) and (CaddG) with your pinky added to the bottom
string/3rd fret, then you strum (F) four times, then a (G) played as (F3) four times,
next is (G#) played as (F4) four times, then (Bb) played as (F6) four times, and finally
(C) played as (F8) once. You can play (G), (Bb), and (C) in their positions in the lower
frets but it's an easy walk up the fingerboard holding the (F) form.
INTRO: C G F G, C G F G
C Cmaj7 Am C CaddD Am
Midnight, on the wa ter. I saw, the ocean's daugh ter.
D Dm F Am G
Walking on a wave she came. Staring as she called my na - ame.
C G F G C G F G
And I can't get it out of my head. No I can't get it out of my head.
C G F G C G F G
Now my old world is gone for dead. Cuz I can't get it out of my head.
Am C Cmaj7 Am C Cmaj7 Am
Breakdown, on the shore line. Can't move, it's an ebb tide.
F Dm F Am G
Morning don't get here tonight, searching for her silver li - ight.
C G F G C G F G
C G F G C G F G
Now my old world is gone for dead. Cuz I can't get it out of my head now-now.
|C|-|CaddG| x 8; |F|-|F|-|F|-F|, |G|-|G|-|G|-|G|
|C|-|CaddG| x 8; |F|-|F|-|F|-F|,
|F3|-|F3|-|F3|-|F3|,|F4|-|F4|-|F4|-|F4|,|F6|-|F6|-|F6|-|F6|, |F8|
Am C Cmaj7 Am C
Bank job, in the city. Robin Hood and William Tell and Ivanhoe and Lancelot,
Am F Dm
They don't envy me yeah. Sitting til the sun goes down.
F Am G
In dreams the world keep going round and round.
C G F G C G F G
C G F G C G F G
Now my old world is gone for dead. Cuz I can't get it out of my head no-no.
C G F G C G F G
No I can't get it out of my head. No I can't get it out of my head.
C G F G C G F G C
Now my old world is gone for dead. Cuz I can't get it out of my head no-no no-no.
|C|-|CaddG| x 8;
|F|-|F|-|F|-F|, |F3|-|F3|-|F3|-|F3|, |F4|-|F4|-|F4|-|F4|, |F6|-|F6|-|F6|-|F6|, |F8|
(ELO) (Artist Index) - (Main Index) - (Song Index) (This Song)

CAN'T HELP FALLING IN LOVE - Elvis Presley
(Peretti/Creatore/Weiss)
https://www.youtube.com/watch?v=vGJTaP6anOU (Capo 2)
TIP: Strike/strum each chord on the downstroke. Subsequent chord strumming patterns can
then be either alternating strokes or all downstrokes if you wish.
INTRO: C G C C
Em Am F C G
Wise, men, say, only fools, rush, in.
F G Am Dm C G C
But I, can't, help, falling in love, with, you.
Em G F C G
Shall, I, stay? Would it be, a, sin,
F G Am Dm C G C
If I, can't, help, falling in love, with, you?
Em Am Em Am Em Am
Like a river flows, surely to the sea, darling so it goes.
Em Dm G7
Some things, are meant to be.
C Em Am F C G
Take, my, hand. Take my whole, life, too.
F G Am Dm C G C
For I, can't, help, falling in love, with, you.
Em Am Em Am Em Am
Like a river flows, surely to the sea, darling so it goes.
Em Dm G7
Some things, are meant to be.
C Em Am F C G
Take, my, hand. Take my whole, life, too.
F G Am Dm C G C
F G Am Dm C G C
CAN'T KEEP IT IN
Cat Stevens
https://www.youtube.com/watch?v=0W_SGoBFJxs (Capo 0)
TIP: In the chorus there's a quick transition from (A) to (Asus2) and back to (A) in
which you just lift off the bottom string and then replace it. If a bit much then just
play the (A) straight through. Also there's both an (G#m7), played as a barre, and an
(F#) which is played like an (F) up one fret but here's a trick: from the (G#m7) just
hold form and slide down two frets. It's such a quick transition that you don't need the
full (F#). Much easier.
TIP: There's a key change from (A) to (G). It's not complicated and the instrumental
bridge gets you there with the transitional (F)-(G).
TIP: At the end there's a quick one-strum-each of |A|-|E|-|D|-|Dsus2|-|E|. To go from

the |D| to the |Dsus2| just lift off the middle finger from the bottom string.
INTRO: A E D E E
A E
Oh I can't keep it in. I can't keep it and I've gotta let it out.
D
I've got to show the world, world's got to see,
E
See all the love, love that's in me I said
A E
Why walk alone, why worry when it's warm over here.
D
You've got so much to say, say what you mean,
E A
Mean what you're thinking and think anything oh why,
F#m
Why must you waste your life away?
A E G#m7 F#
You've got to live for today, then let it go, oh-oh.
A F#m
Lover, I want to spend this time with you.
A E G#m7 F# E
There's nothing I would-n't do, if you let me know oh-oh.
A E
And I can't keep it in. I can't hide it and I can't lock it away.
D
I'm 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 C G
No I can't keep it in.
I can't keep it and I've gotta let it out.
F G
I've gotta show the world, world's got to know, know of the love, love that lies low so
C G
Why can't you say? If you know then why can't you say?
F
You've got too much deceit, deceit kills the light,
G D E A
Light needs to shine I said shine light shine light love,
F#m
That's no way to live your life.
A E G#m7 F
You allow too much to go by, and that won't do, no no.
A F#m
Lover, I want to have you here by my side.
A E G#m7 F# E
Now don't you run don't you hide, while I'm with you, oh-oh.
A E
And I can't keep it in. I can't keep it and I've gotta let it out.
D
I've got to show the world, world's got to see,
E
See all the love, love that's in me I said
A E
Why walk alone, why worry when it's warm over here?
D
You've got so much to say, say what you mean,
E A
Mean what you're thinking and think anything why not?
E E, D D, C, E E, |A|-|E|-|D|-|Dsus2|-|E|, |E|-|E|-|E|
Now why why not?
(Cat Stevens) (Artist Index) - (Main Index) - (Song Index) (This Song)
CAN'T YOU SEE - Marshall Tucker Band
(Caldwell)
https://www.youtube.com/watch?v=5KaAOrjKVJI (Capo 0)
INTRO: D, C, G G, D D
<flute> D, C D G G D D; D D, C, G G; D C G D, D C G D
C G D
Gonna take a freight train, down at the station Lord, I don't care where it goes.
C G D
Gonna climb a mountain, the highest mountain, and jump off, nobody gonna know.
C G D
Can't you see, whoa can't you see, what that woman Lord, she been doin' to me?
C G D
Can't you see, can't you see, oh what that woman, she been doin' to me?
C D G
I'm gonna find me, a hole in the wall,
I gonna crawl inside and die.
G D
'Cause my lady now, a mean ol' woman Lord, never tollld me goodbye.
C G D
Can't you see, whoooah can't you see, what that woman Lord, she been doin' to me?
C G D
Can't you see, can't you see, what that woman Lord, she been doin' to me?
D, D C D, G G D G; D-D-D-D, C-C-C, G-G-G-G-D
C G D
I'm gonna buy me a ticket now, as far as I can. Ain't a-never comin' back.
C G D
Ride me a Southbound, all the way to Georgia now, til the train it run out of track.
C G D
C G D
Can't you see, can't you see, what that woman, she been doin' to me? Oh Lord.
D, D, G D; D-D-D-D, C-C-C-C, G-G-G-G-D
|D| |C| |G| D

|D| |D| |G| D
Can't you see, oh can't you see, what that woman, she been doin' to me?
C
Can't you see (oh she's such a crazy lady),
G D
What that woman (what a woman) she been doin' to me?
C
Can't you see (lord I can't stand) can't you see,
G D
What that woman, oh she been doin' to me?
C
(Can't you see) I'm gonna take a freight train (can't you see?)
G D
I'm down at the station Lord (what that woman) ain't neverrr comin' back.
C
(Can't you see) gonna ride me the Southbound (can't you see?)
G D
All the way to Georgia Lord (what that woman) till the traaaain it run out of track.
D C G D, D D C G D, |D| <flute> D C G D <strum gently> D
(Marshall Tucker Band) (Artist Index) - (Main Index) - (Song Index) (This Song)
CAP IN HAND - The Proclaimers
(Reid/Reid)
https://www.youtube.com/watch?v=SdXeM4bHBhk (Capo 0)
TIP: (Bm) appears just once and follows a (D) so just add your pinky to the 3rd
string/4th fret.
INTRO: <strum> D
G A
I could tell the meaning of a word like "serene."
D G A
I got some 'Oh' Grades when I was sixteen.
D G A
I can tell the difference 'tween magarine and butter.
D G A
I can say "Saskatchewan" without starting to stutter.
D G D A (NC) D
But I can't understand why we let someone else rule our land. Cap in hand.
G A
I could get a broken jaw from being in a fight.
D G A
I know it's evenin' when day turns tonight.
D G A
I can understand why Stranraer lie so lowly.
D G A
They could save a lot of points by signing Hibs' goalie.
D G D A (NC) D G D
But I can't understand why we let someone else rule our land. Cap in hand.
G D A D G D A G DD A D
We fight, when they ask us. We boast, then we cower.
We beg, for a piece of,
A
What's already (what), what's already (what), what's already ours.
D D G A, D D G A, A D G D A, G-A-D
G D A D G D A G DD A D
We fight, when they ask us. We boast, then we cower.
We beg, for a piece of,
A
What's already (what), what's already (what), what's already ours.
D G A D G A
Once I thought I could make God a bribe. So I said I was in his lost tribe.
D G A D G A
Getting handouts can be so frustrating. "Get in line son there's five million waiting."
D G D A (NC) D
I can't understand why we let someone else rule our land. Cap in hand.
D G D A (NC) D
No I can't understand why we let someone else rule our land. Cap in hand.
Bm G E
Cap in hand, cap in hand, cap in hand.
A D G D A (NC) D
No I can't understand why we let someone else rule our land. Cap in hand.
G D G D G D
Cap in hand, cap in hand, cap in hand, cap in hand, cap in hand, cap in hand.
Umda latta latta, umda latta lataa, umda latta latta la.
(The Proclaimers) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE CAR SONG (RIDING IN THE CAR)
Woody Guthrie
https://www.youtube.com/watch?v=DUDtFdnn9oQ (Capo 2)
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.
INTRO: D G A D
A D
Brrrm brm brm brm brm brm brm, brrrm b' brrrm. Brrrm brm brm brm brm brm brrrm b' brrrm.
G D A D
Brrrm brm brm brm brm brm brrrm b' brrrm. Brrrm brm brm brm brm brm brrrm.
A D
Take me riding in the car car. Take me riding in the car car.
G D A D
Take you riding in the car car. I'll take you riding in my car.
A D
G D A D
A D
Click clack open up the door girls. Click clack open up the door boys.
G D A D
Front door back door clickety clack take you riding in my car.
A D
G D A D
A D
Climb climb rattle on the front seat. Spree I spraddle on the backseat.
G D A D
Turn my key, step on my starter take you riding in my car.
A D
Engine it goes brrm brrm. Engine it goes brrm brrm.
G D A D
Front seat backseat boys and girls. Take you riding in my car.
A D
Trees and the houses walk along. Trees and the houses walk along.
G D A D
Truck and a car and a garbage can. I’ll take you riding in my car.
A D
G D A D
A D
Ships and the little boats chug along. Ships and the little boats chug along.
G D A D
Brrrm brm brm brm brm brm brrrm b' brrrm. Take you riding in my car.
A D
I'm a gonna send you home again. I'm a gonna send you home again.
G D A
Brrrm brm brm brm brm brm brrrm rolling home take you riding in my car.
A D
I'm a gonna let you blow the horn. I'm a gonna let you blow the horn.
G D A D
A oorah a oorah oo rah oorah. I'll take you riding in my car.
A D
G D A D
A D
G D A D
(Woody Guthrie) (Kid Friendly) (Artist Index) (Folk)

CARELESS HEART - Roy Orbison
(Hammond/Orbison/Warren)
https://www.youtube.com/watch?v=rUCNEB7wivs (Capo 0)
TIP: Both (F#) - which is just (F) moved up one fret - and (F#m) appear in this song.
And note the chords in brackets, i.e. |Dm| in the bridge before the final chorus means to
strike the chord once and sustain.
INTRO: A F#m D A
D E A
I had somebody, somebody who loved me, someone so good to me.
D E A
You were my angel, you were my heaven. But I-was too blind to see.
F# D E A F# D
I let you slip away. I guess I never knew. I had the world with you.
Bm Dm
I'd be there still be there in your arms.
A D
If not for my, careless heart, you'd still be loving me.
A E
If not for my, careless heart, you'd still be mine.
A F#m
I wouldn't have this hurt inside.
D Dm A
I wouldn't have these tears to cry if-not-for-my, careless heart.
E |E|
If not for my, careless heart.
A D E A
I had my chances, I took advantage, I took it all too far.
D E A
So now you're gone and I'm all alone. Alone with my lonely heart.
F# D E A F# D
I let it fall apart. I didn't care enough. I lost your precious love.
Bm Dm
You'd be here you'd be here in my arms.
A D
If not for my, careless heart, you'd still be loving me.
A E
If not for my, careless heart, you'd still be mine.
A F#m
D Dm A
E A A
If not for my, careless heart, you’d still be mine.
|Dm| |A| |Dm| |E|
I'd be loving you, I'd be holding you. I'd be loving you ooh-ooh.
A D A E
If not for my, careless heart.
A F#m
D Dm A
E A
If not for my, careless heart. If not for my careless heart,
D A E A
You’d still be loving me. If not for my careless heart.
CATCH A WAVE – The Beach Boys
(Love/Wilson)
https://www.youtube.com/watch?v=yLgWbH-qhVo (Capo 0)
TIP: Another Beach Boys tune with it’s overlapping harmonies. It’s helpful to have a
few chums who can sing these which are denoted in parenthesis beneath the main vocal.
A F G A D
INTRO: Catch a wave and you're sittin’ on top of the world.
Don't be afraid to try the greatest sport around.

(Catch a wave, catch a wave.)
A D (Everybody tries it once.)
Those who don't just have to put it dow-own.
(Ooh wah ooh wah ooh waw.)
G D
You paddle out turn around and raise and baby,
A
That's all there is to the coastline craze you gotta,
F G A D
Catch a wave and you're sittin' on top of the world.
(Ooh wah ooh wah ooh waw ooh waw.)
Not just a fad cause it's been going on so lonnngg.

(All the surfers going
A D strong.)
They said it wouldn't last too lo-onng.
G D
They'll eat their words with a fork and spoon and watch em,
A
They'll hit the road and all be surfin' soon and when they,
F G A D
Catch a wave they'll be sittin' on top of the world.
A A D D A A D D G G D D
A F G A D
Catch a wave and your sittin' on top of the world.
So take a lesson from a top-notch surfer boyyyy.

A D (Every Saturday boy.)
But don't treat it like a toyyyy.
G D
Just get away from the shady turf and baby,
A
Go catch some rays on the sunny surf and when you,
F G A D
Catch a wave you'll be sittin' on top of the world.
(Way up above up on top of the world.)
A F G A D
Catch a wave and you'll be sittin' on top of the world.
A F G A D
A F G A D D |D|
CAT'S IN THE CRADLE
Harry Chapin
https://www.youtube.com/watch?v=KUwjNBjqR-c&ab_ (Capo 1)
TIP: For the intro and bridge to play the (EC#) you're already playing an (E) so keep
form and just add your pinky to the cover the 2nd string/2nd fret <c#>.
TIP: The (Bm) will always follow a (D) so hold form on the (D) and add your pinky to the
3rd string/4th fret.
INTRO: E, EC#-A; D, G-D-E; E E E
G A E
My child arrived just the other day. He came to the world in the usual way.
G A E
But there were planes to catch, and bills to pay. He learned to walk while I was away.
D Bm
And he was talkin' 'fore I knew it, and as he grew,
G E G Bm E E, |E|-|E|-|E|
He'd say, "I'm gonna be like you, dad. "You know I'm gonna be like you."
D
And the cat's in the cradle and the silver spoon.
G E
Little boy blue and the man in the moon. "When you coming home dad?"
D G E G Bm E
"I don't know when, but we'll get together then. You know we'll have a good time then."
E, EC#-A; D, G-D-E, E
G
My son turned ten just the other day.
A E
He said "Thanks for the ball dad come on let's play." Can you teach me to throw?"
G A E
I said "Ah not today I got a lot to do" he said "That's okay."
D Bm G E
And he, he walked away but his smile never dimmed it said 'I'm gonna be like him, yeah,
G Bm E |E|-|E|-|E|
You know I'm gonna be like him.'
D
G E
Little boy blue and the man in the moon. "When you coming home dad?"
D G E G Bm E
"I don't know when, but we'll get together then. You know we'll have a good time then."
E, EC#-A; D, G-D-E, E
G A E
Well he came from college just the other day. So much like a man I just had to say,
G
"Son I'm proud of you, can you sit for a while?
A E
He shook his head, and he said with a smile,
D Bm
"What I'd really like Dad is to borrow the car keys.
G E |E|-|E|-|E|
See you later can I have them please?"
D
G E
Little boy blue and the man in the moon. "When you coming home son?"
D G E
"I don't know when, but we'll get together then, Dad,
G Bm E
You know we'll have a good time then."
C D E E, C D E E E E
G A E
I've long since retired my son's moved away. I called him up just the other day.
G
I said "I'd like to see you if you don't mind."
A E
He said "I'd love to Dad if I could find the time.
D Bm
You see my new job's a hassle and the kids have the flu.
G E G Bm E
But it's sure nice talkin' to you Dad, it's been sure nice talkin' to you.
D Bm G E
And as I hung up the phone it occurred to me, he'd grown up just like me.
G E E, |E|-|E|-|E|
My boy was just like me.
D
G E
Little boy blue and the man in the moon. "When you coming home son?"
D G E
"I don't know when, but we'll get together then, Dad,
G Bm E
You know we'll have a good time then."
<slower> E, EC#-A; D, G – D - |E|
CATTLE CALL – Eddy Arnold/Dwight Yoakum
(Owens)
https://www.youtube.com/watch?v=KY60xVRKxYg (Dwight)(Capo 2)
https://www.youtube.com/watch?v=-JX50rZae2M (Eddy)(Capo 1)
TIP: The Woo-hoo is the yodeling part. It really doesn’t matter what you sing.
Capo 1 to sing with Eddy in his earlier recordings, Capo 2 to sing with Dwight.
Unfortunately the very pretty Arnold/Rimes duet has each singing in a different key which
really messes up the chords. The inflection and cadence here is from the Yoakam
recording.
INTRO: G A A D
A
Woo-hoo, woo-ooo ti-do. Woo-hoo, ooo-oop-i-do-dee-do.
D A D
Woo-hoo, woo-ooo ti-do. Woo-hoo, woo-oo ti do.
G A D
The cattle are prowlin', the coyotes are howlin', way out where the doggies bawl.
G A A7 D
Where spurs are a jinglin', a cowboy is singing, his lonesome cattle call.
A
D A D
G D E E7 A
He rides in the sun til his days work is done, and he rounds up the cattle each fall.
D A D
Woo-hoo, woo-ooo ti-do. Singing his cattle call.
G A D
For hours he’d ride on the range far and wide. When the night wind blew up a squall.
G A A7 D
His heart was a feather, in all kinds of weather, as he sings his cattle call.
D, A, D, A D
G D E E7 A
He's browned as a fairy from ridin' the prairie and he sings with an old western drawl.
D A A7 D
Woo-hoo, woo-ooo ti-do. Singing his cattle call.
A
D A D
A
D A D
A
D A D G A A D
(Eddy Arnold) (Dwight Yoakum) (Kid Friendly) (Artist Index)

CECILIA - Simon and Garfunkel
(Simon)
https://www.youtube.com/watch?v=a5_QV97eYqM (Capo 2)
[Also in [G] afterwards]
TIP: The intro is a little weird to play without the drums but just strum (A).
INTRO: <Strum> A
D A D A E
Celia, you're breaking my heart, you're shaking my confidence daily.
D A D A D A E
Oh Cecilia, I'm down on my knees. I'm begging you please to come home.
A D A D A E
D A D A D A E A
Oh Cecilia, I'm down on my knees. I'm begging you please to come home. Come on home.
D A E A D A E A D A E
Making love in the afternoon with Cecilia up in my bedroom. I got up to wash my face.
D A E7 A
When I come back to bed someone's taken my place.
A D A D A E
D A D A D A E A
A D E
Bo bo bo bo bo, bo bo bo bo bo bo-bo bo bo bo bo.
A D A D A E, D A D A D A E
D A D A D A E
Jubila tion, she loves me again. I fall on the floor and I'm laughing.
D A D A D A E
D A D A D A E
Whoah ohh oh, whoa ohh-oh oh, ohh-oh oh-oh oh.
D A D A D A E
D A D A D A E E–E-A
CECILIA - Simon and Garfunkel
(Simon)
https://www.youtube.com/watch?v=a5_QV97eYqM (Capo 4)
TIP: The intro is a little weird to play without drums but just strum (G).
INTRO: <Strum> G
C G C G D
C G C G C G D
Oh Cecilia, I'm down on my knees. I'm begging you please to come home.
G C G C G D
C G C G C G D G
C G D G C G D G C G D
Making love in the afternoon with Cecilia up in my bedroom. I got up to wash my face.
C G D7 G
When I come back to bed someone's taken my place.
G C G C G D
C G C G C G D G
G C D
Bo bo bo bo bo, bo bo bo bo bo bo-bo bo bo bo bo.
G C G C G D, C G C G C G D
C G C G C G D
C G C G C G D
C G C G C G D
C G C G C G D
C G C G C G D D-D-G
CENTERFIELD
John Fogerty
https://www.youtube.com/watch?v=Xq3hEMUeBGQ (Capo 0)
TIP: For the (G4) just come off the top and drop your index finger down to cover the
<c>. Practice it a few times, it’s actually pretty easy. Or just play (G).
INTRO: (Claps) G C D G, C D G, C D G
C G A D, G-G4-G, G G-G4-G, G-G4-G, G G-G4-G
C D
Well <beat> the <drum>, and <hold> the <phone>. The sun came out today.
Em D D7
We're <born> a <gain> there's new grass on the field.
G C G
A <roun> din' <third>, and <headed> for home, it's a brown-eyed handsome man.
C D G
Anyone, can understand, the way I feel.
C G
Oh put me in Coach. I'm ready to play, today. Put me in Coach.
C G D D7 G
I'm ready to play, today. Look at me, I can be, Centerfield.
G-G4-G, G G-G4-G, G-G4-G, G G-G4-G
C G
Well I spent some time in the Mudville Nine, watchin' it from the bench.
Em D D7
You know I took some lumps when the Mighty Case struck out.
G C G
So Say Hey Willie, tell the Cobb, and Joe DiMaggio.
C D G G-G4-G, G G-G4-G
Don't say "it ain't so", you know the time is now.
C G
C G D D7 G
I'm ready to play, today. Look at me, I can be, Centerfield.
G C D G, C D G, C D G; C G A – A – A – A . . . D
Yeah I got it I got!

C G
Got a beat up glove, a home made bat, and brand new pair of shoes.
Em D D7
You know I think it's time, to give this game a ride.
G C G
Just to hit the ball, and touch 'em all, a moment in the sun.
C D G
<Pop> It's a gone and you can tell that one goodbye.
C G
C G D D7
I'm ready to play, today. Look at me, I can be . . .
C G
C G D D7 G
I'm ready to play, today. Look at me, I can be, Centerfield. Yeah.
C, G, A, D, |D|-|D|-|D|-|G|
(John Fogerty) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
CENTERFOLD - J. Geils Band
(Justman)
https://www.youtube.com/watch?v=BqDjMZKf-wg (Capo 0)
INTRO: G F, C C; G F, C C
G F, C C; G F, C C
G F C
Does she walk? Does she talk? Does she come complete?
G F C
My homeroom homeroom angel always pulled me from my seat.
G F C
She was pure like snowflakes no one could ever stain,
G F C
The memory of my angel, could never cause me pain.
Em Am D
The years go by I'm lookin' through a girly magazine.
Em Am D
And there's my homeroom angel on the pages in between.
G F C
My blood runs cold, my memory has just been sold.
G F C
My angel is the centerfold, Angel is the centerfold.
G F C G F C
My blood runs cold, my memory has just been sold. Angel is the centerfold.
G F C
Slipped me notes, under the desk, while I was thinkin' about her dress.
G F C
I was shy I turned away before she caught my eye.
G F C
I was shakin' in my shoes whenever she flashed those baby-blues.
G F C
Somethin' had ahold on me when angel passed close by.
Em Am D
Those soft, fuzzy sweaters too magical to touch.
Em Am D
To see her in that negligee is really just too much.
G F C
G F C
G F C G F C
G F C
Na na, na na na na, na na na nana na na na na.
G F C
G F C
G F C
It's okay I understand this ain't no never-never land.
G F C F
I hope that when this issue's gone I'll see you when your clothes are on.
G F C F
Take you car, yes we will, we'll take your car and drive it.
G F C F
We'll take it to a motel room and take 'em off in private.
Em Am C D
A part of me has just been ripped, the pages from my mind are stripped.
Em Am C E
Oh no, I can't deny it, oh yeah, I guess I gotta buy it.
G F C
G F C
G F C G F C
|G| |F| |C| |G|

Na na, na na na na, na na na nana na na . . . Alright, alright, 1, 2, 3, 4
G F C
G F C
G F C
G F C
G F C
G F C G F
G F C
Angel is the centerfold, Angel is the centerfold.
G F C
G F C
G F C |C|
(J. Geils Band) (Artist Index) - (Main Index) - (Song Index) (This Song)
CHAINS – Patty Loveless
(Reneau/Bynum)
https://www.youtube.com/watch?v=Dj0af_utDBM (Capo 0)
INTRO: D G C-G-D
G
Bought a ticket to Seattle but I can't get to the plane.
D A
Every time I leave you I keep runnin’ out of chain.
D G
I hunger for your love it never gives me any slack,
A
But if I ever break away, I'm never coming back to these
D G
Chains, chains, shackles and chains,
A
No matter what it takes someday I'm gonna break these
D G
D C G D D D
These love takin’ heartbreakin’ cold hard lonely making chains.
G
You never try to hold me 'til you see me walking out.
D A
I guess you'd rather be with me than ever be without.
D G
You call me back and kiss me and my heart begins to sink
A
When I know that all you're doin's taking up another link in these
D G
A
D G
D C G D G C-G-D D
G D
Love was never meant to be a one-way street.
A D
I was never meant to be fallin’ at your feet.
G D
You got me where you want me and I don't know what to do.
A
You don't belong to me but I belong to you in these
D G
A
D G
D C G D D
D G
A
D G
D C G D D D
CHANGES IN LATITUDES, CHANGES IN ATTITUDE
Jimmy Buffett
https://www.youtube.com/watch?v=56nHBah7mdE (Capo 0)
TIP: Since the (Bm), will follow a (D) you 'could' just add your pinky to the 3rd
string/4th fret to complete the chord . . . but try playing the four-finger (Bm) in the
second diagram with your pinky on the 4th string/4th fret instead. Then, when moving
from the (Bm) to the (F#m) that comes next hold fast on the pinky of the (Bm) and barre
the 2nd fret with your index finger while lifting off the middle and ring and you're
playing the fuller (F#m) in the second diagram. Sounds nicer and not too hard, eh?
TIP: The last word of the song is "insane" which starts as six strums of (G).
INTRO: G, D, A, D; G D A, G G-D
G A D
I took off for a weekend last month just to try and recall the whole year.
G A D
All of the faces and all of the places wonderin' where they all disappeared.
Bm F#m G A
I didn't ponder the question too long I was hungry and went out for a bite.
G D A A7 D
Ran into a chum with a bottle of rum and we wound up drinkin' all night.
G D
It's those changes in latitudes, changes in attitudes
A D
Nothing remains quite the same.
G D
With all of our running and all of our cunning
A G D D
If we couldn't laugh we would all go insane.
G A D
Reading departure signs in some big airport reminds me of the places I've been.
G A D
Visions of good times that brought so much pleasure makes me want to go back again.
Bm F#m G A
If it suddenly ended tomorrow, I could somehow adjust to the fall.
G D A A7 D
Good times and riches and son of a bitches I've seen more than I can recall.
G D
With these changes in latitudes, changes in attitudes
A D
Nothing remains quite the same.
G D
Through all of the islands and all of the highlands
A G D D
If we couldn't laugh we would all go insane.
G D A, G G-D D
G A D
I think about Paris when I'm high on red wine I wish I could jump on a plane.
G A D
So many nights I just dream of the ocean God I wish I was sailin' again.
Bm F#m G A
Oh yesterdays are over my shoulder, so I can't look backward too long.
G D
There's just too much to see waiting in front of me
A A7 D
And I know that I just can't go wrong. With these
G D A D
Changes in latitudes, changes in attitudes nothing remains quite the same.
G D A
With all of my running and all of my cunning if I couldn’t laugh
|G| |D| |A| D A |G| |D| |A| D
I just would go in sane. If we couldn’t laugh we just would go in sane.
A G A |G|-|G|-|G|-|G| |G|-|G|, |D|-|D|-|D|-|D| |D|-|D|
If we weren’t all crazy we wooold, go insane.
|A|-|A|-|A|-|A| |A|-|A|, |D|
(Jimmy Buffett) (Artist Index) - (Main Index) - (Song Index) (This Song)
CHAPEL OF LOVE – Dixie Cups
(Barry/Greenwich/Specter)
https://www.youtube.com/watch?v=cMfrLFirGWc (Capo 0)
[Here originally in the key of [D], which I think is prettier but harder to play, so also
presented afterwards in the key of [C] to avoid the (F#m) and (B).
TIP: The first two lines are sung acapella, and the second line has fingersnaps, but
I've included the chords if you want to play them. Skip them if you're a purist.
D
Going to the chapel and we're, gonna get married. <Fingersnaps>
Em A Em A
Going to the chapel and we're, gonna get married.
D Em A D A
Gee I really love you and we're, gonna get married. Going to the chapel of love.
D Em A Em A
Spring is here, the-uh-uh, sky is blue. Whoa-o-oh, birds all sing as, if they knew.
D B Em A D A
Today's the day, we'll say "I do." And we'll never, be lonely anymore.
D
Because we’re, going to the chapel and we're, gonna get married.
Em A Em A
D Em A D A
D Em A Em A
Bells will ring, the-uh-uh, sun will shine. Whoa-o-oh, I'll be his and, he'll be mine.
D B Em A D
We'll love until, the end of time. And we'll never, be lonely anymore.
D
Em A Em A
D Em A D A
Em A D
Yeah yeah yeah yeah, going to the chapel of love.
Em A D A D
(The Dixie Cups) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
CHAPEL OF LOVE – Dixie Cups
(Barry/Greenwich/Specter)
https://www.youtube.com/watch?v=cMfrLFirGWc (Capo 2)
TIP: The first two lines are sung acapella, and the second line has fingersnaps, but
I've included the chords if you want to play them. Skip them if you're a purist.
C
Going to the chapel and we're, gonna get married. <Fingersnaps>
Dm G Dm G
C Dm G C G
C Dm G Dm G
Spring is here, the-uh-uh, sky is blue. Whoa-o-oh, birds all sing as, if they knew.
C A Dm G C G
Today's the day, we'll say "I do." And we'll never, be lonely anymore.
C
Dm G Dm G
C Dm G C G
C Dm G Dm G
Bells will ring, the-uh-uh, sun will shine. Whoa-o-oh, I'll be his and, he'll be mine.
C A Dm G C G
We'll love until, the end of time. And we'll never, be lonely anymore.
C
Dm G Dm G
C Dm G C G
Dm G C
Dm G C G C
(The Dixie Cups) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
CHRISTIAN ISLAND
Gordon Lightfoot
https://www.youtube.com/watch?v=vU9GIcnZ0q4 (Capo 0)
INTRO: (Softly) A
D A E D A
I'm sail-in' down the summer wind, I got whiskers on my chin, and I like the mood I'm in.
D A E
As I while away the time of day in the lee of Christian Island.
A D A E
Tall and strong she dips and reels. I call her Silver Heels,
D A
And she tells me how she feels.
D A E
She's a good old boat and she'll stay afloat through the toughest gale and keep smilin'.
A D E A
But for one more day she would like to stay in the lee of Christian Island.
D A E
I'm sail-in' down the summer day, where fish and seagulls play.
D A
I put my troubles all away.
D A E
And when the gale comes up I'll fill my cup, with the whiskey of the Highlands.
A D E A
She's a good old ship and she'll make the trip from the lee of Christian Island.
A A D A E D A A D A E E
A D A E D A
Tall and strong she slips along. I sing for her a song, and she leans into the wind.
D A E
She's a good old boat and she'll stay afloat through the toughest gale and keep smilin'.
A D E A
When the summer ends we will rest again in the lee, of Christian Island.
(Gordon Lightfoot) (Artist Index) - (Main Index) - (Song Index) (This Song)
CIRCLE
Harry Chapin
https://www.youtube.com/watch?v=fW0vjZiu_rw (Capo 0)
D Em
All my life's a circle, sunrise and sundown.
A7 D
The moon rolls thru the nighttime, til the daybreak comes around.
G
All my life's a circle, but I can't tell you why.
A7 G A D
Season's spinning round again, the years keep rollin' by.
Em
It seems like I've been here before, I can't remember when.
A7 D
But I got this funny feeling, that we'll all be together again.
G
There's no straight lines make up my life and all my roads have bends.
A7 G A D
There's no clear-cut beginnings, and so far no dead ends.
Em
I found you a thousand times. I guess you done the same.
A7 D
But then we lose each other, it's just like a children's game.
G
As I find you here again, a thought runs through my mind:
A7 G A D
Our love is like a circle, let's go 'round one more time.
Em
A7 D
G
A7 G A D
The season's spinning round again, the years keep rollin' by.
Em
A7 D
G
A7 G A D
The season's spinning round again, the years keep rollin' by.
Em A D G A D
And the years (the years), keep on rollin’ (keep on rollin’) by – y – y - y.
(Harry Chapin) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
CIRCLE OF STEEL
Gordon Lightfoot
https://www.youtube.com/watch?v=--QaFL_eXeM (Capo 3)
TIP: The intro consists of the chords from the first line and last of each verse
INTRO: D C D G, D G A Bm G D
C D G
Rows of lights in a circle of steel where you place your bets on a great big wheel.
D C G D
High windows flickerin' down through the snow. A time you know.
G A Bm G D
Sights and sounds of the people goin' round everybody's in step with the season.
C D G
A child is born to a welfare case where the rats run around like they own the place.
D C G D
The room is chilly the building is old. That's how it goes.
G A Bm G D
The doctor’s found on his welfare rounds and he comes and he leaves on the double.
C D G
"Deck the Halls" was the song they played in the flat next door where they shout all day.
D C G D
She tips her gin bottle back till it’s gone. The child is strong.
G A Bm G D
A week a day they will take it away for they know about all her bad habits.
D G A Bm G D
C D G
Christmas dawns and the snow lets up and the sun hits the handle of her heirloom cup.
D C G D
She hides her face in her hands for a while. Says "Look here child.
G A Bm G D
Your father's pride was his means to provide and he's servin' 3 years for that reason."
C D G
Rows of lights in a circle of steel where you place your bets on a great big wheel.
D C G D
High windows flickerin' down through the snow. A time you know.
G A Bm G D
Sights and sounds of the people goin' round everybody's in step with the season.
D G A Bm G D
CITY OF NEW ORLEANS - Arlo Guthrie
(Goodman)
https://www.youtube.com/watch?v=TvMS_ykiLiQ (Capo 4)
[Also in [G] afterwards.]
INTRO: D A, D A
D A D Bm G D A
Riding on the City of New Orleans. Illinois Central, Monday morning rail.
D A D Bm A D
Fifteen cars and fifteen restless riders, three conductors, twenty-five sacks of mail.
Bm F#m
All along the south bound odyssey, the train pulls out of Kankakee,
A E
And rolls along past houses farms and fields.
Bm F#m
Passing trains that have no name, and freight yards of old black men,
A A7 D
And graveyards of rusted automobiles.
G A D Bm G D A
Good morning America how are you? Say don't you know me, I'm your native son.
D A Bm
I'm the train they call the City of New Orleans.
C G A D
I'll be gone five hundred miles when the day is done.
A D
Dealing card games, with the old men in the club car.
Bm G D A
Penny a point ain't no one keeping score.
D A D Bm A D
Pass the paper bag that holds the bottle. Feel the wheels, rumblin' 'neath the floor.
Bm F#m
And the sons of Pullman porters, and the sons of engineers,
A E
Ride their father's magic carpets, made of steel.
Bm F#m
Mothers with their babes asleep, are rocking to the gentle beat
A A7 D
And the rhythm of the rails is all they feel.
G A D Bm G D A
D A Bm
C G A D
A D Bm G D A
Nightime on the City of New Orleans. Changing cars in Memphis Tennessee.
D A D
Half way home, we'll be there by mornin',
Bm A D
Through the Mississippi darkness rolling down to the sea.
Bm F#m
But all the towns and people seem, to fade into a bad dream,
A E
And the steel rail, still ain't heard the news.
Bm F#m
The conductor sings his songs again, the passengers will please refrain,
A A7 D
This train got the disappearin' railroad blues.
G A D Bm G D A
Good night America how are you? Say don't you know me, I'm your native son.
D A Bm
C G A D A D A D
(Arlo Guthrie) (Artist Index) - (Main Index) - (Song Index) (This Song)
CITY OF NEW ORLEANS - Arlo Guthrie
(Goodman)
INTRO: G D, G D
G D G Em C G D
Riding on the City of New Orleans. Illinois Central, Monday morning rail.
G D G Em D G
Fifteen cars and fifteen restless riders, three conductors, twenty-five sacks of mail.
Em Bm
All along the south bound odyssey, the train pulls out of Kankakee,
D A
And rolls along past houses farms and fields.
Em Bm
Passing trains that have no name, and freight yards of old black men,
D D7 G
And graveyards of rusted automobiles.
C D G Em C G D7
G D Em
F C D G
D G
Dealing card games, with the old men in the club car.
Em C G D
Penny a point ain't no one keeping score.
G D G Em D G
Pass the paper bag that holds the bottle. Feel the wheels, rumblin' 'neath the floor.
Em Bm
And the sons of Pullman porters, and the sons of engineers,
D A
Ride their father's magic carpets, made of steel.
Em Bm
Mothers with their babes asleep, are rocking to the gentle beat
D D7 G
And the rhythm of the rails is all they feel.
C D G Em C G D7
G D Em
F C D G
C G Em C G D
Nightime on the City of New Orleans. Changing cars in Memphis Tennessee.
G D G
Half way home, we'll be there by mornin',
Em D G
Through the Mississippi darkness rolling down to the sea.
Em Bm
But all the towns and people seem, to fade into a bad dream,
D A
And the steel rail, still ain't heard the news.
Em Bm
The conductor sings his songs again, the passengers will please refrain,
D D7 G
This train got the disappearin' railroad blues.
C D G Em C G D7
Good night America how are you? Say don't you know me, I'm your native son.
G D Em
F C D G D G D G
(Arlo Guthrie) (Artist Index) - (Main Index) - (Song Index) (This Song)
CLASS OF '57 - The Statler Brothers
(Reid/Reid)
https://www.youtube.com/watch?v=NorKPVdIBeY (Capo 4)
TIP: Harold and Don wrote this with a half-step key change which really presents some
awkward sharped chords so you’ll need to increase the capo one fret where indicated to
match the recording.
INTRO: C Em Dm G
C Em Am
Tommy's sellin' used cars, Nancy's fixin' hair.
F D7
Harvey runs a grocery store and Margaret doesn't care.
C Em Am
Jerry drives a truck for Sears and Charlotte's on the make,
F G7 C G
And Paul sells life insurance, and part time real estate.
C Em Am
Helen is a hostess, Frank works at the mill.
F D7
Janet teaches grade school and prob'ly always will.
C Em Am
Bob works for the city, and Jack's in lab research,
F G7 C
And Peggy plays organ at the Presbyterian Church.
F C
And the class of '57 had its dreams.
Am D7 G7
Oh we all thought we'd change the world with our great works and deeds.
F C E7 Am
Or maybe we just thought the world would change to fit our needs.
F G7 C
The class of fifty seven had its dreams.
(Key change/Capo +1) A
C Em Am
Betty runs a trailer park, Jan sells Tupperware.
F D7
Randy's on an insane ward, Mary's on welfare.
C Em Am
Charlie took a job with Ford, Joe took Freddie's wife.
F G7 C G
Charlotte took a millionaire, and Freddie, took his life.
C Em Am
John is big in cattle, Ray is deep in debt.
F D7
Where Mavis finally wound up, is anybody's bet.
C Em Am
Linda married Sonny, Brenda married me.
F G7 C
And the class of all of us is just a part of history.
F C
And the class of '57 had its dreams.
Am D7 G7
But livin' life from day to day is never like it seems.
F C Am
Things get complicated, when you get past eighteen,
F G7 C Am
But the class of fifty seven had its dreams.
F G7 C
Oh the class of fifty seven had its dreams.
CLOSE ENOUGH TO PERFECT - Alabama
(Chambers)
https://www.youtube.com/watch?v=UVivkbmu3To (Capo 0)
INTRO: G-G |Am|, |Bm|, |C|-|C|, C-G, D
G D Am7
Sometimes her morning coffee's way too strong.
C D G D
And sometimes what she says, she says all wrong.
G D C Am C
But right or wrong she's there beside me, like only a friend would be.
Am C G D
And that's close enough to perfect for me.
G D Am7
Now she's been know to wear her her pants too tight.
C D G D
And drinking puts her out just like a light.
G D C Am C
Heaven knows she's not an angel, but she'd really like to be.
Am C G
And that's close enough to perfect for me.
C Am G
She kisses me each morning, and smiles her sleepy smile.
C Am F D
She don't have to say it, I can see it in her eyes.
G D C Am C
Don't you worry about my woman, or what you think she ought to be.
Am C G G-G |Am|, |Bm|, |C|-|C|, C-G, D
Cause she’s close enough to perfect for me.
G D Am7
Sometimes she gets down and starts to cry.
C D G D
But then again a lady has the right.
G D C Am C
She's everything I've ever wanted, she's all I'll ever need.
Am C G
She's close enough to perfect for me.
C Am G
She kisses me each morning, and smiles her sleepy smile.
C Am F D
She don't have to say it, I can see it in her eyes.
G D C Am C
Don't you worry about my woman, or what you think she ought to be.
Am C G
She’s close enough to perfect for me.
Am C G
Whoa she’s close enough to perfect . . . for me.
G D Am, C D G, G D Am, C D G, G
(Alabama) (Artist Index) - (Main Index) - (Song Index) (This Song)

COAL MINER'S DAUGHTER
Loretta Lynn
https://www.youtube.com/watch?v=f9eHp7JJgq8 (Capo 1)
TIP: Loretta wrote the verses in an ascending key. The first two verses are in [D] and
the last two are in [E] but the middle two are in D# which is a bitch. So I've kept the
key of [D] for those second two verses and then moved on to [E]. This means playing with
Loretta will be off for those middle verses unless you move the capo up one fret for
those middle two verses and then back down.
INTRO: D A D
G D E7 A7
Well I was born a coal miner's daughter, in a cabin, on a hill in Butcher Holler.
D D7 G D
We were poor but we had love. That's the one thing my daddy made sure of.
A7 D
He shoveled coal to make, a poor man's dollar.
G D
My daddy worked all night in the Van Lear coal mines.
E7 A7
All day long in a field a-hoein' corn.
D G D
Mommy rocked the babies at night, and read the Bible by the coal-oil light.
A7 D
And-everything would start all over come break of morn.
<capo +1>
G D
Daddy-loved and raised eight kids on a miner's pay.
E7 A7
Mommy scrubbed our clothes on a washboard every day.
D D7 G D
Why-I'd seen her fingers bleed, to complain there was no need.
A7 D
She'd smile in mommy's understanding way.
G D
In the summer time we didn't have shoes to wear.
E7 A7
But in the winter time we'd all get a brand new pair.
D D7 G D
From a mail-order catalog, money made from sellin' a hog.
A7 D
Daddy always managed to get, the money somewhere.
<capo -1> [key change] Strum (E)
A E
Yeah I'm proud to be a coal miner's daughter.
F# B7
I remember well the well where I drew water.
E E7 A E
The work we done was hard. At-night we'd sleep, 'cause we were tired.
B7 E
I-never-thought-of ever leavin' Butcher Holler.
A E
Well a lot of things have changed since way back then.
F# B7
And it's so good, to be back home again.
E E7 A E
Not much left but the floor, nothin' lives here, anymore.
B7 E |B7|-|E|
Except the memories of a coal miner's daughter.
(Loretta Lynn) (Artist Index) - (Main Index) - (Song Index) (This Song)
COAT OF MANY COLORS
Dolly Parton
https://www.youtube.com/watch?v=h7I_9MMcWvk (Capo 3)
TIP: There's a key change but it's about the easiest key change you'll ever have to deal
with. Thanks, Dolly.
INTRO: G G G C, G G G C
G C
Back through the years I go wondering once again, back to the seasons of my youth.
G C
I recall a box of rags that someone gave us, and how my momma put the rags to use.
G
There were rags of many colors, and every piece was small,
D
And I didn't have a coat, and it was way down in the fall.
G C
Momma sewed the rags together, sewing every piece with love
G D G
She made my coat of many colors that I was so-oh proud of.
As she sewed she told a story, from the Bible she had read.
D
About a coat of many colors, Joseph wore and then she said,
G C
"Perhaps this coat will bring you, good luck and happiness"
G D G
And I just couldn't wait to wear it and momma blessed it with a kiss.
C G
My coat of many colors that my momma made for me.
C G D7
Made only from rags but I wore it so proudly.
G C
Although we had no money, I was rich as I could be,
G D G
In my coat of many colors, my momma made for me.
<key change> Strum E

A
So with patches on my britches, holes in both my shoes,
E
In my coat of many colors, I hurried off to school.
A D
Just to find the others laughin', and making fun of me
A E A
In my coat of many colors, my momma made for me.
E A
And oh I couldn't understand it, for I felt, I was rich.
E
And I told them of the love my momma sewed in every stitch.
A D
And I told them all the story, momma told me while she sewed
A E A
And how my coat of many colors was worth more than all-ll their clothes.
D A
But they didn't understand it and I tried to make them see,
D A E
That one is only poor, only if they choose to be.
A D
Now I know we had no money, but I was rich as I could be,
A E D A
In my coat of many colors, my momma made for me. Made just for me.
(Dolly Parton) (Spiritual) (Kid Friendly) (Artist Index)

THE COCKROACH THAT ATE CINCINNATI
Rose & the Arrangement
(Drill)
https://www.youtube.com/watch?v=NtEpqlrwX5c (Capo 3)
TIP: In the intro there's a sharp one-strum of |Am| and then a walk down from treble to
bass (actually a piano) and then 4 sets of two-strum |Am|s. It then repeats until
interrupted by the "Uh uh . . . "
INTRO: |Am|, Am . . . |Am|-|Am|, |Am|-|Am|, |Am|-|Am|, |Am|-|Am|; |Am|, Am . . .
Uh-uh don't touch that dial!
E7 E Am E7 E
Aah aah aah aah-aah-aah aah aah aah aah-aah-aah
Am E7 E Am
I must offer to you a confession, I like movies that give me a fright.
Dm Am B E
If the subject is horror, I've got to see more or I won't be contented all night.
Am E7 E Am
You may call it my ghoulish obsession. It's a subject on which I get chatty.
Em Am
But the worst one it seems, haunting all of my dreams,
E Am E7 E Am E7 E
Was the cockroach that ate Cincinnati. Aah aah aah-aah-aah aah aah aah aah-aah-aah.
Am E7
I've seen ghouls and hobgoblins and witches,
E Am
And some moth-eaten were-wolves with fangs.
Dm Am
There were creatures that chattered and others that clattered,
B E
And Japanese monsters with fangs. (Ah-so).
Am E7 E Am
Frankenstein gives me the shakes, and Count Dracula's driving me batty.
Dm Am E Am
But they're not one a par with the worst one by far, the cockroach that ate Cincinnati.
Am E7 E Am E7 E
Aah aah aah aah-aah-aah aah aah aah aah-aah-aah
Am E7 E Am
Oh he must have needed a seltzer. It's amazing how much he got down.
Dm
For lunch he'd just chew up a suburb or two and for dinner he ate the whole town. (BURP)
Am E7
Willard just sent me out laughing.
E Am
I thought Ben looked a little bit ratty (sorry about that).
Dm Am
But they're not half as bad as the worst scare I've had,
E Am
The Cockroach that ate Cincinnati.
Dm Am
Oh my heart nearly stopped he will never be topped,
E Am
The cockroach that ate Cincinnati. Ole! Ole? That's dumb.
(Rose & the Arrangement) (Kid Friendly) (Artist Index)

COME DANCING – The Kinks
(Davies)
https://www.youtube.com/watch?v=xRUE0aAI5o8 (Capo 0)
TIP: In Britain, a "palais" refers to a public hall or venue for dancing.
TIP: The Kinks play the outro using (D#) and (Bb). (D#) is (D) up one fret with the
pinky covering the 4th string/5th fret (striking only the bottom 4 strings). (Bb) can be
played as usual or as an (F) form on the 6th fret. And since you're already playing (D#)
in the 3rd fret it's really which is more comfortable for you to play. And if you don't
care whether you're matching the original recording I've found it easier to take it up a
full step and play (E) and (A) instead. Both chord strings are presented as the outro.
; ; ( )
INTRO: <very lightly> D . . . G . . . <building> G, D G; G, D G
D G
They put a parking lot on a piece of land, where the su-per market used to stand.
D G
Before that they put up a bowling alley, on the site that used to be the local palais.
C G
That's where the big bands used to come and play.
D G C
My sister went there on a Saturday. Come dancing.
G D C G
All her boyfriends used to come and call. Why not come dancing, it's only natural.
G, D G; G, D G
D G
Another Satur-day another date. She would be ready but she'd always make them wait.
D G
In the hallway in anticipation, he didn't know the night would end up in frustration.
C G
He'd end up blowing all his wages for the week.
D G C
All for a cuddle and a peck on the cheek. Come dancing.
G
That's how they did it when I was just a kid.
D C G
And when they said come dancing, my sister always did.
G, D G; G, D G
Em D C Em D C D
My sister should have come in at midnight. And my mom would always sit up and wait.
Em D C Em D C
It always ended up in a big row, when my sister used to get home late.
G D
[Spoken] Out of my window I can see them in the moonlight.
G D
Two silhouettes saying goodnight by the garden gate.
Em D C Em D C D
The day they knocked down the palais, my sister stood and cried.
Em D C Em D C
The day they knocked down the palais, part of my childhood died, just died.
Em D C, C-D; Em D C, C-D; Em D C, C-D, Em D C, G D D G
Now I'm grown up and playing in a band,

D G
And there's a car park where the palais used to stand.
My sister's married and she lives on an estate.

D G
Her daughters go out now it's her turn to wait.
C G
She knows they get away with things she never could.
D G C
But if I asked her I wonder if she would come dancing.
G
Come on sister have yourself a ball.
D C G
Don't be afraid to come dancing. It's only natural.
G, D G; G, D G
C G
Come dancing. Just like the palais on a Saturday.
D C Em
And all her friends will come dancing, where the big bands used to play.
D#, F6/Bb-D#; D#, F6/Bb-D#; D#, F6/Bb-D#;
D#, F6/Bb-D#; |F6/Bb|-|F6/Bb|-|F6/Bb|-|D#|
<or>
A, E-A; A, E-A; A, E-A; A, E, |E|-|E|-|E|-|A|
COMES A TIME
Neil Young
https://www.youtube.com/watch?v=qxH_4e7W7hc (Capo 0)
TIP: Note the chord change comes in a beat early, ahead of the next part of the verse.
INTRO: <strings> G G G G G G G G G
Bm D Am C G
Comes a time, when you're driftin', comes a time when you settle down.
Bm D Am C
Comes a light, feelings liftin', lift that baby right up off the ground.
G F C G
Oh-oh. This old world keeps spinnin' 'round.
F C G Dm Dm7 G G
It's a wonder tall trees ain't layin' down there comes a ti-ime.
Bm D Am C G
You and I, we were captured. We took our souls and we flew away.
Bm D Am C
We were right, we were giving. That's how we kept what we gave away.
G F C G
F C G Dm Dm7 G G
G Bm D D Am C, G Bm D D Am C
G F C G
F C G Dm Dm7 G G
Dm7 Dm7 G Dm7 Dm7 G G

There comes a ti-i -i –ime. Comes a time. Comes a time.
Dm7 Dm7 G Dm7 Dm7 G G
Comes a ti-i –i -ime. Comes a time.
Dm7 Dm7 G G Dm7 Dm7 G |G|
Comes a time. Comes a time.
COMFORTABLY NUMB - Pink Floyd
(Waters)
https://www.youtube.com/watch?v=_FrOQC-zEog (Capo 0)
TIP: IMHO, some of the greatest lyrics ever written.
TIP: Set up for the intro chord by forming a fully-barre'd (Bm). Strike all strings
once and let the chord linger. Then gently strum the lower four strings of the (Bm).
You can release the barre after the first strike but you may as well keep position until
the first (A) in the verse. As for the (Bm) for the rest of the song you can get away
with playing the three lower strings but if you can try to play it with 4 fingers so the
<f#> is covered.
TIP: Nobody's gonna reproduce Gilmour's string-bending, mind-blowing outro with an

acoustic so here's what I recommend: Put on a good set of headphones. Turn off all the
lights. Turn it up to 11 and watch this: https://www.youtube.com/watch?v=LTseTg48568.
Now sit there quietly sulking because you are never going to be that good. But steady,
mate -- no need to go all Townshend on your guitar.
INTRO: <Forcefully and let linger> |Bm| <then strum lightly> Bm
A G Em
Hello. Is there anybody in there? Just nod if you can hear me.
Bm A
Is there anyone home? Come on, now. I hear you’re feeling, down.
G Em Bm
Well I can ease your pain, get you on your feet again.
A G Em/
Relax. I need some information, first. Just the basic facts.
Bm
Can you show me where it hurts?
D A D A
There is no pain you are receding. A distant ship’s smoke on the horizon.
C G
You are only coming through in waves.
C G
Your lips, move, but I can’t hear what you're saying.
D A D A
When I was a child, I had a fever. My hands felt just like two balloons.
C G C
Now I’ve got that feeling once again I can’t explain, you would not understand.
G A G D
This is not how I am. I - . . . I have become comfortably numb.
D, A; D, A; C, G; C, G A G D
I - . . . I have become comfortably numb.
Bm A G Em
Okay. Just a little pinprick. There’ll be no more aaaaaahh ahhh!
Bm A
But you may feel a little sick. Can you stand up? I do believe it's working. Good.
G Em Bm
That’ll keep you going for the show. Come on it’s time to go.
D A D A
There is no pain you are receding. A distant ship’s smoke on the horizon.
C G
You are only coming through in waves.
C G
Your lips, move, but I can’t hear what you're saying.
D A D D A
When I was a child, I caught a fleeting glimpse, out of the corner of my eye.
C G C
I turned to look but it was gone, I cannot put my finger on it now, the child is grown,
G A G D D – D – D – D – D - D
The dream is gone. I - . . . I have become comfortably numb.
D A, G Em Bm; Bm Bm A, G Em Bm; Bm Bm A, G Em Bm; D A, G Em Bm
Bm Bm A, G Em Bm; Bm Bm A, G Em Bm; <slower> Bm Bm A A G G Em Em ... |D|
(Pink Floyd) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE CONTINUING STORY OF BUNGALOW BILL – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=J39DC9t0I5o (Capo 0)
TIP: When coming to the |G|-|G|-|Am| combo in the first line of each verse, hit each (G)
once and quickly move to the (Am).
C G7 C Fm C Fm G7
Hey Bungalow Bill. What did you kill, Bungalow Bill?
A E7 A Dm A Dm E7
Am C F |G|-|G|-|Am|
He went out tiger hunting with his elephant and gun.
C F
In case of accidents he always took his mum.
E G Am Fm (NC)
He’s the all American, bullet headed, Saxon mother's son. All dee children sing.
C G7 C Fm C Fm G7
A E7 A Dm A Dm E7
Am C F |G|-|G|-|Am|
Deep in the jungle where the mighty tiger lies.
C F
Bill and his elephants were taken by surprise.
E G Am Fm (NC)
So Captain Marvel zapped him right between the eyes-za. All the children sing.
C G7 C Fm C Fm G7
A E7 A Dm A Dm E7
Am C F |G|-|G|-|Am|
The children asked him if to kill was not a sin.
C F
"Not when he looked so fierce” his mummy butted in.
E G Am Fm (NC)
"If looks could kill it would have been us instead of him". All the children sing.
C G7 C Fm C Fm G7
A E7 A Dm A Dm E7
C G7 C Fm C Fm G7
A E7 A Dm A Dm E7
C G7 C Fm C Fm G7
A E7 A Dm A Dm E7
<whistle> C G7 C, Fm C Fm G7; A E7 A, Dm A Dm E7; A

Ay-oh!
COOL WATER - Marty Robbins/Sons of the Pioneers
(Nolan)
https://www.youtube.com/watch?v=t9JQkxu_ofE Marty Robbins (Capo 2)
https://www.youtube.com/watch?v=amDo-KqUjpA Sons of the Pioneers (Capo 0)
TIP: This old cowboy standard has been covered by many over the years since Bob Nolan
wrote it in 1936. There are minor variations on the lyrics between the artist and the
melodic inflections here are from Marty Robbins' version.
INTRO: D A7 A7 D
A7 D A7 D
All day I've faced a barren waste, without the taste of water. Cool, water.
G A7 D G D
Old Dan and I, with throats burnt dry and souls, that cry, for water.
A7 D
Cool, clear, water.
A7 D A7 D
The nights are cool and I'm a fool each star's a pool of water. Cool, water.
G A7 D G D A7 D
And with the dawn I'll wake and yawn and carrr-ry on, to water. Cool, clear, water.
A7 D
Keep a movin' Dan don't you listen to him Dan. He's a devil not a man and he
A7 D
spreads the burning sand with water.
G D G A7
Dan can you see that big green tree, where the water's running free and it's waiting
D G D A7 D
there for you and meee-ee-ee. Water. Cool, clear water.
A7 D A7 D
The shadows sway and seem to say, tonight we pray, for water. Cool, water.
G A7 D G D
And way up there he'll hear our prayer and showwww us where, there's water.
A7 D
Cool, clear, water.
A7 D
Keep a movin' Dan don't you listen to him Dan. He's a devil not a man and he
A7 D
spreads the burning sands with water.
G D G A7
Dan can you see that big green tree, where the water's running free, and it's waiting
D G D A7 D
there for you and meee-ee-ee. Water. Cool, clear water.
A7 G D
Cool, clear, water.
(Marty Robbins) (Sons of the Pioneers) (Artist Index)

COTTON JENNY – Gordon Lightfoot/Anne Murray
(Lightfoot)
https://www.youtube.com/watch?v=ty2PUo2kPok Gordon (Capo 2)
https://www.youtube.com/watch?v=K4cGlQSewYY Anne (Capo 5)
TIP: The presentation here is based on Gordon's version. The verse and chorus end and
begin without a pause so that's why they're all run together. Otherwise it can trip you
up.
INTRO: G C G C, G C G C, G C G C, G C G C
G C G
There's a house, on a hill, by a worn down weathered old mill
D G
In a valley below where the river winds, there’s no such thing as bad times.
C G
And a soft, southern flame, oh Cotton Jenny's her name
D
She wakes me up when the sun goes down,
G C G
And the wheel of love goes round wheels of love go round, love go rou-uh-ow-ound.
A7 D
Love go round, a joyful sou-uh-ow-ound.
G C D
I ain’t got a penny for Cotton Jenny to spend,
G C G C, G C G C
But then the wheel go round.
G C G
When the new, day begins, I go down to the cotton gin
D G
And I make my time worth while to them. Then I climb back up again.
C G
And she waits, by the door, oh Cotton Jenny I'm sore
D
And she rubs my feet while the sun goes down,
G C G
A7 D
G C D
G C G C, G C G C
G C G
In the hot, sickly South, when they say “Well shut my mouth”
D G
I can never be free from the cotton grind, but I know I got what’s mine.
C G
With a soft, southern flame, oh Cotton Jenny’s her name
D
She wakes me up when the sun goes down,
G C G
A7 D
G C D
G C G C, G C G C
C G C G C G C G
The wheel go round. Round and round.
C G C G C G C G C G C, G C G C; |G|
Um hmm hmmm. Um hmm hmmm. Um hmm hmmm. Um hmm hmmm.
(Gordon Lightfoot) (Anne Murray) (Artist Index) - (Main Index) - (Song Index) (This Song)
COULD I HAVE THIS DANCE – Anne Murray
(Holyfield/House)
https://www.youtube.com/watch?v=2wagjpWtRII (Capo 0)
TIP: Not too fast.
INTRO: A E D E
A A7 D E D E7 A E7
I'll always remember, the song they were playin', the first time we danced, and I knew.
A A7 D E D E A E7
As we swayed to the music, and held to each other, I fell in love with you.
A A7 D
Could I have this dance, for the rest of my life?
E7 D E
Would you be my partner, every night?
A A7 D Dm
When we're together it feels so right.
A E7 A E
A A7 D E D E7 A E7
I'll always remember, that magic moment, when I held you close to me.
A A7 D E D E A E7
'Cause we moved together, I knew forever, you're all I'll ever need.
A A7 D
E7 D E
A A7 D Dm
A E7 A E
A A7 D
E7 D E
A A7 D Dm
A E7 E A E D E A
Could I have this dance, for the rest of, my life?
(Anne Murray) (Artist Index) - (Main Index) - (Song Index) (This Song)
COUNTRY IS
Tom T. Hall
https://www.youtube.com/watch?v=tCZnBMDtQjQ (Capo 0)
INTRO: C C, G G G C, |F|-|C|
C F C F
Country is, sittin' on the back porch,
C G
Listenin’ to the whip-poorwills, late in the day.
C F C F C G C
Country is, mindin' your business, helpin' a stranger, if he comes your way.
F C F C G
Country is, livin' in the city, knowin' your people, knowin' your kind.
C F C F C G C
Country is, what you make it. Country is, all in your mind.
C C, G G G C, |F|-|C|
F C F C G
Country is, workin' for a living, thinkin' your own thoughts, lovin' your town.
C F C F
Country is, teachin' your children,
C G C
Findin’ out what's right, and standin’ your ground.
F C F C G
Country is, havin' the good times, listenin’ to the music, singing your part.
C F C F C G C
Country is, walkin' in the moonlight. Country is, all in your heart.
C C, G G G C, |F|-|C|
(Tom T. Hall) (Artist Index) - (Main Index) - (Song Index) (This Song)
COVER OF THE ROLLING STONE
Dr. Hook and the Medicine Show
(Silverstein)
https://www.youtube.com/watch?v=-Ux3-a9RE1Q (Capo 0)
TIP: After the intro the (A)|D|-(A) bit is meant to be played over the top of any spoken
lyrics in parenthesis.
TIP: The |E| in brackets before "cover" is one strum and then nothing until the next (A)
on "Stone." On the final "stone" strike the |A| hard and let it sustain through the
spoken outro.
A . . .
INTRO: <Spoken>: Oh huh huh I don't believe it. Uh, uh, uh, uh. Don't touch me.
A . . . .
Hey Ray, hey Sugar, tell them who we are.
NC A E
Well we're big rock singers we got golden fingers and we're loved everywhere we go.
(That sounds like us).

E7 A
We sing about beauty and we sing about truth at ten-thousand dollars a show right.
We take all kinds of pills that give us all kind of thrills

D
But the thrill we've never known.
E |E| A
Is the thrill that'll gitcha when you get your picture on the cover of the Rollin’ Stone.
E
Rollin’ Stone. Gonna see my picture on the cover.
A
Stone gonna buy five copies for my mother (yeah!).
E D A |D|-A, A |D|-A
Stone gonna see my smilin’ face on the cover of the Rollin’ Stone.
A |D|-A
(That's a very very good idea.)
E
I got a freaky ol’ lady name a Cocaine Katy who embroideries on my jeans.
E7 A
I got my poor ol’ grey-haired daddy, drivin my limosine.
D
Now it's all decided to blow our minds but our minds won't really be blown.
E
Like the blow that'll gitcha when you get your picture
|E| A
On the cover of the Rollin’ Stone.
E
A
Stone gonna buy five copies for my mother (yeah!).
E D A |D|-A, A |D|-A
Stone gonna see my smilin’ face on the cover of the Rollin’ Stone.
(Hey, I know how. Rock and roll!)
<Play 5 seconds of screaching nonsense, just come back to (A)>
A
Ah, that's beautiful.
E
We got a lot of little teenage, blue-eyed groupies, who do anything we say.
E7 A
We got a genu-wine Indian Guru, who's teaching us a better way.
D
We got all the friends, that money can buy, so we never have to be alone.
E
And we keep getting richer but we can't get our picture
|E| A
On the cover of the Rollin’ Stone.
E
A
Stone gonna buy five copies for my mother.
E D A
Stone gonna see my smilin’ face on the cover of the Rollin’ Stoooone.
D E
On the cover of the Rollin’ - stone gonna see my picture on the cover,
A
Stone gonna buy five copies for my mother.
E D |A|
Stone gonna see my smilin’ face on the cover of the Rollin Stone.
OUTRO: <Spoken> Right up front man I can see it now. We'll be on the front smilin'
man, ahh, beautiful.
(Dr. Hook) (Artist Index) - (Main Index) - (Song Index) (This Song)
COW PATTI
Jim Stafford
https://www.youtube.com/watch?v=oyHDMKoF_zI (Capo 0)
TIP: There's one lonely |F| toward the end that can be skipped if need be.
INTRO: Am, Am
G C
From the bad lands came the killer, he lived by the knife and the gun.
G Am
He'd cut you just for standin', shoot ya if ya tried to run.
C
He was big as a tree and did as he pleased and everything he did was bad.
G Am
And they said if you was to kill him, it'd only make him mad.
G C
From the good lands came the cowgirl, Patti was her name.
G Am
She was hot on the trail of that killer, on a moped she called Flame.
G C
'Cause the killer had killed her daddy, just for spittin' in the road.
G Am
And you only had to kill her daddy once to get that gal P.O.'d.
C G C G C
Yippee aye ay Cow Patti. Yippee aye ay Cow Patti.
G E Am C G Am
She rode into town to find the man that killed her daddy. Yippee aye ay . . . Cow Patti.
G C
The killer hit town at daybreak, ate the door off the local saloon.
G Am
He started to drink you could tell he was thinkin' there'll be a showdown soon.
C
Patti hit town in a cloud of dust ol' Flame was buzzin' like a saw.
G Am
And the whole town got quiet as a church when the killer stepped out for the draw.
C
Forty shots rang out. Forty people fell.
Am
Patti and the killer missed each other but they shot that town to hell.
C G C G C
G E Am C G Am
She rode into town to find the man that killed her daddy. Yippee aye ay . . . Cow Patti.
C
The killer took a step towards Patti, said "It's time I gunned you down."
|G| |G| |Am|
But he slipped in somethin' that was layin' in the street and was shot 'fore he hit the
ground.
NC
Yes the killer slipped, and it cost him his life. Patti said as she roared out of town:
|F| |Am|
"You gotta watch your step, when you know the chips are down."
C G C G C
G E Am
She rode into town to find the man that killed her daddy.
C G Am Am . . . . .
Yippee aye ay . . . Cow Patti. (On, Flame!)
(Jim Stafford) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
COWARD OF THE COUNTY – Kenny Rogers
(Bowling/Wheeler)
https://www.youtube.com/watch?v=BbYj3tJRSO8 (Capo 3)
TIP: Instead of two key changes (and a messy sharp'd middle) I've kept the second part
of the song the same as the first. The third part of the song then changes key from [A]
to [C] so you'll need to hike your pitch. You can still play along with the recording
but you'll need to slide the capo up one fret at the first key change and then back down
one fret for the final key change.
INTRO: A
D A
Everyone considered him the coward of the county.
E
He'd never stood one single time to prove the county wrong.
A D A
His Mama named him Tommy, but folks just called him yellow.
E A
Something always told me, they were reading Tommy wrong.
D A
He was only ten years old when his daddy died in prison.
E
I looked after Tommy, cause he was my brother's son.
A D A
I still recall the final words my brother said to Tommy:
E A
“Son my life is over, but yours has just begun.
D A D A E
Promise me son not to do the things I've done. Walk away from trouble if you can.
A D A
Now it don't mean you're weak, if you turn the other cheek.
D E E7 A
I hope you're old enough to understand. Son you don’t have to fight to be a man.”
<capo +1>
D A
There's someone for everyone, and Tommy's love was Becky.
E
In her arms he didn't have to prove he was a man.
A D A
One day while he was working, the Gatlin boys came callin’.
E A
They took turns at Becky, ‘n' there was three of them.
D A
Tommy opened up the door and saw his Becky cryin’.
E
The torn dress the shattered look, was more than he could stand.
A D A
He reached above the fireplace, and took down his daddy's picture.
E A
As his tears fell on his daddy's face he heard these words again.
D A D A E
Promise me son not to do the things I've done. Walk away from trouble if you can.
A D A
Now it don't mean you're weak, if you turn the other cheek.
D E E7 A
I hope you're old enough to understand. Son you don’t have to fight to be a man.”
<capo -1> <Key change>
C F C
The Gatlin boys just laughed at him when he walked into the bar room.
G
One of them got up, and met him half way cross the floor.
C F C
When Tommy turned around they said “Hey look old yeller's leavin'.”
G C
But you could've heard a pin drop, when Tommy stopped and blocked the door.
F C
Twenty years of crawlin', was bottled up inside him.
G
He wasn't holding nothing back, he let 'em have it all.
C F C
When Tommy left the bar room, not a Gatlin boy was standin'.
G7 C
He said “This one's for Becky”, as he watched the last one fall. And I heard him say:
F C
“I promised you Dad not to do the things you’ve done.
F C G
I walk away from trouble when I can.
C F C
Now please don’t think I’m weak, I didn’t turn the other cheek.
F G G7 C
And Papa I sure hope you understand. Sometimes you gotta fight when you’re a man.”
F C |C|
Everyone considered him the coward of the county.
(Kenny Rogers) (Artist Index) - (Main Index) - (Song Index) (This Song)
COWBOY MAN
Lyle Lovett
https://www.youtube.com/watch?v=LIyhTNFsozo (Capo 1)
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.
INTRO: A D A E, A D A E A
D A E A
She wore glass slippers. She held her head up high.
D A D A
She had that sparkle at her feet, and that, twinkle in her eye.
D A E A
She smiled at me, as I wondered why, she said,
D A E A
I'm looking for a cowboy, to take me for a ride.
D A D A
And he can rope me, on the prarie. And he can ri-ide me on the plain.
D F#m A E A
And I will be, his Cinderell-ella if he'll be, my cowboy man. She said:
D A E
I gotta forty-gallon Stetson hat with a, thirty-eight-foot brim.
A D A E A
We could, dance around the outside baby, 'til we both fall in.
D A D A
And you can rope me, on the prarie. And you can ri-ide me on the plain.
D F#m A E A
And I will be, your Cinderell-ella if you'll be, my cowboy man.
A D A, A D A, A D A, A E A
D A E
Now I ain't never been no cowboy, heaven knows I try.
A D A E A
I'll be, riding tall in my saddle honey, with the, Cinderella by my side.
D A D A
And I can rope her, on the prarie. And I can ride her on the plain.
D F#m A E A
And she will be, my Cinderella and I’ll be, her cowboy man.
D A D A
I can rope, rope her on the prarie. And I can ri-ide her on the plain.
D F#m A E A
She will be, my Cinderella, and I’ll be, her cowboy man.
D A D A
I can rope, rope her on the prarie. And I can ri-ide her on the plain.
D F#m A E A
She will be, my Cinderella, and I’ll be, her cowboy man.
(Lyle Lovett) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE CRAWDAD SONG
Traditional
(Don't remember where I got this version but I like it since the story kind of flows.)
INTRO: G G D, G C G D G
D
You get a line and I'll get a pole honey. You get a line and I'll get a pole babe.
G C
You get a line and I'll get a pole, and we'll go down to the crawdad hole.
G D G
Honey oh ba-aby mine.
Yonder come a man with a sack on his back honey.

D
Yonder come a man with a sack on his back babe.
G C
Yonder come a man with a sack on his back. Look at them crawdads in that sack.
G D G
The man fell down and he broke that sack honey.

D G
The man fell down and he broke that sack babe. The man fell down and he broke that sack.
C G D G
Look at them crawdads crawlin’ back. Honey oh ba-aby mine.
D
Get up old man you slept too late honey. Get up old man you slept too late babe.
G C
Get up old man you slept too late. Crawdad Man done passed your gate.
G D G
Sittin' on the bank 'til my feet get cold honey.

D
Sittin' on the bank 'til my feet get cold babe.
G C
Sittin' on the bank 'til my feet get cold. Look at that empty crawdad hole.
G D G A
What you gonna do when the lake runs dry honey?

E A
What you gonna do when the lake runs dry babe? What you gonna do when the lake runs dry?
D A E A
Sit on the bank and watch crawdads die. Honey oh ba-aby mine.
E
What did the duck say to the drake honey? What did the duck say to the drake babe?
A D
What did the duck say to the drake? Ain’t no crawdads in this lake.
A E A
E
So you get a line and I'll get a pole honey. You get a line and I'll get a pole babe.
A D
You get a line and I'll get a pole. And we'll go down to the crawdad hole.
A E A
E A E D D A |A|
Honey oh ba-aby mine. Honey oh ba-aby mine.
(Traditional) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
CRAZY - Willie Nelson/Patsy Cline
(Nelson)
https://www.youtube.com/watch?v=MbnrdCS57d0 Patsy (Capo 3)
https://www.youtube.com/watch?v=PdNrSZm18Gw Willie (Capo 5)
TIP: I don't know what Willie did with the reprise, raised and flattened the key maybe.
I asked him about it one time but he got all pissed off and threw a Lone Star at me - I
think the IRS was hounding him at the time - but whatever he did really resulted in some
messed up the chords and I've renamed some of them like (Eb),(Bbm),(Ab) etc into
something a little more memorable/recognizable. (C#) is played like a (D/A) slid down in
the first fret so that's how I've indicated it in the lyrics (D/A1). But you know what,
why not just play the reprise with chords from the previous verse (indicated by >>>).
They finish the song just as well.
TIP: It's Patsy's version that appears here.
INTRO: G, C, C Bm Am D7
G E7 Am D7 G
Crazy, I'm crazy for feeling so lonely. I'm crazy, crazy for feeling so blue.
G E7 Am
I knew, you'd love me as long as you wanted.
D7 G
And then someday, you'd leave me for some-body new.
C G A7 D7
Worry, why do I let myself worry? Wond'rin', what in the world did I do?
G E7 Am
Oh crazy, for thinking that my love could hold you.
C Bm Am7 E7 Am7 D7 G
I'm crazy for trying, and crazy for crying, and I'm crazy for loving you.
F4 F Bm1
Crazy, for thinking that my love could hold you.
D/A1 Bm3 Bm1 Bm3
I'm crazy for trying, and crazy for crying,
Bm1 F F4 D/A1 F4
And I'm crazy for love - in', you.
G E7 Am
>>> Crazy, for thinking that my love could hold you.
C Bm Am7 E7
I'm crazy for trying, and crazy for crying,
Am7 D7 G C G
And I'm crazy for love - in', you.
(Willie Nelson) (Patsy Cline) (Artist Index) - (Main Index) - (Song Index) (This Song)
CRAZY LITTLE THING CALLED LOVE - Queen
(Mercury)
https://www.youtube.com/watch?v=zO6D_BAuYCI (Capo 0)
TIP: In the intro to go from (D) to (D4) on the 3rd (D) just hold the (D) form and add
your pinky to the bottom string/3rd fret and then lift off.
TIP: After the instrumental bridge the song is song acapella but the chords are there if
you want to play them.
TIP: In the outro, it's subtle but Freddie sings the first two lines like the ones
before, then the next two are sung up-inflection (beginning with (D) rather than (Bb),
then another line like before, and then another up-inflection. If this is too bothersome
stick with the pattern that begins with the (Bb).
INTRO: |D|-|D|-|D4|-|D|, |D|-|D|-|D|; |D|-|D|-|D4|-|D|, |D|-|D|-|D|
|D|-|D|-|D4|-|D|, |D|-|D|-|D|; |D|-|D|-|D4|-|D|
G C G
This thing, called love, I just, can't handle it.
D G C G D
This thing, called love, I must, get round to it I ain't ready.
Bb C D
Crazy little thing called love. <palm>
D G C G
This thing, called love, it cries, in a cradle all night.
D G C G D
It swings, it jives, shakes all over like a jelly fish I kinda like it.
Bb C D
Crazy little thing called love.
(NC) G7 G C G Bb
There goes my ba-a-by. She knows how to rock n' roll. She drives me crazy.
E A
She gives me hot and cold fever then she leaves me in a cool cool sweat.
|C|-|G|-|D| |G|-|D|-|A| |E|-|E|-|E|-|E|-|E|-|E|-|A|
D G C G D
I gotta be cool, relax, get hip, get on my tracks. Take a back seat, hitchhike.
G C G D Bb C D
Take a long ride on my motorbike until I'm ready. Crazy little thing called love.
D Bb, D G-D, Bb Bb, E,
|A|-|A| |F|-|E|-|A|, |C|-|G|-|D|, |G|-|D|-|A|, |E|-|E|-|E|-|E|-|E|-|E|-|A|

D G C G
<acapella/hand claps?> I gotta be cool, relax, get hip, get on my tracks.
D G C G
Take a back seat, hitch-hike. And take a long ride on my motorbike.
D Bb C D
Until I'm ready (ready Freddie). Crazy little thing called love.
D G C G
This thing, called love, I just, can't handle it.
D G C G
This thing, called love, I must, get round to it.
D Bb C D
I ain't ready. Crazy little thing called love.
Bb C D Bb D
Crazy little thing called love. Crazy little thing called love.
Bb D Bb D
Bb C D Bb D
(Queen) (Artist Index) - (Main Index) - (Song Index) (This Song)

CROCODILE ROCK – Elton John
(John/Taupin)
https://www.youtube.com/watch?v=QS-YZlJLCbM (Capo 0)
TIP: The intro looks strange but it very simple. To go from (Gadd) to (G-) just lift
off the bottom two strings. To play the (EmF) just add your pinky to the bottom
string/2nd fret. "<Roll>" after the (C) chord means roll your index finger down to cover
the bottom string/first 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.
; ; ;
INTRO: g – c – a Gadd, Gadd - G- Gadd; Em, Em-EmF-Em; C, C <roll> C; D, D-D4-D
G Em
I remember when rock was young. Me and Suzie had so much fun,
C
Holding hands and skimmin' stones.
D G
Had an old gold Chevy and a place of my own but the biggest kick I ever got,
Em
Was doing a thing called the Crocodile Rock.
C
While the other kids were rockin’ round the clock,
D
We were hoppin' and boppin' to the Crocodile Rock well . . .
Em A
‘Dile Rockin', is something shockin' when your feet just can't keep still.
D7 G
I never knew me a better time and I guess I never will.
E A7
Oh lawdy mama, those Friday nights, when Suzie wore her dresses tight and,
D7 C
The 'Dile Rockin' was ou-ow-out of si-i-i-i-ight.
G Em C D D D D D
La, la-la-la-la la, la-la-la-la la, la-la-la-la la
G
But the years went by and the rock just died.
Em
Suzie went and left us for some foreign guy.
C D
Long nights cryin’ by the record machine, dreamin’ of my Chevy and my old blue jeans.
G Em
But they'll never kill the thrills we got, burnin’ up to the Crocodile Rock.
C
Learning fast as the weeks went past.
D
We really thought the Crocodile Rock would last well . . .
Em A
D7 G
E A7
D7 C
G Em C D D D D D
G Em
I remember when rock was young. Me and Suzie had so much fun,
C
Holding hands and skimmin' stones.
D G
Had an old gold Chevy and a place of my own but the biggest kick I ever got,
Em
Was doing a thing called the Crocodile Rock.
C
While the other kids were rockin’ round the clock,
D
We were hoppin' and boppin' to the Crocodile Rock well . . .
Em A
D7 G
E A7
D7 C
G Em C D D D D D
G Em C D D D D D
G Em C D D D D D
<slowly> |C|-|D|-|G|
CRUSH WITH EYELINER - R.E.M.
(Berry, Buck, Mills, Stipe)
https://www.youtube.com/watch?v=ycvJHQUqU1M (Capo 0)
TIP: Turn up the tremelo on your acoustic . . . oh, wait, this song was never meant to
be played acoustically. You'll have to imagine/pretend the chords are power chords,
striking them as such.
INTRO: A . . . A G D, A G D
A G D A G D A G D
I, know, you. I know you've seen her. She's a sad tomato.
A G D A G D A G D
She's, three miles of bad road. Walking down the street. Will I never, meet her?
A G D A G D
She's a real woman child. Oh my kiss-breath turpentine.
E D G A E D G D
I, am, smitten. I'm the real thing (I'm the real thing).
E D G A |G|
Have you seen her come around? My crush with eyeliner.
A G D A G D A G D
I'm, in, like. I'm infatuated. It's all too much, pressure.
A G D A G E
She's all that I can take. What position should I wear?
A G D A G D
Cop an attitude? Fake her. How can I convince her? Fake her.
A G D
That I'm invented too. Yeah.
E D G A E D G D
E D G A G
We all invent ourselves and uh you know me.
Bm A, Bm A, D, E, G |G|
G-A G D A G D
She's a sad tomato. She's, three miles of bad road.
A G D A G D A
She's her own invention (she's her own invention). That gets me in the throat.
G D A G D A
What can I make myself be? Life is strange yeah life is strange.
G D G D
What can I make myself be fake her. To make her mine?
E D G A E D G D
I, am, smitten. I'll do anything (I’ll do anything).
E G A |G|
A kiss breath turpentine. My crush with eyeliner.
E D G A E D G D
I, am, smitten. You know me (yeah you know me).
E G A |G|
I could be your Frankenstein. My crush with eyeliner.
E D G A E D G D
E D G A |G|
Won’t you be my Valentine? My crush with eyeliner.
E D G A, E D G, E D G A, |G| . . . |E|

CRY, CRY, CRY –– Highway 101
(Sherrill/Devaney)
https://www.youtube.com/watch?v=f_nxAcl5zKo (Capo 0)
INTRO: G C-G, D D A A D
G D
It's just a little creek now but when the rain comes down, it's gonna be a raging river.
A
I just heard my baby, say goodbye.
D G D
He left me here holding back my tears, nowww he's gonnne forever.
A D G-D
The dam's gonna break and I'm a gonna cry cry, cry.
G D
I'm a gonna cry and I don't care who sees. I wonder if he knows what he's done to me.
G D A D
Gonna love that boy till the day I die til the day I do I'm gonna cry cry, cry.
G G, D C A D
G D
Now he's gone, the pain's comin' on I can feel my whole body shakin'.
A
Lookie here, now what's this, in my eyes?
D G D
All I hear ringing in my ear is the sound of my heart breaking.
A D G-D
The dam's gonna break and I'm a gonna cry cry, cry.
G D
G D A D
G D
G D A D
A D
Til the day I do I'm gonna cry cry, cry.
CRYING
Roy Orbison
https://www.youtube.com/watch?v=HYdx9NiOaYE (Capo 0)
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. Also, the studio version
is a bit faster paced and sterile than how he did it live for Black and White Night.
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. Then to play the (Bm) just move your pinky
down one fret.
TIP: (Daug) comes after the (D) so just add your pinky above your ring finger on the
same fret.
INTRO: D/A
Bm D/A Bm D/A Bm F#m D

I was all right, for a while, I could smile for a while.
Daug G Gm Emsus4
But I saw you last night you held my hand so tight as you stopped, to say hello- oh.
D D6 A7
Oh you wished me well you, you couldn't tell,
D F#m D F#m
That I've been cryyying, over you, cryyying, over you.
G A Gadd A7
Then you, said so long. Left me standing, all alone.
D Daug G Bm A D
Alone and crying, crying, crying, cryyying it's hard to unnn - derstand,
A A7 D
But the touch, of your hand, can start me crying.
D/A Bm D/A Bm D/A Bm F#m D

I thought that I, was over you, but it's tru- ue so true.
Daug G Bm Emsus4
I love you even more than I did before, but darling what can I do?
D A7 A D F#m D F#m
For you don't, love me, and I'll always be, cryyying, over you, cryying, over you.
G A Gadd A7 D Daug G Bm A
Yes, now you're gone, and from this moment on, I'll be crying, crying, crying, cryyyying.
D F#m Bm Gm A D G D G D D D D
I'm cryyyying, cryyyyying, o----o---ver you.
CUPID
Sam Cooke
https://www.youtube.com/watch?v=S28tILqie1o (Capo 0)
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.
INTRO: Em Em C D G
Em G C
Cupid draw back your bow, and let your arrow go.
G D7 G D7
Straight to, my lover's heart, for me, for me.
G Em G C G
Cupid please hear my cry, and let your arrow fly,
D7 C G
Straight to my lover's heart for me.
D7
Now. I don't mean to bother you but I'm in distress.
G
There's danger of me losin' all of my happiness.
C D7 G
For I love a girl who doesn't know I exist. And this you can fix. So.
Em G C G
Cupid draw back your bow-ow and let your arrow go.
D7 G D7
Straight to, my lover's heart, for me, nobody but me.
G Em G C G
Cupid please hear my cry-y, and let your arrow fly,
D7 C G
Straight to, my lover's heart, for me.
D7
Now. Cupid if your arrow make a love strong for me,
G
I promise I will love her until eternity.
C D7 G
I know between the two of us her heart we can steal. Help me if you will. So.
Em G C G
Cupid draw back your bow-ow and let your arrow go.
D7 G D7
Straight to, my lover's heart, for me, nobody but me.
G Em G C G
Cupid please hear my cry-y, and let your arrow fly,
D7 C G
Straight to, my lover's heart, for me.
Em G Em G Em
Now. Cupid. Don't you hear me. Callin' you. I need you. Cupid. Help me.
G Em G |Em|
I need you. Cupid. Don't fail me.
(Sam Cooke) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
THE DANCE – Garth Brooks
(Arata)
https://www.youtube.com/watch?v=lhyijN4ftko (Capo 0)
INTRO: |G|-|G|-|G|-|G|, |G|-|C|; |G|-|G|-|G|-|G|, |G|-|C|; |G|-|G|-|G|, |D|-|C|-|G|
G C D C G D
Looking back, on the memory of, the dance we shared, beneath the stars above.
G C D Em D
For a moment, all the world was right. How could I have known, you'd ever say goodbye?
C D Bm C D
And now, I'm glad I didn't know, the way it all would end, the way it all would go-oo.
C D
Our lives, are better left to chance.
Bm C D G
I could have missed the pain, but I'd of had to miss, the dance.
C D C G D
Holding you I held everything. For a moment, wasn't I the king?
G C D
But if I'd only known, how the king would fall, hey who's to say,
Em D
You know I might have changed it all.
C D Bm C D
And now, I'm glad I didn't know, the way it all would end, the way it all would go-oo.
C D
Our lives, are better left to chance.
Bm C D G C-G
I could have missed the pain, but I'd of had to miss, the dance.
C D
Yes my life, is better left to chance.
Bm C D |G|
I could have missed the pain, but I'd of had to miss, the . . . dance.
Em C D Em; Em C D Em; Em C D Em
(Garth Brooks) (Artist Index) - (Main Index) - (Song Index) (This Song)
DANCING IN THE DARK
Bruce Springsteen
https://www.youtube.com/watch?v=cibZydv3XLM (Capo 4)
TIP: As with most Springsteen songs the vocal pauses and run-on sentences are prevelant.
I've done the best I can with parsing them out but you just have to go with the flow of
the song.
INTRO: G Em G Em G, G Em G Em G
Em G Em G
I get up in the evenin'. And I ain't got nothin' to say.
Em G Em C
I come home in the mornin'. I go to bed, feelin' the same way.
Am C Am G
I ain't nothin' but tired. Man I'm just tired and bored with myself.
Em G Em D
Hey there baby, I could use just a little help you can't start a fire.
Em C
You can't start a fire with out a spark.
Am C Am G G Em G Em
This gun’s for hire, even if we're just dancin' in the dark.
G Em G Em G
Messages keeps gettin' clearer. Radio's on and I'm movin' 'round my place.
Em G Em C
I check my look in the mirror. Wanna change my clothes my hair my face.
Am C Am G
Man I ain't gettin' nowhere. I'm just livin' in a dump like this.
Em G
There's somethin' happenin' somewhere.
Em D
Baby I just know that there is you can't start a fire.
C Am
You can't start a fire without a spark.
Am C Am G
This gun's for hire, even if we're just dancin' in the dark.
G Em G Em G, G Em G Em
G C D Em
You sit around gettin' older. There's a joke here somewhere and it's on me.
G C D
I'll shake this world off my shoulders. Come on baby this laugh's on me.
G Em G Em G
Stay on the streets of this town, and they'll be carvin' you up alright.
Em G Em C
They say you gotta stay hungry. Hey baby, I'm just about starvin' tonight.
Am C Am G
I'm dyin' for some action. I'm sick of sittin' 'round here tryin' to write this book.
Em G Em D
I need a love reaction. Come on now baby gimme just one look you can't start a fire.
C
Sittin' 'round crying over a broken heart.
Am C Am D
This gun's for hire, even if we're just dancin' in the dark you can't start a fire.
C
Worryin' about your little world fallin' apart.
Am C Am G G Em
This gun's for hire, even if we're just dancin' in the dark.
G Em G G Em
Even if we're just dancin' in the dark.
G Em G G Em
G Em G G Em G Em G
Em G Em G Em, G Em G Em, G Em G Em, G Em G Em, G Em G Em |G|
Hey baby.
DANIEL – Elton John
(John/Taupin)
https://www.youtube.com/watch?v=UA78e27R_J4 (Capo 0)
INTRO: C F G F C
Dm
Daniel is traveling tonight on a plane.
G E7 Am G F
I can see the red tail lights headin' for Spa-ain oh and,
G Am
I can see Daniel wavin’ goodbye.
F G7 F C C G
God it looks like Daniel, must be the clouds in my eyes.
C Dm
They say-Spain-is-pretty, though I've never been.
G E7 Am G F
Well Daniel says-it's-the-best place, that he's ever seen oh and,
G Am F G7 F C
He should know he's been there enough. Lord I miss Daniel, oh I miss him so much.
F C F
Ohhhh, Daniel my brother, you are, older than me do you still feel the pain,
C Am F
Of the scars that won't heal your eyes have died, but you see more than I.
Fm C A7 Dm G7
Daniel you're a star, in the face of the sky.
C C Dm, Dm E7 Am, Am-G-F G Am, Am G F F G, G F-C-G-C
F C F
Ohhhh, Daniel my brother, you are, older than me do you still feel the pain,
C Am F
Of the scars that won't heal your eyes have died, but you see more than I.
Fm C A7 Dm G7
Daniel you're a star, in the face of the sky.
Dm
Daniel is traveling tonight on a plane.
G E7 Am G F
I can see the red tail lights headin' for Spa-ain oh and,
G Am
I can see Daniel wavin’ goodbye.
F G7 F C
God it looks like Daniel, must be the clouds in my eyes.
F G7 F C C F G F C
Oh God it looks like Daniel, must be the clouds in my eyes.
DANNY BOY – Traditional
(Weatherly)
(NC) G C
Oh Danny boy, the pipes, the pipes are calling.
G A7 D7
From glen to glen, and down the mountain side.
G G7 C
The summer's gone, and all the roses dying.
G Am D G
'Tis you 'tis you, must go and I must bide.
D C D7 G D C G
But come ye back, when summer's, in the meadow.
D C D7 G D C G A D
Or when the valley's hushed, and white with snow.
G C G
And I'll be here in sunshine or in shadow.
G Am D G
Oh Danny boy, oh Danny boy, I love you so.
C
But if you come, when all the roses dying.
G A7 D7
And I am dead, as dead I well may be.
G C
You'll come and find, the place where I am lying.
G Am D G C G
And kneel and say, an "Ave" there for me.
D C D7 G D C G
And I shall
feel, tho' soft you tread above me.
D C D7
G D C G A D
And then my
grave, will richer, sweeter be.
G C G
For you will bend and tell me that you love me.
Am C G
And I shall rest in peace until you come, to, me.
C D G
Oh Danny boy I love you so.

DARCY FARROW – John Denver
(Gillete/Campbell)
https://www.youtube.com/watch?v=Itfg1DDAFmo&ab (Capo 3)
TIP: Only strum the bottom three strings on the (F#m).
INTRO: D D G D, D F#m D A, D D G D, G A D D A D
G D
Where the Walker runs down through the Carson Valley plain,
F#m D A
There lived a maiden Darcy Farrow was her name.
D G D
The daughter of old Dundee and a fair one was she.
G A D A D
The sweetest flower, that bloomed o'er the range.
G D
Her voice was as sweet as the sugar candy.
F#m D A
Her touch, was as soft, as a bed of goose down.
D G D
Her eyes shone bright like the pretty lights.
G A D A D
That shine in the night out of Yerrington town.
G D
She was courted by young Vandamere.
F#m D A
A fine lad was he, as I am to hear.
D G D
He gave her silver rinnngs and lacy things.
G A D A D
She promised to wed before the snows came that year.
G D
But her pony did stumble and, she did fall.
F#m D A
Her dyin' touched the hearts of us one and all.
D G D
Young Vandy in his pain put a bullet through his brain.
G A D A D
We buried them together as the snows began to fall.
D D G D, D F#m D A, D D G D, G A D D A D
G D
They sing of Darcy Farrow where the Truckee runs through.
F#m D A
They sing of her beauty in Virginia City too.
D G A
At dusky sundown to her name they drink a round.
G A D A D
To young Vandy whose love was true.
D D, D G-A, D G-A, D G-A, |D|
DAY IS DONE - John Prine
(Prine/Nicholson)
https://www.youtube.com/watch?v=m6M9obMj0Sg (Capo 0)
INTRO: G D A D, G D A D
G D
Do you like me? Well I hope you do.
A D
Cause if you like me, then I think I'm gonna to have to like you too.
G D
We'll share our things, and have some fun,
A D
Then we'll say goodbye and go back home when the day is done.
G D
If you tell me, I'll tell you too.
A D
And we'll say the things, and do the things that lovers do.
G D
We'll keep it to ourselves, we won't hurt no one.
A D
Then we'll say goodbye and go back home when the day is done.
G D
We'll carve our names, on a tree.
A D
Then we'll burn it down, so no one in the world will see.
G D
And we'll make love, while we watch the flame.
A D
Then we'll walk away as if we never had no shame.
G D A D, G D A D
G D
Now we must hide, to be alone.
A D
And we can't say our sweet things on the telephone.
G D
If we can't stop, what we've begun.
A D
We should say goodbye and go back home when the day is done.
G D
Do you still like me? Well I hope you do.
A D
Cause if you still like me then I think I'm gonna have to still like you.
G D
We shared our things, and had some fun.
A D
Now we'll say goodbye and go back home when the day is done.
A D
Yeah we'll say goodbye and go back home while we still have one.
A D D D |D|
Let's say goodbye and go back home now the day is done.
DAYDREAM BELIEVER - The Monkees/Anne Murray
(Stewart)
https://www.youtube.com/watch?v=9_SMJ-Uwmkg The Monkees (Capo 0)
https://www.youtube.com/watch?v=71_P1EZ5cPs Anne Murray (Capo 3)
TIP: The chords in the little bridge between the verse and chorus are meant to be struck
once each.
INTRO: G D7, G D7
G Am Bm C
Oh I could hide, ‘neath the wings, of the bluebird as she sings.
G Em A7 D7
The six o’clock alarm, would never ring.
G Am Bm C
But it rings, and I rise, wipe the sleep out of my eyes.
G Em C D7 G |G|-|D|-|Em|-|Am|-|G|-|D|-|G|
My shavin’ razor’s cold and it stings.
C D Bm C D Em
Cheer up sleepy Jean. Oh what can it mean?
C G C G Em A7 D7
To a, daydream believer and a homecoming queen.
G Am Bm C
You once thought of me, as a white knight on a steed.
G Em A7 D7
Now you know how happy, I can be.
G Am Bm C
Oh and our good times starts and end, without dollar one to spend.
G Em C D7 G |G|-|D|-|Em|-|Am|-|G|-|D|-|G|
But how much baby do we really need?
C D Bm C D Em
C G C G Em A7 D7
C D Bm C D Em
C G C G Em A7 D7
G D, G D
C D Bm C D Em
C G C G Em A7 D7
C D Bm C D Em
C G C G Em A7 D7 |G|
(The Monkees)(Anne Murray) (Artist Index) - (Main Index) - (Song Index) (This Song)
DEAD MAN’S CURVE – Jan and Dean
(Kornfeld/Wilson/Berry/Christian)
https://www.youtube.com/watch?v=yrCuMPeSu9s (Capo 4)
TIP: For the line "Won't come back from Dead Man's Curve" it will start with an (A).
Play that (A) with your bottom three fingers as it will make it easier to then just slide
up one fret and drop your index finger down to complete the (Bb).
TIP: The spoken part towards the end has one strum before each line, indicated by a
chord in brackets |Bb| |Gm| |D/A3| |F4| before each line.
INTRO: D
I was cruisin’ in my Stingray late one night,

G
When an XKE pulled up on the right,
D/A
And rolled down the window of his shiny new Jag,
A
And challenged me then and there to a drag.
D/A
I said-“You’re-on-buddy my mill’s runnin’ fine.
G
Let’s come off the line now at Sunset and Vine.
D/A
But I’ll throw you one better if you’ve got the nerve,
Em A
Let’s race all the way, to Dead Man’s...
D Bm
Dead Man’s Curve it’s no place to play. Dead Man’s Curve you best keep away.
G A Bb G A A-A7-F#m-A
Dead Man’s Curve I can hear 'em say: “Won’t come back from Dead Man’s Curve.”
D/A
The street was deserted late Friday night.
G
We were buggin’ each other while we sat out the light.
D/A
We both popped the clutch when the light turned green.
A
You should of heard the whine from my screamin’ machine.
D/A
I flew past LaBrea Schwab’s and Crescent Heights,
G
And all the Jag could see were my six tail lights.
D/A
He passed me at Doheny then I started to swerve,
Em A
But I pulled her out and there we were, at Dead Man’s . . .
D F
Dead Man’s Curve, it’s no place to play. Dead Man’s Curve . . .
<Spoken>:
|Bb|
Well the last thing I remember Doc I started to swerve.
|Gm|
And then I saw the Jag slide into the curve.
|D/A3|
I know I’ll never forget that horrible sight.
|F4|
I guess I found out for myself that everyone was right.
A Bb G A A–A7-F#m-A
Won’t come back from Dead Man’s Curve.
D Bm
G A Bb G A A-A7-F#m-A
D Bm
G A Bb G A
A-A7-F#m-A, D
(Jan and Dean) (Artist Index) - (Main Index) - (Song Index) (This Song)
DEAD PUPPIES - Ogden Edsl
(Frenzer/Thieman)
https://www.youtube.com/watch?v=Ak0_fa1DDpc (Capo 0)
TIP: My profound apologies to anyone who finds this offensive. I know all too well the
pain and heartache involved whenever we lose a four-legged family member. This is a
novelty song, nothing more.
TIP: Roman Hruska was a conservative senator from Nebraska.
INTRO: <briefly> C
G Am E F C G C
Dead puppies, dead puppies, dead puppies aren't much fun.
G Am E
They don't come when you call, they don't chase squirrels at all.
F C G C G
Dead puppies aren't much fun.
C G Am E
My puppy died late last fall, he's still rotting in the hall.
F C G C G
Dead puppies aren't much fun. No no no.
C G Am E
Mom says puppy's days are through, she's going to throw him in the stew.
F C G C G
Dead puppies aren't much fuuu-unnn.
C G Am E
Dead puppies. Dead dead dead dead puppies.
F C G C G
Dead puppies aren't much fun. Come on everybody out there sing along okay?
C G Am E
Dead, dead-dead-dead puppies. Dead-dead-dead dead, dead-dead-dead puppies.
F C G C
Dead puppies aren't much fun. One more time for Roman Hruska.
G Am E
Dead, dead-dead-dead-dead-dead dead-dead-dead-dead-dead-dead-dead dead puppies.
F C G F C
Dead puppies aren't much fuu-uu-u-un.
(Ogden Edsl) (Artist Index) - (Main Index) - (Song Index) (This Song)
DEAD SKUNK
Loudon Wainwright III
https://www.youtube.com/watch?v=Uu5hzc2Mei4 (Capo 0)
TIP: This song is nothing but a repeating sequence of (G)(D)(C)(G). At the end there's
the spoken part but if you hit the chords where indicated you'll stay on track. Super
easy to play. Fun too!
INTRO: G D C G, G D C G
D
Crossin' the highway late last night.
C G
He shoulda looked left and he shoulda looked right.
D C G
He didn't see the station wagon car. The skunk got squashed and there you are.
D
You got yer dead skunk in the middle of the road.
C G
Dead skunk in the middle of the road.
D C G G D C G
Dead skunk in the middle of the road stinkin' to high heaven.
D C G
Take a whiff on me that ain't no rose. Roll up yer window and hold yer nose.
D
You don't have to look and you don't have to see
C G
'Cause you can feel it in your olfactory.
D
You got yer dead skunk in the middle of the road.
C G
Dead skunk in the middle of the road.
D C G
Dead skunk in the middle of the road and it’s stinkin' to high heaven.
G D C G, G D C G
D
Yeah you got yer dead cat and you got yer dead dog.
C G
On a moonlight night you got yer dead toad frog.
D
You got yer dead rabbit and yer dead raccoon.
C G
The blood and the guts they're gonna make you swoon you got yer,
D C G
Dead skunk, in the middle, dead skunk in the middle of the road.
D C G
Dead skunk in the middle of the road, stinkin' to high heaven. Come on stink.
G D C G, G D C G
D C G
You got it it's dead. It's in the middle. Dead skunk in the middle.
D C G D D
Dead skunk in the middle of the road stinkin' to high heaven.
C G G D C G, G D C
All over the road. Technicolor man.
G D
Oh you got pollution, it's dead, it's in the middle,
C G G D C G, G D C G, G D C G
And it's stinkin' to high high heaven.
(Loudon Wainwright III) (Kid Friendly) (Artist Index)

DEEPER THAN THE HOLLER - Randy Travis
(Schlitz/Overstreet)
https://www.youtube.com/watch?v=hCgSbb_hJA0 (Capo 3)
TIP: The (Bm) will always follow a (D) so you can just cover the 3rd string/4th fret with
your pinky if need be.
INTRO: a – b – d – D G D G D G D G
D G D G
Well I've heard those city singers singin’ 'bout how they can love.
D G D G
Deeper than the oceans higher than the stars above.
D G D G
Well I come from the country and I know I-ain't seen it all.
D G D G
But I heard that ocean's salty and the stars they sometimes fall.
Em F#m
And that would not do justice to the way I feel for you.
G D Em A A |A|
So I had to sing a song about all the things I knew.
NC D G D G
My love is deeper than the holler, stronger than the river,
D Em G A
Higher than the pine trees growin' tall upon the hill.
D G D Bm
My love is purer than the snowflakes, that fall in late December.
Em D G
And honest as a robin on a springtime window sill.
Em A D Bm Em A
And longer than the song of a whippoorwill-ill.
D G D G
From the back roads to the Broadway shows with a million miles between.
D G D G
There's at least a million love songs, that people love to sing.
Em F#m
And every one is different, and every one's the same.
G D Em A A |A|
And this is just another way, of sayin’ the same thing.
NC D G D G
D Em G A
D G D Bm
Em D G
Em A D Bm Em A D Bm Em |A|
NC D G D G
D Em G A
D G D Bm
Em D G
Em A D Bm Em A
D Bm Em |Bm| |A| |D|
A whippoorwill-ill.
DÉJÀ VU (ALL OVER AGAIN)
John Fogerty
https://www.youtube.com/watch?v=OZr07AYWLSo (Capo 2)
TIP: A pretty song musically that's easy to play. Get the strumming cadence down and
follow it throughout the song.
INTRO: Em G Em G
C G Em
Did you hear 'em talkin' 'bout it, on the radio?
C G Em
Did you try to read the writing, on the wall?
C G Em
Did that voice inside you say, “I've heard it all before?”
C D G |G| x 8
It's like Deja Vu all over again.
D G
Day by day, I hear the voices rising.
C G D
Started with a whisper, like it did before.
G D Em
Day by day, we count the dead and dying.
C D
Ship the bodies home, while the networks all keep score.
C G Em
C G Em
Could your eyes believe writing, on the wall?
C G Em
Did that voice inside you say, “I've heard it all before?”
C D G
It's like Deja Vu all over again.
C G D, C G Em, C G Em D G
D G
One by one, I see the old ghosts rising.
C G D
Stumblin' 'cross Big Muddy, where the light gets dim.
G D Em
Day after day, another Momma's crying.
C D
She's lost her precious child, to a war that has no end.
C G Em
C G Em
Did you stop to read the writing, on the wall?
C G Em
Did that voice inside you say, “I've seen this all before?”
C D G C D G
It's like Deja Vu all over again. It's like Deja Vu all over again.
G Em G, Em G, Em G Em G Em G |G|
Ah huh, ah huh,
DESPERADO – Eagles/Linda Ronstadt
(Henley/Frey)
https://www.youtube.com/watch?v=3-bwXhts8Zg Eagles (Capo 0)
https://www.youtube.com/watch?v=yUg10CPelvo Linda (Capo 4)
TIP: Don and Linda sing in a different key so note the different capo settings, and
their versions differ a bit but are pretty close in cadence and delivery. This is based
on the Eagles version.
INTRO: G G7, C A7, G Em, A7 D7
(NC) G G7 C A7
Desperado, why don't you come to your senses?
G Em A D7
You been out ridin' fences, for so long now.
G G7 C A7
Oh you're a hard one. I know that you got your reasons.
G Em A7 D7 G D
These things that are pleasin' you, can hurt you somehow.
Em Bm C G
Don't you draw the queen of diamonds boy. She'll beat you if she's able.
Em C G D
You know the queen of hearts is always your best bet.
Em Bm C G
Now it seems to me some fine things have been laid upon your table.
Em A7 Am D7
But you only want the ones that you can't get.
G G7 C A7
Desperado, oh you ain't gettin' no younger.
G Em A D7
Your pain and your hunger, they're drivin' you home.
G G7 C A7
And freedom, oh freedom, well-that's-just some people talkin'.
G Em A7 D7 G D
Your prison is walking through this world all a lone.
Em Bm
Don't your feet get cold in the winter time?
C G
The sky won't snow and the sun won't shine.
Em C G D
It's hard to tell the night time from the day.
Em Bm
You're losin' all your highs and lows,
C G Am D7
Ain't it funny how the feeling goes away?
G G7 C A7
Desperado, why don't you come to your senses?
G Emsus4 A7 D7
Come down from your fences, open the gate.
G B7 C A7
It may be rainin', but there's a rainbow above you.
G Em C Am7
You better let somebody love you - let somebody love you
G Em
Better let somebody love you ...
Am D7 G G G7, C A7 . . . |G|
<slow down> Before it's too-ooh-ooh . . . late.
(Eagles) (Linda Ronstadt) (Artist Index) - (Main Index) - (Song Index) (This Song)
DIAMONDS AND RUST
Joan Baez
https://www.youtube.com/watch?v=IrVD0bP_ybg (Capo 1)
TIP: The one (Fmaj7) can be a little uncomfortable. Think (F) but without the bottom
string.
INTRO: Em
Well I'll be damned, here comes your ghost again. But that's not unusual.
D Em
It's just that the moon is full, and you happened to call.
C G
And here I sit, hand on the telephone. Hearing a voice I'd known,
D
A couple of light years ago,
Em
Heading straight for a fall.
C G
As I remember your eyes were bluer than robin's eggs. My poetry was lousy you said.
D Em
Where are you calling from? A booth in the midwest.
C G
Ten years ago I bought you some cufflinks. You brought me something.
D Em
We both know what memories can bring. They bring diamonds and rust,
C G
Well you burst on the scene already a legend. The unwashed phenomenon,
D Em
The original vagabond. You strayed into my arms.
C G
And there you stayed, temporarily lost at sea. The Madonna was yours for free.
D Em
Yes the girl on the half-shell, would keep you unharmed.
Bm Am
Now I see you standing with brown leaves falling around and snow in your hair.
Bm Am
Now you're smiling out the window of that crummy hotel over Washington Square.
C G
Our breath comes out white clouds mingles and hangs in the air.
Fmaj7 G B7
Speaking strictly for me we both could have died then and there.
Em . . .
C G
Now you're telling me, you're not nostalgic. Then give me another word for it.
D Em
You who are so good with words, and at keeping things vague.
C
Because I-need-some-of-that-vagueness-now-it's-all come back too clearly.
G D Em
Yes I loved you dearly, and if you're offering me diamonds and rust, I’ve already paid.
< repeat and fade or finish with an |Em| >
(Joan Baez) (Artist Index) - (Main Index) - (Song Index) (This Song)
DIFFERENT DRUM
Linda Ronstadt (with The Stone Poneys)
(Nesmith)
https://www.youtube.com/watch?v=w9qsDgA1q8Y (Capo 5)
TIP: Mike Nesmith of The Monkees fame wrote this and his own version is quite nice in a
totally different way with a country bent to it. It comes afterwards.
TIP: The (G)(Bm)(C)(D) progression moves right along. Note the (Bm) comes in the last
half of some syllables. If you just follow and feel the rhythm you won't have any
problems.
INTRO: G Bm C D, G Bm C D
G Bm C D G Bm
You and I travel to the beat of a different dru-um.
C D G Bm C D G Bm C D
Oh can't you tell by the way I run, everytime you make eyes at me-e. Whoa oh oh.
G Bm C D G Bm C D G Bm
You cry-y, and moan and say it will work ou-ut. But honey child I've got my doubts.
C D D
You can't see the forest for the trees.
C D
Oh don't get me wrong, it's not that I knock it it's just that I, am not in the market
C D G
For a boy who wants, to love, only me-hee.
C D G C
Yes and I ain't sayin', you ain't pretty, all I'm sayin', I'm not ready
A Am D
For any person, place or thing, to try and pull the reins, in on me.
G Bm C D G Bm
So-ohhhhh goodby-eye, I'll be leavin' I see no sense,
In this cryin' and grievin' we'll both live a lot longer if you live without me.
<harpsichord> G Bm C C D D
C D
Oh don't get me wrong, it's not that I knock it it's just that I, am not in the market
C D G
For a boy who wants, to love, only me-hee.
C D G C
Yes and I ain't sayin', you ain't pretty, all I'm sayin', I'm not ready
A Am D
For any person, place or thing, to try and pull the reins, in on me.
G Bm C D G Bm
So-ohhhhh goodby-eye, I'll be leavin' I see no sense,
In this cryin' and grievin' we'll both live a lot longer if you live without me.
G Bm C D, G Bm C D, |G|
DIFFERENT DRUM
Michael Nesmith
https://www.youtube.com/watch?v=jA5scf8RpCI (Capo 0)
INTRO: G C-D, G C-D, G C-D, G C-|D|
C D G
Well you and I, travel to the beat of a different drum.
C D G C D G D
Can't you tell by the way I run, everytime you make eyes at me.
G C D G
Yes you cry, and moan and say it will work out.
C D G C D G G
But honey chi-ild I've got my doubts. You can't see the forest for the trees.
C D
Now don't get me wrong it's not that I knock it,
G Am D G
It's just that I am not in the market for a girl who wants to love, only me.
C D G E7
And I'm not sayin' that you ain't pretty, all's I'm sayin' is I'm not ready
A Am D D7
For any person place or thing, to try and pull the reins, in on meeeeeeeeeeeeeeee-eee.
G C D G
Wellll I feel pretty sure that'll you'll, find a man who will take a lot more than I
C D G C D G C C-D
ever-could-or- can if you'll settle down with him and I know, that you'll be happy.
G C D G C D G
So goodbye, I'll be leavin' I see no sense in you cryin' and grievin' 'n we'll both live
C D G
a lot longer, if you live without me babe.
C D G Em Am D G G C D G E7 A A Am Am D D D D
G C D G
Wellll I feel pretty sure that'll you'll, find a man who will take a lot more than I
C D G C D G C C-D
ever-could-or- can if you'll settle down with him and I know, that you'll be happy.
G C D G C D G
So goodbye, I'll be leavin' I see no sense in you cryin' and grievin' 'n we'll both live
C D G
a lot longer, if you live without me babe.
C D G C D G |G|
If you live without me woman. If you live without me.
(Michael Nesmith) (Artist Index) - (Main Index) - (Song Index) (This Song)
D-I-V-O-R-C-E - Tammy Wynette
(Braddock/Putnam)
https://www.youtube.com/watch?v=7kVgb5aPhDQ (Capo 2)
TIP: The (C7) will follows (C) so just add your pinky to the 3rd string/3rd fret.
INTRO: C
F G C
Our little boy, is four years old, and quite a, little man.
D7 G7
So we spell out, the words we don't, want him to understand.
C C7 F G7 C
Like T O Y or maybe, S U R P R I S E.
F C G7 C
But the words, we're hiding from him now, tear the heart right out of me.
C7 F G7 C
Our D I V O E, R C
becomes final today.
D7 G7
Me and little J O E, will be goin' away.
C C7 F G7 C
I love you both-and-this-will-be-pure H-E double L for me.
F C G7 C
Oh I wish, that we could stop this D I V O R C E.
<key change>: Strum A
D G A D
Watch him smile, he thinks it Christmas, or his 5th, birthday.
E7 A7
And he thinks C U S T O D Y spells fun or play.
D D7 G A7 D
I spell out all, the hurtin' words and turn, my head when I speak.
G D A7 D
'Cause I, can't spell a way this hurt, that's drippin' down my cheek.
D7 G A7 D
Our D I V O E, R C
becomes final today.
E7 A7
Me and little J O E, will be goin' away.
D D7 G A7 D
I love you both-and-this-will-be-pure H-E double L for me.
G D A7 D
Oh I wish, that we could stop this D I V O R C E.
(Tammy Wynette) (Artist Index) - (Main Index) - (Song Index) (This Song)
DIXIE - Traditional
(Emmett)
TIP: The intro is "look away, look away, look away, Dixie Land."
INTRO: G G D G
C
Oh I wish I was in the land of cotton. Old times there are not forgotten.
G D G
Look away. Look away. Look away. Dixie Land.
G C
In Dixie Land where I was born in, early on a frosty mornin'.
G D7 D G
C A7 D7
Oh I wish I was in Dixie. Hooray. Hooray.
G C G D7
In Dixie Land I'll take my stand to live and die in Dixie.
G D7 G D7 G
Away, away. Away down south in Dixie.
C
Oh-old Missus will-ill marry Bill the weaver. William was a gay deceiver.
G D G
C
But when he put his arm around her, smiled as fierce as a forty pounder.
G D G
Look away, look away. Look away, Dixie land.
C A7 D7
G C G D7
G D7 G D7 G
C
There is buckwheat cakes and Injun batter, makes you fat or a little fatter.
G D G
Look away, look away, look away, Dixie land.
C
Then hoe it down and scratch your gravel, to Dixie's land I'm bound to travel.
G D G
Look away, look away. Look away, Dixie land.
C A7 D7
G C G D7
G D7 G D7 G
G D7 G D7 G

DOMINIQUE - Debbie Reynolds
(Deckers)
https://www.youtube.com/watch?v=Qkq0Ncf32cs (Capo 1)
INTRO: G–D7-G
C G D7
Dominique nique nique I will tell of Dominique. His goodness to acclaim.
G C
And I pray the song I sing, will some simple pleasure bring,
G D7 G
That the world shall know his name.
C G D7 G
I will tell of Dominique as I sing this little song.
A A7 D
And when I sing the chorus all the world will sing along.
G C G D7
Dominique nique nique it was good Saint Dominique. He lived for you and me.
G C G D7 G
From his labors long ago, came a better world I know, and his love shall always be.
C G D7 G
“Though I’m poor” said Dominique as he spoke unto the Lord:
A A7 D
“I will be your humble servent and your love is my reward.”
G C G D7
Dominique nique nique I will follow Dominique. His burdens will I share.
G C G D7 G
For his courage will I pray, his teachings to obey. His words shall be my prayer.
C G D7 G
By the kindness of his heart and the labor of his hand.
A A7 D
He brought love and understanding as he wandered through the land.
G C G D7
Dominique nique nique I will tell of Dominique. His goodness to acclaim.
G C
And I pray the song I sing, will some simple pleasure bring,
G D7 G
All the world shall know his name.
C G D7 G
Dominique the mighty warrior was a soldier of the Lord.
A A7 D
His armor was devotion and the Gospel was his sword.
G C G D7
Dominique nique nique it was good Saint Dominique. He lived for you and me.
G C G D7 G
From his labors long ago, came a better world I know, and his love shall always be.
C G D7 G
Through the blazing heat of summer and the chill of winter snow.
A A7 D
I will follow Dominique in his footsteps I will go.
G C G D7
Dominique nique nique I will follow Dominique. His burdens will I share.
G C G D7 G
For his courage will I pray, his teachings to obey. His words shall be my prayer.
(Debbie Reynolds) (Spiritual) (Artist Index) - (Main Index) - (Song Index) (This Song)
DON QUIXOTE
Gordon Lightfoot
https://www.youtube.com/watch?v=LJB0nCv0qxk (Capo 2)
INTRO: A A D A, A A E7 A; A A D A, A A E7 A
D A E A
Through the woodland through the valley comes a horseman wild and free.
D A E A
Tilting at the windmills passing who can the brave young horseman be?
D A E A
He is wild but he is mellow he is strong but he is weak.
D A E A A D A
He is cruel but he is gentle he is wise but he is meek.
E D A
Reaching for his saddlebag he takes a battered book into his hand.
E D A
Standing like a prophet bold he shouts across the ocean to the shore,
E
Til he can shout no more.
A D A E A
I have come o’er moor and mountain like the hawk up on the wing.
D A E A
I was once a shining knight who was the guardian of a king.
D A E A
I have searched the whole world over looking for a place to sleep.
D A E A
I have seen the strong survive and I have seen the lean grown weak.
A A D A, A A E7 A
A D A E A
See the children of the earth who wake to find the table bare.
D A E A A A E7 A
See the gentry in the country riding off to take the air.
E D A
Reaching for his saddlebag he takes a rusty sword into his hand.
E D A
Then striking up a knightly pose he shouts across the ocean to the shore,
E
Til he can shout no more.
D A E A
See the jailor with his key who locks away all trace of sin.
D A E A
See the judge up on the bench who tries the case as best he can.
D A E A
See the wise and wicked ones who feed upon life’s sacred fire.
D A E A
See the soldier with his gun who must be dead to be admired.
A A D A, A A E7 A
D A E A
See the man who tips the needle see the man who buys and sells.
D A E A
See the man who puts the collar on the ones who dare not tell.
D A E A
See the drunkard in the tavern stemming gold to make ends meet.
D A E A A E7 A
See the youth in ghetto black, condemned to life up on the street.
E D A
Reaching for his saddlebag he takes a tarnished cross into his hand.
E D A
Then standing like a preacher now he shouts across the ocean to the shore.
E D A
Then in a blaze of tangled hooves he gallops off across the dusty plain,
E D
In vain to search again, where no one will hear.
<pause>
A D A E A
Through the woodland through the valley comes a horseman wild and free.
D A E A
Tilting at the windmills passing who can the brave young horseman be?
D A E A
He is wild but he is mellow he is strong but he is weak.
D A E A
He is cruel but he is gentle he is wise but he is meek.
A A D A, A A E7 A; A A D A, A A E7 |A|
DON'T BE CRUEL - Elvis Presley
(Blackwell)
https://www.youtube.com/watch?v=ViMF510wqWA (Capo 0)
INTRO: D
You know I can be found, sitting home all alone.

G D
If you can't come around, at least please telephone.
Em A D
Don't be cruel, to a heart that's true.
Baby if I made you mad, for something I might have said,

G D
Please let's forget the past, the future looks bright ahead.
Em A D
G A G A D
I don't want no other love. Baby it's just you I'm, thinking of.
Hmmm. Don't stop thinking of me, don't make me feel this way.
G D
Come on over here and love me, you know what I want you to say.
Em A D
G A G A D
Why should we be apart? I really love you baby cross my heart.
Let's walk up to the preacher, and let us say I do.

G D
Then you'll know you'll have me, and I know that I'll have you.
Em A D
G A G A D
I don't want no other love. Baby it's just you I'm, thinking of.
Em A D Em A D
Don't be cruel, to a heart that's true. Don't be cruel, to a heart that's true.
G A G A |D|
I don't want no other love. Baby it's just you I'm thinking of.
DON’T LET ME DOWN - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=NCtzkaL2t_Y (Capo 2)
TIP: (NC) means no chord so sing a cappella while |D| in brackets means to strum gently
just once, sort of a place keeper, although you can skip it completely if you want to
sing a cappela until the (Em).
INTRO: D
(NC) Em D Em D
Don't let me down, don't let me down. Don’t let me down, don’t let me down.
(NC) |D| Em D
Nobody ever loved me like she does, oooh she does, yes she does.
(NC) |D| Em D
And if somebody loved me like she does. Oooh she do me, yes she does.
(NC) Em D Em D
(NC) D A
I'm in love for the first time. Don't you know it's gonna last?
A7 A A7 D G D
It's a love that lasts forever. It's a love that had no past.
(NC) Em D Em D
(NC) |D| Em D
And from the first time that she really done me, oooh she done me, she done me good.
Em D
I guess nobody ever really done me, oooh she done me, she done me good.
(NC) Em D Em D
Em D Em D
Yee-hee-ee. Yee-eee.
DON’T LET THE SUN CATCH YOU CRYING
Gerry and the Pacemakers
(Marsden)
https://www.youtube.com/watch?v=LKta_gRc2gA (Capo 1)
TIP: Don’t be spooked by the (maj7) chords, they’re easy to play. (Cmaj7) is just (C)
without the index finger. And (Fmaj7) will always follow the (Cmaj7) so all you do from
the (Cmaj7) is keep the finger placement just like it is but drop down one string-set and
add the index finger, kind of like you’re playing a (C). Easy!
TIP: (Dm7) is just (F) without the ring finger. You can play either one.
INTRO: Cmaj7 Fmaj7, Cmaj7 Fmaj7
Cmaj7 Fmaj7 Cmaj7 Fmaj7

Don't let the sun, catch you cryin'.
Cmaj7 Fmaj7 G G7
The night's the time, for all your tears.
Am Em Am Em
Your heart may be broken tonight. But tomorrow in the morning light.
Dm7 G7 Cmaj7 Fmaj7 Cmaj7 Fmaj7
Don't let the sun, catch you cryin'.

The night time shadows, disappear.
Cmaj7 Fmaj7 G G7
And with them go, all your tears.
Am Em Am Em
For the morning, will bring joy. For every, girl and boy.
Dm7 G7 Cmaj7 Fmaj7 Cmaj7 Fmaj7
So, don't let the sun, catch you cryin'.
G Am
We know that cryin's, not a bad thi-ing.
Dm G
But stop your cryin', when the birds sing.

It may be hard, to discover.
Cmaj7 Fmaj7 G G7
That you've been left, for anoth-oth-er.
Am Em Am Em
But don't forget that love's a game. And it can always, come again.
Dm7 G7 Cmaj7 Fmaj7
Oh, don't let the sun, catch you cryin'.
Cmaj7 Fmaj7 Cmaj7
Don't let the sun catch you cryin' oh no. Oh woe woe.
(Gerry and the Pacemakers) (Artist Index) (Oldies)(Main Index) - (Song Index) (This Song)
DON'T THINK TWICE IT'S ALRIGHT
Bob Dylan
https://www.youtube.com/watch?v=u-Y3KfJs6T0 (Capo 2)
[Because Dylan and Peter, Paul & Mary perform their respective versions in a different
key, with a different cadence, order of lyrics, etc, there are 3 versions -- one for each
and a third version that I prefer which sort of combines the two.]
TIP: The harmonica emulation is really kind of all over the place but just go with it.
INTRO: D A Bm, G A D
A Bm G D A
Well it ain't no use to sit and wonder why babe, if'n you don't know by now.
D A Bm E7 A7
And it ain't no use to sit and wonder why babe. It'll never do somehow.
D D7 G Bm
When your rooster, crows at the break, of dawn, look out your window and, I’ll be gone.
D Bm G D A D
You're the, reason I'm, traveling on. Don't think twice it's all right.
<harmonica> D A Bm, D G D
A Bm G D A
And it ain't no use in turnin' on your light babe. That light I, never knowed.
D A Bm E7 A
And it ain't no use in turnin' on your light babe. I'm on the dark side of the road.
D D7
But I wish there was somethin' you would, do or say,
G Bm D Bm G
To try and make me change my mind and stay. But we never did too much talkin' anyway.
D A D <harmonica> A Bm D G D
Don't think twice it's all right.
A Bm G D A
No it ain't no use in calling out my name gal, like you never done before.
D A Bm E7 Am
And it ain't no use in calling out my name gal. I can't hear you anymore.
D D7
I'm a thinking and a-wond'rin' walkin' down the road.
G Bm
I once loved a woman, a child I am told.
D Bm G D A D
I'd given my heart but she wanted my soul. But don't think twice it's all right.
<harmonica> D G D
A Bm G D A
So lon-ong honey babe. Where I'm bound, I can't tell.
D A Bm E7 A
Goodbye is too good a word babe. So I'll just say, fare thee well.
D D7 G Bm
I ain't a sayin' you treated me unkind. You could have done better but, I don't mind.
D Bm G D A D
You just kinda wasted my, precious time. Don't think twice it's all right.
D A Bm, D G, D D, A Bm D E7 A, D D7 G G E, D A D G D A D G-D
DON'T THINK TWICE IT'S ALRIGHT - Peter, Paul & Mary
(Dylan)
https://www.youtube.com/watch?v=Xu-DWUngjhk (Capo 3)
TIP: The intro is the chords from the first verse. From (C) just add your pinky to get
(C7).
INTRO: C G Am, F G; C G Am, D7 G7; C C7, F Am; C G Am F, C G C
G Am F G
It ain't no use to sit and wonder why babe, it don't matter anyhow.
C G Am D7 G7
And it ain't no use to sit and wonder why babe, if you don't know by now.
C C7 F Am
When your rooster, crows at the break of dawn, look out your window and, I'll be gone.
F Am F C G C G
You're the reason I'm, traveling on. Don't think twice it's all right.
C G Am F G
It ain't no use in turning on your light babe. That light I, never knowed.
C G Am D7 G7
It ain't no use in turning on your light babe. I'm on the dark side of the road.
C C7
Still I wish there was somethin' you would, do or say,
F Am
To try and make me change my, mind and stay,
C Am F C G C G
But we never did too much talking anyway, so don't think twice it's all right.
C G Am F G
I'm walkin' down that long lonesome road babe. Where I'm bound, I can't tell.
C G Am D7 G
But goodbye is too good a word gal, so I'll just say fare thee well.
C C7 F Am
I ain't saying you treated me unkind. You could have done better, but I don't mind.
C Am F C G C G
You just sorta wasted my precious time. But don't think twice it's all right.
C G Am F G
It ain't no use in calling out my name gal, like you never did before.
C G Am D7 G
It ain't no use in calling out my name gal. I can't hear you anymore.
C C7
I'm a thinking and a-wond'rin' all the way down the road.
F Am F
I once loved a woman, a child I'm told.
C Am F C G C G
I've given my heart but she wanted my soul. But don't think twice it's all right.
C G Am, F G C, |C|
(Peter, Paul and Mary) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
DON'T THINK TWICE IT'S ALRIGHT
Bob Dylan/Peter, Paul and Mary
(Dylan)
TIP: This sort of combines both Dylan and PPM's versions. It has PPM's opening but
Dylan's chords and lyrics. The intro is the chords from the first verse. (C7) is just
(C) with your pinky added to the 3rd string/3rd fret.
INTRO: C G Am, F G; C G Am, D7 G7; C C7, F Am; C G Am F, C G C
G Am F C G
It ain't no use to sit and wonder why babe, if’n you don't know by now.
C G Am D7 G7
And it ain't no use to sit and wonder why babe. It’ll never do somehow.
C C7 F Am
When your rooster, crows at the break of dawn, look out your window and, I'll be gone.
C G Am F C G C G
You're the reason I'm, traveling on. Don't think twice it's all right.
C G Am F C G
It ain't no use in turning on your light babe. That light I, never knowed.
C G Am D7 G7
It ain't no use in turning on your light babe. I'm on the dark side of the road.
C C7
Still I wish there was somethin' you would, do or say,
F Am
To try and make me change my, mind and stay,
C G Am F C G C G
But we never did too much talking anyway, so don't think twice it's all right.
C G Am F C G
I'm walkin' down that long lonesome road babe. Where I'm bound, I can't tell.
C G Am D7 G7
But goodbye is too good a word gal, so I'll just say fare thee well.
C C7 F Am
I ain't saying you treated me unkind. You could have done better, but I don't mind.
C G Am F C G C G
You just sorta wasted my precious time. But don't think twice it's all right.
C G Am F C G
It ain't no use in calling out my name gal, like you never did before.
C G Am D7 G7
It ain't no use in calling out my name gal. I can't hear you anymore.
C C7
I'm a thinking and a-wond'rin' all the way down the road.
F Am
I once loved a woman, a child I'm told.
C G Am F C G C G
I've given my heart but she wanted my soul. But don't think twice it's all right.
C G Am, F G C, |C|
(Bob Dylan) (Peter, Paul and Mary) (Artist Index) (Folk)

DON’T WORRY, BE HAPPY
Bobby McFerrin
https://www.youtube.com/watch?v=d-diB65scQU (Capo 4)
TIP: So Bobby is pretty tight with the asides (in parenthesis) falling in line with the
overdubs until the end where a few are on top of each other. But for the most part you
can sing both parts.
Fun Fact: Not only is there no guitar but there are no instruments at all. It’s
completely a capella and the only a capella song to reach #1 in the U.S. I read this on
the internet so it must be true.
INTRO: <whistle> G Am, Am, C G; G Am, Am, C G
Am
Here's a little song I wrote, you might want to sing it note for note,
C G
Don't worry, be happy.
Am
In every life we have some trouble, but when you worry you make it double,
C G
Don't worry, be happy. (Don't worry be happy now)
Am
Ooh ooh ooh ooh ooh ooh ooh ooh ooh who - ooh. (Don’t worry)
C G
Whooh ooh ooh ooh ooh who ooh. (Be happy) Ooh-ooh ooh-ooh ooh. (Don’t worry be happy)
Am
C G
Am
Ain't got no place to lay your head, somebody came and took your bed,
C G
Don't worry, be happy.
Am
The landlord say your rent is late, he may have to litigate.
C G
But don't worry, be happy. (Look at me I’m happy.)
Am
C G
Whooh ooh ooh ooh ooh who ooh. (Be happy) Ooh-ooh ooh-ooh ooh. (Don’t worry be happy,
Here I give you my phone number when you worry call me I make you happy.)
Am
C G
Whooh ooh ooh ooh ooh who ooh. (Be happy) Ooh-ooh ooh-ooh ooh.
Am
Ain't got no cash ain't got no style, ain't got no gal to make you smile,
C G
But don't worry, be happy.
Am
'Cause when you worry your face will frown, and that will bring everybody down,
C G
So don't worry, be happy. (Don't worry, be happy now.)
Am
C G
Am
C G
Am
C G
Whooh ooh ooh ooh ooh who ooh. (Be happy) Ooh-ooh ooh-ooh ooh.
(Put a smile on your face)
Am
C G
Whooh ooh ooh ooh ooh who ooh. (It will soon pass whatever it is) Ooh-ooh ooh-ooh ooh.
(Don’t worry be happy)
Am
Ooh ooh ooh ooh ooh ooh ooh ooh ooh who - ooh. (I’m not worried)
Am - C - |G|
Whooh ooh ooh ooh ooh who ooh. (I’m happy)
(Bobby McFerrin) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
DO RON RON – The Crystals
(Barry/Greenwich)
https://www.youtube.com/watch?v=L0dikX80Ed8 (Capo 1)
TIP: For the intro, begin with a strong downstroke aiming for strings 5-2. You don't
want to hit the top string so rest your thumb on it to mute it. Follow this with six
lighter alternating strokes, again avoiding the top string. Repeat this pattern four
times. The lyrics can be changed from “his” to “her” and “Bill” to “Jill”.
INTRO: D, D, D, D
G A D
I met him on a Monday and my heart stood still. Da doo ron ron ron, da doo ron ron.
G A D
Somebody told me that his name was Bill. Da doo ron ron ron, da doo ron ron.
G D A
Yes, my heart stood still. Yes, his name was Bill.
D G A D D D
And, when he walked me home. Da doo ron ron ron, da doo ron ron.
G A D
He knew what he was doin' when he caught my eye. Da doo ron ron ron, da doo ron ron.
G A D
He looked so quiet but my oh my. Da doo ron ron ron, da doo ron ron.
G D A
Yes, he caught my eye. Yes, but my oh my.
D G A D
And, when he walked me home, da doo ron ron ron, da doo ron ron.
D G A D G G A D
Doo ron ron ron, da doo ron ron. Doo ron ron ron, da doo ron ron.
G A D
He picked me up at seven and he looked so fine. Da doo ron ron ron, da doo ron ron.
G A D
Someday soon I'm gonna make him mine. Da doo ron ron ron, da doo ron ron.
G D A
Yes, he looked so fine. Yes, I'll make him mine.
D G A D
And, when he walked me home. Da doo ron ron ron da, doo ron ron.
G A D
Da doo ron ron ron, da doo ron ron. Da doo ron ron ron, da doo ron ron.
G A D
G A D
G A D
[Man, they don’t make lyrics like that anymore!]
(The Crystals) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
DO WAH DIDDY - Manfred Mann
(Barry/Greenwich)
https://www.youtube.com/watch?v=43vOAw2sAFU (Capo 4)
TIP: The intro chords echo the refrain "Do wah diddy . . ." Then, without chords (NC),
sing the opening line until you reach the first (C) in "Do wah".
TIP: The last two lines of each verse has single strums of |C|. These are not in the
recording which Paul sings a capella but it helps to play them for timing.
TIP The bridges are a bit tricky to get the vocals right. "Whoa" is sung as a four
syllable, sing-song kind of thing. 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.
INTRO: C F C
(NC) C F C
There she was, just a walkin' down the street singin' "Do wah diddy diddy dum diddy do."
F C F C
Snappin' her fingers and shufflin' her feet singin' "Do wah diddy diddy dum diddy do."
|C| |C|
She looked good, (looked good), she looked fine, (looked fine).
C
She looked good she looked fine and I nearly lost my mind.
F C F C
Before I knew it she was walkin' next to me singin' "Do wah diddy diddy dum diddy do."
F C F C
Holdin' my hand just as natural as can be singin' "Do wah diddy diddy dum diddy do."
|C| |C|
We walked on, (walked on), to my door, (my door).
C
We walked on to my door then we kissed a little more.
Am C
Whoa-oh ohh-ohh, I knew we was falling in lo-uh-uh-uh-ve.
F G G7
Yes I did-and-so-I-told-her-all-the-things-I'd-been dreamin' of.
C F C F C
Now we're together nearly every single day singin' "Do wah diddy diddy dum diddy do."
F C
A we're so happy and that's how we're gonna stay singin'
F C
"Do wah diddy diddy dum diddy do."
|C| |C|
Well I'm hers, (I'm hers), she's mine (she's mine).
C
I'm hers she's mine wedding bells are gonna chime.
Am C
F G G7
C F C F C
F C
F C
|C| |C|
C G
I'm hers she's mine wedding bells are gonna chime. Whoa ho-oh-oh, oh yeah.
C F C F C
Do wah diddy diddy dum diddy do. Do wah diddy diddy dum diddy do.
F |C|
Do wah diddy diddy dum diddy do.
(Manfred Mann) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
DO WAH DIDDY – Manfred Mann
(Barry/Greenwich)
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". For the (Gadd) play the
bottom two strings with ring finger on the 2nd string and pinky on the first.
TIP: The last two lines of each verse has single strums of |G|. These are not in the
recording which Paul sings a capella but it helps to play them for timing.
TIP The bridges are a bit tricky to get the vocals right. "Whoa" is sung as a four
syllable, sing-song kind of thing. 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.
INTRO: Gadd C Gadd
(NC) G C G
There she was, just a walkin' down the street singin' "Do wah diddy diddy dum diddy do."
C G C G
Snappin' her fingers and shufflin' her feet singin' "Do wah diddy diddy dum diddy do."
|G| |G|
She looked good, (looked good), she looked fine, (looked fine).
G
She looked good she looked fine and I nearly lost my mind.
C G C G
Before I knew it she was walkin' next to me singin' "Do wah diddy diddy dum diddy do."
C G C G
Holdin' my hand just as natural as can be singin' "Do wah diddy diddy dum diddy do."
|G| |G|
We walked on, (walked on), to my door, (my door).
G
We walked on to my door then we kissed a little more.
Em G
C D D7
G C G C G
C G
C G
|G| |G|
G
I'm hers she's mine wedding bells are gonna chime.
Em G
C D D7
G C G C G
C G
C G
|G| |G|
G D
I'm hers she's mine wedding bells are gonna chime. Whoa ho-oh-oh, oh yeah.
G C G C G
Do wah diddy diddy dum diddy do. Do wah diddy diddy dum diddy do.
C |G|
Do wah diddy diddy dum diddy do.
(Manfred Mann) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
DOWN AT THE TWIST AND SHOUT
Mary Chapin Carpenter
https://www.youtube.com/watch?v=KaRrVqBhfYg (Capo 2)
TIP: In the second and fourth verses, sing the words “Lafayette” and “rain” with an up-
inflection. At the end "trill" means to strum the bottom three strings back and forth
quickly.
INTRO: <drums> G-D G C G D G C G D G
C G
Saturday night and the moon is out I wanna head on over to the Twist and Shout.
D G
Find a two-step partner and a Cajun beat. When it lifts me up I'm gonna find my feet,
C G
Out in the middle of a big dance floor when I hear that fiddle wanna beg for more.
D G
Gonna dance to a band from a-Lou'sian' tonight.
D G
Well I never have wandered down to New Orleans. Never have drifted down a bayou stream.
D G
But I heard that music on the radio, and I swore some day I was gonna go.
Em A
Down Highway 10 past Lafayette, to Baton Rouge and I won't forget,
D D7 G
To send you a card with my regrets, cuz I'm never gonna come back home.
C G
D G
C G
D G G C G D G
D G
They got a alligator stew and a crawfish pie. A gulf storm blowin' into town tonight.
D G
Livin on the delta's quite a show. They got hurricane parties every time it blows.
Em A
And here up north it's a cold cold rain and there ain't no cure for my blues today,
D D7 G
Except when the paper says “Beausoleil is coming into town” baby let's go down.
C G
D G
C G
D G G C G D G
D
Bring your mama bring your papa bring your sister too.
G
They got lots of music and lots of room.
D G
When they play you a waltz from 1910 you gonna feel a little bit young again.
Em A
Well you learned to dance with your rock'n'roll. You learned to swing with a do-si-do.
D D7 G
But you learn to love at the fais-so-do when you hear a little Jolie Blon.
C G
D G
C G
D G G C G D G, C G D G
C G
D G
C G
D G
G C G D G, C G D G, C <trill> <pause> |G|
(Mary Chapin Carpenter) (Artist Index) - (Main Index) - (Song Index) (This Song)
DOWN IN THE RIVER TO PRAY - Alison Krauss
Traditional
https://www.youtube.com/watch?v=fztz_Vr9uHk (Capo 2)
NC D A D G
As I went down in the river to pray, studying about that good ol' way and
D A G D
Who shall wear, the starry crown good Lord show me the way.
A D G D
O sisters let's go down. Let's go down, come on down.
A D G D
O sisters let's go down. Down in the river to pray.
D A D G
D A G D
Who shall wear, the robe and crown good Lord show me the way.
A D G D
O brothers let's down. Let's go down, come on down.
A D G D
Come on brothers let's go down. Down in the river to pray.
D A D G
D A G D
A D G D
O fathers let's go down. Let's go down, come on down.
A D G D
O fathers let's go down. Down in the river to pray.
D A D G
D A G D
A D G D
Oh mothers let's go down. Come on down, don't you wanna go down.
A D G D
Come on mothers, let's go down. Down in the river to pray.
D A D G
D A G D
A D G D
Oh sinners let's go down. Let's go down, come on down.
A D G D
Oh sinners let's go down. Down in the river to pray.
D A D G
D A G D
(Traditional) (Spiritual) (Alison Krauss) (Artist Index)

DOWN IN THE RIVER TO PRAY - Alison Krauss
Traditional
NC G D G C
G D C G
D G C G
O sisters let's go down. Let's go down, come on down.
D G C G
O sisters let's go down. Down in the river to pray.
C G D G C
G D C G
D G C G
Oh brothers let's go down. Let's go down, come on down.
D G C G
Oh brothers let's go down. Down in the river to pray.
C G D G C
G D C G
D G C G
Oh fathers let's go down. Let's go down, come on down.
D G C G
Oh fathers let's go down. Down in the river to pray.
C G D G C
G D C G
D G C G
Oh mothers let's go down. Let's go down, come on down.
D G C G
Oh mothers let's go down. Down in the river to pray.
C G D G C
G D C G
D G C G
Oh sinners let's go down. Let's go down, come on down.
D G C G
Oh sinners let's go down. Down in the river to pray.
C G D G C
G D C G
(Traditional) (Spiritual) (Alison Krauss) (Artist Index)

DOWN IN THE VALLEY
Traditional
TIP: The intro is the chords in the last line of the verse.
INTRO: D D7, D7 G C G
D
Down in the valley, the valley so low.
D7 G C G
Hang your head over, hear the wind blow.
D
Hear the wind blow dear, hear the wind blow.
D7 G C G
D
Roses love sunshine, violets love dew.
D7 G C G
Angels in heaven, know I love you.
D
Know I love you, dear, know I love you.
D7 G C G
Angels in heaven, know I love you.
D
If you don't love me, love whom you please.
D7 G C G
Put your arms round me, give my heart ease.
G D
Give my heart ease love, give my heart ease.
D7 G C G
Put your arms round me, give my heart ease.
D
Write me a letter, send it by mail.
D7 G C G
Send it in care of, the Birmingham Jail.
D
The Birmingham Jail love, the Birmingham Jail.
D7 G C G
Send it in care of, the Birmingham Jail.
D
Build me a castle, forty feet high.
D7 G C G
So I can see her, as she rides by.
D
As she rides by love, as she rides by.
D7 G C G
So I can see her, as she rides by.
G D
Down in the valley, the valley so low.
D7 G C G C G

DOWN SOUTH
Tom Petty
https://www.youtube.com/watch?v=sQwvkeHGSH4 (Capo 0)
TIP: Tom will play the next chord in the sequence a half-second or so before singing the
lyric. You'll notice this immediately.
INTRO: D D D D
A D G D
Headed back down south. Gonna see my daddy's mistress.
G D Bm A Asus4 A
Gonna buy back her forgiveness. Pay off every witness.
D A D G D
One more time down south. Sell the family headstones.
G D Bm A Asus4 A
Drag a bag of dry bones. Make good on my back loans.
G D G D
So if I come to your door, let me sleep on your floor.
A D D D
I'll give you all I have and a little more.
A D G D
Sleep late down south. Look up my former mentors.
G D Bm A
Live off Yankee winters. Be a landlord and a renter.
D A D G D
Create myself down south. Impress all the women.
G D Bm A
Pretend I'm Samuel Clemens. Wear seersucker and white linens.
G D G D
A D D D
D-A-D, G D, G D Bm A A
D A D G D
Spanish moss down south. Find the heroes of my childhood.
G D Bm A
Who now can do me no good. Carve their names in dogwood.
D A D G D
Chase a ghost down south. Spirits cross the dead fields.
G D Bm A
Mosquitoes hit the windshield. All documents remain sealed.
G D G D
A D D D
A D D D D |D|
DO YOU LOVE ME – The Contours
(Gordy)
https://www.youtube.com/watch?v=3EoI-6lQFIE (Capo 3)
TIP: In the intro, the chords in brackets means strum just once at that position. And
rip into those (A7)s with some quick downstrokes. If they're not dancing in thirty
seconds you're not doing it right.
|D| |G|
INTRO: You broke my heart, 'cause I couldn't dance.
|A| |Bm|
You didn't even, want me around.
|A| |D|
And now I'm back, to let you know, I can really shake 'em down. <pause>
A7-A7-A7-A7-A7-A7 D G A
Do you love me? I can really move.
D G A D G A
Do you love me? I'm in the groove. Do you love me? Do you love me.
G Gm A A7 (NC)
Now, that I, can dance, dance, dance. Watch me now hey.
D G A D G A
Work work. Ah work it all baby. Work work. Well you're drivin' me crazy.
D G A D A7-A7-A7-A7-A7
Work work. With just a little bit of soul now. Work.
D G A D G A
I can mash potato. I can mash potato. I can do the twist. I can do the twist.
D G A D G A
Now tell me baby. Tell me baby, do you like it like this? Do you like it like this?
A7 A
Tell me. Tell me. Tell me.
D G A D G A
Do you love me? Do you love me? Now do you love me? Do you love me?
D G A
Now do you love me? Do you love me?
G Gm A A7 (NC)
Now, that I, can dance. Dance, dance. Watch me now hey.
D G A D G A
Work work. Ooahh, shake it up shake it. Work work. Ah shake 'em shake 'em down.
D G A D
Work work. Ah little bit of soul now. Work.
G A D G A
Work work. Ah get 'em little baby. Work work. Ah you're driving me crazy.
D G A D A
Work work. Ah don't get lazy. Work.
D G A D G A
I can mash potato. I can mash potato. And I can do the twist. I can do the twist.
D G A D
Well now tell me baby. Tell me baby, do you like it like this?
G A A7
Do you like it like this? Tell me. Tell me. Tell me.
D G A D G A
Do you love me? Do you love me? Now do you love me? Do you love me?
D G A
Now do you love me? Do you love me? Now, <softer> now, <even softer> now . . .
D G A D G A
Work work. Ah I'm working hard baby. Work work. Well you're driving me crazy.
D G A D A
Work work. And don't you get lazy. Work.
D G A D G A
Work work. Ah I'm working hard baby. Work work. Well you're driving me crazy.
D G A D A |D|
Work work. And don't you get lazy. Work.
(The Contours) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
DRAGGIN' THE LINE - Tommy James and the Shondells
(James)
https://www.youtube.com/watch?v=xLfO738Ok5Y (Capo 2)
TIP: The intro is all a variation on (E). The index finger doesn't come into play but
it starts the song so just leave it where it is. So, form (E). Now lift off the ring
finger (like you're playing an (E7) -- bear with me, it'll all make sense in just a
minute. Now pick the (covered) 5th string, then the open 4th string, now hammer down
your ring finger on the 4th string/2nd fret (like an (E)) and finish by picking 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. Play it 8 times and start the song at the
end of the 9th time, remembering 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.
INTRO: b – d – e, e x 6 <whole thing 9 times>
E
Makin' a livin' the old hard way. Takin' and givin' my day-by-day.
D
I dig snow and a rain and a bright sunshine.
E
Draggin' the line (draggin' the line) <beep beep>.
My dog Sam eats purple flowers. We ain't got much but what we-got's ours.
D
We dig snow and rain and the bright sunshine.
E
D E D E
I, feel, fine. I'm talkin' bout peace, of, mind.
D E D
I'm gonna take, my, time. I'm gettin' the good sign.
E
Loving the free and feelin' spirit. Huggin' a tree when you get near it.
D
Diggin' the snow and the rain and the bright sunshine.
E
D E D E
I, feel, fine. I'm talkin' bout peace, of, mind.
D E D
I'm gonna take, my, time. I'm gettin' the good sign.
E
P1: Draggin' the line (draggin' the line) <beep beep>.
Draggin' the line (draggin' the line) <beep beep> ...
<repeat and fade, or end on <beep beep>
P2: La la la la, la la la la, la la la la, la la la;
La la la la, la la la la, 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
https://www.youtube.com/watch?v=wVHAQX5sSaU (Capo 1)
TIP: Okay, so in the original Bobby recorded the third verse a semi-tone higher than the
previous ones which just makes everything unnecessarily messy and all those sharped
chords are not presented here. But, if you want to play it as originally recorded move
the capo up one fret. Or if you don't care to match the recording you can jump down to
the -------- and play the rest of the song up a full semi-tone. Or still, the simplest
option, you can simply ignore the [CAPO] and play the rest of the song just as you did
the first part, in [C] and stop before the key change.
INTRO: C Am, C Am
C Am C
Every night, I hope and pray, a dream lover, will come my way.
Am
A girl to hold, in my arms, and know the magic, of her charms.
C G7 C F
Because I want, a girl, to call, my own.
C Am Dm7 G7 C G
I want a, dream lover, so I don't have to dream alone.
C Am C
Dream lover, where are you? With a love, oh so true.
Am
And the hand, that I can hold, to feel you near, as I grow old.
C G7 C F
C Am Dm7 G7 C
F C D7
Someday I don't know how, I hope she'll hear my plea.
G7
Some way I don't know how, she'll bring her love to me.
C Am C
Dream lover, until then, I'll go to sleep and dream again.
Am
That's the only thing to do, til all my lover's dreams come true.
C G7 C F
C Am Dm7 G7 C
<Capo +1>
C Am C
Am
C G7 C F
C Am Dm7 G7 C Am
C Am C Am
Please don't make me dream alone. I beg you don't make me dream alone.
C Am |C|
No I don't want to dream alone.
------------
D Bm D
Bm
D A7 D G
D Bm Em7 A7 D Bm
I want a dream lover, so I don't have to dream alone.
D Bm D Bm
Please don't make me dream alone. I beg you don't make me dream alone.
D Bm |D|
No I don't want to dream alone.
(Bobby Darin) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
DRIVE - R.E.M.
https://www.youtube.com/watch?v=-UE7tXDKIus (Capo 0)
TIP: Play the (Gadd) with ring finger on the 2nd string and pinky on the bottom string.
INTRO: Dm . . .
G Dm
Smack, crack, bush, whacked. Tie another one to your racks, baby.
G Dm
Hey, kids, rock and roll. Nobody tells you where to go, baby.
F Am
What if I ride? What if you walk? What if you rock around the clock?
Gadd
Tick. Tock. Tick. Tock.
Em Dm
What if you did? What if you walk? What if you tried to get off, baby?
G Dm
Hey, kids, where are you? Nobody tells you what to do, baby.
G Dm
Hey, kids, shake a leg. Maybe you're crazy in the head, baby.
F Am
Maybe you did, maybe you walked. Maybe you rocked around the clock.
Gadd
Em Dm
Maybe I ride, maybe you walk. Maybe I try to get off, baby.
C G Dm Dm
Hey, kids, shake a leg. Maybe you're crazy in the head, baby.
C Dm Dm
Ollie. Ollie. Ollie ollie ollie, ollie ollie in come free, baby.
C G Dm
G Dm
Smack, crack, shack-a-lack. Tie another one to your back, baby.
G Dm
Hey, kids, rock and roll. Nobody tells you where to go, baby.
F Am
Maybe you did, maybe you walked. Maybe you rocked around the clock.
Gadd
Em Dm
Maybe I ride, maybe you walk. Maybe I try to get off, baby.
C Dm
Em Dm
Hey, kids, where are you? Nobody tells you what to go, baby.
Em Dm
Em Dm
Hey, kids, rock and roll. Nobody tells you what to go, baby.
C C |Dm|
Baby. Baby. Baby.

DROPKICK ME JESUS - Bobby Bare
(Craft)
https://www.youtube.com/watch?v=jsWg0bt9kp4 (Capo 0)
TIP: Apparently “tempestion” is the collective of “tempest”.
INTRO: C – C - C, G C-C-C, G
C G
Dropkick me Jesus through the goalposts of life.
C
End over end neither left nor the right.
F
Straight through the heart of them righteous uprights.
C G C
G
Make me oh make me Lord more than I am.
C
Make a piece in your master game plan.
F
Free from the earthly tempestion below.
C G C
I've got the will Lord if you've got the toe.
G
C
F
C G C
G
Bring on the brothers who've gone on before.
G7 G C
And all of the sisters who've knocked at your door.
F
All the departed dear loved ones of mine.
C G C
Stick 'em up front in the offensive line.
G
C
F
C G C
G
A lowly bench warmer I'm contented to be,
C
Until the time when you have need of me.
F
The flash on the big scoreboard that shines from on high
C G C
And the big Super Bowl way up in the sky.
G
C
F
C G C
G
Yeah dropkick me Jesus through the goalposts of life.
C
F
C G C G |C|
(Bobby Bare) (Artist Index) - (Main Index) - (Song Index) (This Song)
DRUNKEN SAILOR - Irish Rovers
(Traditional)
https://www.youtube.com/watch?v=qGyPuey-1Jw (Capo 0)
TIP: There are many versions of this old Irish sea shanty. The Rovers start with the
chorus a capella but I've put in a common intro which are the chords from the second
line. Some versions have "Hooray" instead of "Way hay" and notice "early" is spelled and
pronounced phonetically as "erleye".
TIP: The instrumental is a bit all over the place. Not sure exactly what instrument is
being played but just go with it.
INTRO: Em, G D Em
Em D
What will we do with a drunken sailor? What will we do with a drunken sailor?
Em G D Em
What will we do with a drunken sailor erleye in the morning.
D
Way hay and up she rises. Way hay and up she rises.
Em G D Em
Way hay and up she rises erleye in the morning.
D
Shave his belly with a rusty razor. Shave his belly with a rusty razor.
Em G D Em
Shave his belly with a rusty razor erleye in the morning.
D
Em G D Em
D
Well put him in a long boat till his sober. Put him in a long boat till his sober.
Em G D Em
Put him in a long boat till his sober erleye in the morning.
D
Em G D Em
Em Em D Em A D Em Em D Em A D, D D A D, D D A D, G
Em
Stick him in a scupper with a hosepipe on him.
D
Stick him in a scupper with a hosepipe on him.
Em G D Em
Stick him in a scupper with a hosepipe on him erleye in the morning.
D
Em G D Em
Put him in the bed with the captain's daughter.

D
Put him in the bed with the captain's daughter.
Em G D Em
Put him in the bed with the captain's daughter erleye in the morning.
D
Em G D Em
D
That's what we do with a drunken sailor. That's what we do with a drunken sailor.
Em G D Em
That's what we do with a drunken sailor erleye in the morning.
D
Em G D Em
D
Em G D Em
D D D A-D, D D D A-D, D D D A-D, D D D A-|D|
(The Irish Rovers) (Artist Index) (Traditional) (Folk)

DUKES OF HAZZARD THEME
Waylon Jennings
https://www.youtube.com/watch?v=qogVHlmFcx0 (Capo 3)
TIP: The television themes includes the next to last verse "...wouldn't change if they
could" while the version that appears on Waylon's studio albums does not. That verse is
included here in [brackets]. Skip it if you're playing along to the video.
TIP: While the instrumental bridge may have the same chords as the verse there's a
distinct strumming cadence that goes down-down, down-up-down-up; down-down, down-up-
down-up . . . repeat . . . with a double measure on the first (D) the (G) and the last
(D). Same thing with the outro.
INTRO: A . . . D
G
Just a’good ol' boys. Never meanin' no harm.
D A D
Beats all you never saw been in trouble with the law since the day they was born.
G
Straightnin' the curves, flattenin’ the hills.
D A D
Someday, the mountain, might get 'em but the law never will.
A
Makin' their way, the only way they know how.
D
That's just a little bit more than the law will allow.
D D G G D A D D, D D G G D A D D
A
Makin' their way, the only way they know how.
D
That's just a little bit more than the law will allow.
G
[Just a good ol' boys, wouldn't change if they could.
D A D
Fightin' the system like a two modern day Robin Hood.]
G
I'm a good ol' boy. You know my momma loves me.
D A D
But she don't understand they keep a showin my hands and not my face on T V.
DUST IN THE WIND – Kansas
(Livgren)
https://www.youtube.com/watch?v=tH2w6Oxx0kQ (Capo 0)
TIP: Don't be freaked by all the add-chords, the song is actually pretty easy to play.
TIP: Regarding the "dust in the wind" part. You begin the line with (Gadd) and then
there's a three-count (one strum each) where you lift off the (Gadd) and stab the 2nd
string/1st fret <c> on "in", then lift off completely (NC) for "the", and finish with an
(Am) on wind. Boom-boom-boom. Easy! When you don't see this pattern the voicing in the
lyric ends on an up-inflection. In the last line of the song "in the wind" ends deeply.
TIP: Finally, in the second part of the violin bridge, think like a violin bow as you
"saw" up the scale with rapid strums of the (Am)... ending at the top with the (CaddG),
and then "saw" down the scale with rapid strums of the (CaddG) ending the (G)(Am).
; ;
INTRO: C Cmaj7 CaddD C, Asus2 Asus Am Asus2
CaddD C Cmaj7 CaddD, Am Asus2 Asus Am
G C G Am G Dm Am
I close, my, eyes, only for a moment and the moment's gone.
G-C G Am G Dm Am
All, my, dreams, pass before my eyes a curiosity.
Gadd Cadd2 (NC) Am Gadd Cadd2 (NC) Am

Dust, in the wind. All they are is dust in the wind.
G-C G Am G Dm Am
Same, old, song. Just a drop of water in an endless sea.
G-C G Am G Dm Am
All, we, do, crumbles to the ground though we refuse to see.
Gadd Cadd2 (NC) Am Gadd Am G Dm G Am

Dust, in the wind. All we are is dust in the wi-in, i- ind. Oh... oh- oh.
<the violin part> Am G, F, G-Am, Am G, F, G-Am
Am . . . CaddG . . . G-Am, Am . . . CaddG . . . G-Am
G C G Am G Dm Am
Now don't, hang, ah-on. Nothing lasts forever but the earth and sky.
G C G Am G Dm Am
It slips, a, way. And all your money, won't another, minute buy-eye.
Gadd Cadd2 (NC) Am Gadd Am
Dust, in the wind. All they are is dust in the wind.
G Am G Am CaddD C Cmaj7 C
Dust, in the wind. Everything is dust in the wind.
CaddD C Cmaj7, CaddD C Cmaj7, CaddD C Cmaj7 . . .
<repeat and fade and/or end on> |CaddD|
(Kansas) (Artist Index) - (Main Index) - (Song Index) (This Song)

EARLY MORNING RAIN
Gordon Lightfoot
https://www.youtube.com/watch?v=NWamoeeAIHs (Capo 3)
[This is Gordo's version which he does in [D] and which I think is easier to play.
Afterward is Peter, Paul & Mary's version in [G] but has the (Bm). It also has some
minor lyric differences.]
TIP: The added (G) after the end of some words prior to the (A), e.g. "(G) heart (G)(A)"
is there to remind you to strum an extra measure of (G).
INTRO: D G A G, D G D
A G A7 D G D
In the early morning rain, with a dollar in my hand.
G G A A7 D G D
With an aching in my heart, and my pockets full of sand.
G G A A7 D G D
I'm a long way from home, Lord I miss my loved one so.
A G A7 D G D
In the early morning rain, with no place to go.
A G A7 D G D
Out on runway number nine, big seven oh seven set to go.
G G A A7 D G D
And I'm stuck here in the grass, where the pavement ever grows.
G G A A7 D G D
Now the liquor tasted good, and the women all look fast.
A G A7 D G A G D G D
Now there she goes my friend, she'll be rollin’ down at last.
A G D G D
Hear the mighty engines roar, see the silver wing on high.
G G A A7 D G D
She's away and westward bound, far above the clouds she'll fly.
G G A A7 D G D
Where the morning rain don't fall, and the sun always shines.
She'll be flying o'er my home, in about three hours time.
A G A7 D G D
This old airport's got me down, it's no earthly good to me.
G G A A7 D G D
And I'm stuck here on the ground, as cold and drunk as I can be.
G G A A7 D G D
You can't jump a jet plane, like you can a freight train.
A G A7 D G D
So I'd best be on my way, in the early morning rain.
G G A A7 D G D
(Gordon Lightfoot) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
EARLY MORNING RAIN – Peter, Paul & Mary
(Lightfoot)
https://www.youtube.com/watch?v=OaUS6hHATFg (Capo 3)
TIP: The added (Am) after the end of some words prior to the (D), e.g. "(Am) heart
(Am)(D)" is there to remind you to strum an extra measure of (Am).
INTRO: G G Bm Bm, Am D G C G
Bm Am D7 G C G
In the early morning rain, with a dollar in my hand.
Am Am D D7 G C G
And an aching in my heart, and my pockets full of sand.
Am Am D D7 G C G
I'm a long way from home, and I miss my loved one so.
Bm Am Am7 G C G
In the early morning rain, with no place to go.
Bm Am D7 G C G
Out on runway number nine, big seven oh seven set to go.
Am Am D D7 G C G
But I'm stuck here in the grass, where the pavement never grows.
Am Am D D7 G C G
Well the liquor tasted good, and the women all look fast.
Bm Am Am7 G C G
There she goes my friend, she's a rollin’ down at last.
Bm Am
Hear the mighty engines roar, (hear the mighty engine roar).
D7 G C G
See the silver wing on high, (see the silver wing on high).
Am Am D D7 G C G
She's away and westward bound, far above the clouds she'll fly.
Am Am D D7 G C G
Where the morning rain don't fall, and the sun always shines.
Bm Am Am7 G C G
She'll be flying o'er my home, in about three hours time.
Bm Am D7 G C G
This old airport's got me down, it's no earthly good to me.
Am Am D D7 G C G
Cuz I'm stuck here on the ground, cold and drunk as I might be.
Am Am D D7 G C G
Bm Am Am7 G C G
Am Am D D7 G C G
(Peter, Paul & Mary) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
EARTH ANGEL – The Penguins
(Williams/Belvin/Hodge)
https://www.youtube.com/watch?v=VJcGi4-n_Yw (Capo 1)
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.
TIP: The voicing in the second bridge is differently than the first. Follow the pacing
and chord changes as shown. The outro is a vocal climb from "wi-ith you-ou" with the
last three "you"s a vocal walk back down.
INTRO: G Em C D
G Em C D
Oh oh oh oh, wah-ah-ah oh-oh-oh oh.
G Em C D7
Earth angel, earth angel, will you be mine.
G Em C D7
My darling dear, love you all the time.
G Em C D G G-Em-Am-D
I'm just a fool, a fool in love with you.
G Em C D7
Earth angel, earth angel, the one I adore.
G Em C D7
Love you forever, and evermore.
G Em C D G G–C-G
I'm just a fool, a, fool in love with you.
C G D D7 G G7
I fell, for you, and I knew, the vision of your love, loveliness.
C D7 G Em
I hope, and I pray, that some day-ay.
A D
I'll be the vision, of your hap, happiness. Oh-oh-oh-oh, oh.
G Em C D7
Earth angel, earth angel, please be mine.
G Em C D7
G Em C D G G-C-G
I'm just a fool, a, fool in love with you.
C G D G
I, fell-for-you, and I knew, the vision of your loveliness.
C D7 G
I hope and pray, that some day.
Em D
That I'll be the vision of your happiness. Oh-oh-oh-oh-oh-oh.
G Em C D7
Earth angel, earth angel, please be mine.
G Em C D7
G Em C D Gadd G
I'm just a fool, a-fool in love wi–ith, you-ou. You, you, you.
(The Penguins) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
EDELWEISS
Christopher Plummer/Charmian Carr/Julie Andrews
(Rogers/Hammerstein)
https://www.youtube.com/watch?v=mMuTDdWXbNo (Capo 1)
TIP: There are two versions on the Sound of Music soundtrack. The duet with The Captain
(Plummer) and Lisle (Carr) has all the lyrics shown here. The duet with The Captain
(Plummer) and Maria (Andrews) skips the first line after "my homeland forever" and begins
again with "Small and white" but otherwise is identical.
TIP: In the intro the open 4th string is plucked after the chord. Remember to come off
the (C) to open the 4th string. After the (Gadd) the string is plucked twice and for the
latter three chords it's struck three times with just a brief hesitation after the first
two plucks.
TIP: There's a little OUTRO in which you're holding (G) from the end of the song. Still
holding (G), pluck the 5th string, 4th string, and then the bottom three strings
together.
INTRO: Gadd 4 – 4; D 4 - 4, 4; C <open> 4 – 4, 4; <muted> D 4 – 4, 4
G D7 G C G Em Am7 D7
Edelweiss, Edelweiss. Every morning you greet me.
G D7 G C G D7 G
Small and white, clean and bright, you look happy to meet me.
D D7 G C A7 D D7
Blossom of snow may you bloom and grow. Bloom and grow for e ver.
G D7 G C G D7 G C D
Edelweiss, Edelweiss. Bless my homeland forever.
G D7 G C G Em Am7 D7
Edelweiss, Edelweiss. Every morning you greet me.
G D7 G C G D7 G
Small and white, clean and bright, you look happy to meet me.
D D7 G C A7 D D7
Blossom of snow may you bloom and grow. Bloom and grow for e ver.
G D7 G C G D7 G C G
Edelweiss, Edelweiss. Bless my homeland for- e- e- ver.
OUTRO: G 5 – 4 – 3/2/1
(Julie Andrews) (Artist Index) - (Main Index) - (Song Index) (This Song)
EIGHT DAYS A WEEK – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=kle2xHhRHg4 (Capo 0)
[Also a version in [C] afterwards which doesn't have the (Bm) and is probably easier to
play]
TIP: The (E7) and (E) are pretty much interchangeable - whichever sounds better to you.
TIP: In the chorus the |Bm| in brackets means to strum once at this point and hold the
sustain through the rest of the line with a double strike of (Bm) at the end (actually
drums).
INTRO: D E7 G D
E7 G D
Ooh I need your love babe, guess you know it's true.
E7 G D
Hope you need my love babe, just like I need you.
Bm G Bm E
Hold me, love me, hold me, love me.
D E7 G D
I ain't got nothin' but love babe, eight days a week.
E7 G D
Love you ev'ry day girl, always on my mind.
E7 G D
One thing I can say girl, love you all the time.
Bm G Bm E
D E7 G D
I ain't got nothin' but love girl, eight days a week.
A |Bm| |Bm|-|Bm|
Eight days a week, I love you.
E G A
Eight days a week, is not enough to show I care.
D E7 G D
E7 G D
Bm G Bm E
Oh-oh-ho hold me, love me, hold me, love me.
D E7 G D
A |Bm| |Bm|-|Bm|
E G A
D E7 G D
E7 G D
Bm G Bm E
D E7 G D
G D G D D E G |D|
Eight days a week, eight days a week.
EIGHT DAYS A WEEK – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=kle2xHhRHg4 (Capo 2)
TIP: The (D7) and (D) are pretty much interchangeable--whichever sounds better to you.
TIP: In the chorus the |Am| in brackets means to strum once at this point and hold the
sustain through the rest of the line with a double strike of (Am) at the end (actually
drums).
INTRO: C D7 F C
D7 F C
D7 F C
Am F Am D
C D7 F C
D7 F C
D7 F C
Am F Am D
C D7 F C
G |Am| |Am|-|Am|
D F G
C D7 F C
D7 F C
Am F Am D
Oh-oh-ho hold me, love me, hold me, love me.
C D7 F C
G |Am| |Am|-|Am|
D F G
C D7 F C
D7 F C
Am F Am D
C D7 F C
F C G C C D F |C|
Eight days a week, eight days a week.
8TH OF NOVEMBER – Big & Rich
(Alpin/Rich)
https://www.youtube.com/watch?v=h_OyFoxp_uo (Capo 0)
TIP: The intro is a bit cumbersome but once you get through it the rest of the song is
easy. Start with (D) and add your pinky to the bottom string/3rd fret. That’s (Dsus4).
Strum (Dsus4) and then lift off the pinky and you’ll be at (D). Next lift off the bottom
string and you’re at (Dsus2). Put both the middle finger and pinky back down to get back
to (Dsus4) and repeat the sequence again and then move on to the (G)(D). Repeat.
INTRO: Dsus4 D-Dsus2, Dsus4 D-Dsus2, G D; Dsus4 D-Dsus2, Dsus4 D-Dsus2, G D
A G D
Said goodbye to his Momma, as he left South Dakota, to fight for the red white and blue.
A G D
He was nineteen and green, with a new M-16 just doin’ what he had to do.
A
He was dropped in the jungle where the choppers would rumble
G D
With the smell of napalm in the air.
A G
Then the sergeant saiiiiiid, look up aheaaaaad.
A G D
Like a dark evil cloud, twelve-hundred came down on him and twenty-nine more.
A G D
They fought for their lives but most of them died in the One-Se-ven-ty-Third Airborne.
A G D
On the eighth of November the angels were cryin’ as they carried his brothers away.
A
With the fire raining down and the hell all around
G D
There were few men left standin’ that day.
F G
Saw the eagle fly, through a clear blue sky,
F A A G D
Nineteen Sixty-Five the eighth of November.
A G D
Now he's fifty-eight and his pony tail's grey but the battle still plays in his head.
A
He limps when he walks, but he's strong when he talks,
G D
About the shrapnel they left in his leg.
A G D
He puts on a grey suit over his Airborne tattoo, and he ties it on one time a year.
A G D
And remembers the fallen, as he orders a tall one and swallows it down with his tears.
A G D
A
G D
F G
F A G D D A A G D
Nineteen Sixty-Five the eighth of Novemberrrr – rrr – rr - rrr.
|F| |G| |F| |F|

Saw the eagle fly through a clear blue sky Nineteen Sixty Five . . .
A G D
A
G D
A G D
A
G D
F G
F A A G D
Nineteen Sixty-Five <pause> the eighth of November.
A A G D
The eight of November.
A G D
Said goodbye to his Momma, as he left South Dakota, to fight for the red white and blue.
A G D |D|
He was nineteen and green, with a new M-16, just doin’ what he had to do.
(Big & Rich) (Artist Index) - (Main Index) - (Song Index) (This Song)
EIGHTEEN WHEELS AND A DOZEN ROSES – Kathy Mattea
(Nelson/Nelson)
https://www.youtube.com/watch?v=FZ5b67aVzEA (Capo 1)
INTRO: G G C G, G G C G
Cmaj7
Charlie's got a gold watch. Don't seem like a whole lot,
D C G
After thirty years of drivin', up and down the interstate.
Cmaj7
But Charlie's had a good life, and Charlie's got a good wife.
Am C D7
And after tonight she'll no longer be countin' the days.
C G Em A7 D
Eighteen wheels, and a dozen roses. Ten more miles, on his four day run.
C Em C
A few more songs, from the all night radio.
G C D7 G G G C G, G
Then he'll spend the rest of his life with the one that he loves.
Cmaj7
They'll buy a Winnebago. Set out to find America.
D C G
Do a lot of catchin', up, a little at a time.
Cmaj7
With pieces of the old dream, they're gonna light the old flame.
Am C D7
Doin' what they please leavin' every other reason behind.
C G Em A7 D
C Em C
G C D7 G
G C C Am C D
C G Em A7 D
C Em C
G C D7 G
C G Em A D, C Em C G C D G
(Kathy Mattea) (Artist Index) - (Main Index) - (Song Index) (This Song)
EL CONDOR PASA – Simon and Garfunkel
(Robles/Simon)
https://www.youtube.com/watch?v=i6d3yVq1Xtw (Capo 0)
INTRO (Chords): Em . . . ; Em . . . ; Em G Em, <soft rapid strum> Am Em
G
I'd rather be a sparrow than a snail.
Em
Yes I would. If I could. I surely would. Mmm-hmm.
G
I'd rather be a hammer than a nail.
Em
Yes I would. If I only could, I surely would. Mmm-hmm.
C G
Away, I'd rather sail away. Like a swan, that's here and gone.
C G
A man, gets tied up to the ground. He gives the world, its saddest sound.
Em
It’s saddest sound. Mmm-hmm. Mmm-hmm.
G Em
I'd rather be a forest than a street. Yes I would. If I could, I surely would.
G Em
I'd rather feel the earth beneath my feet. Yes I would, if I only could, I surely would.
C G
Away, I'd rather sail away. Like a swan, that's here and gone.
C G
A man, gets tied up to the ground. He gives the world, its saddest sound.
Em Em |Em|
It’s saddest sound. Oh yeah.
ELEANOR RIGBY – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=HuS5NuXRb5Y (Capo 0)
TIP: The (Em)s at the end of the intro, and later in the bridge, are the quick violin
draws.
TIP: (Em7) is just (Em) without the bottom string.
TIP: Note in the verse, the last word is a two-count. Hold the (C) through the
beginning of the word and slide smoothly to the (Em) on second count. E.g. “(C) Who is
it for- (Em) or?
INTRO: C Em Em-Em-Em-Em-Em
Ah, look at all the lonely people.
C Em Em-Em-Em-Em-Em
Am
Eleanor Rigby, picks up the rice in the church where a wedding has been.
C Em
Lives in a dre-eam.
Am
Waits at the window, wearing the face that she keeps in a jar by the door.
C Em
Who is it for-or?
Em7 Em C Em
All the lonely people, where do they all come from?
Em7 Em C Em
All the lonely people, where do they all belong?
Am
Father McKenzie, writing the words of a sermon that no one will hear.
C Em
No one comes near-er.
Am
Look at him working, darning his socks in the night when there’s nobody there.
C Em
What does he care-are?
Em7 Em C Em
All the lonely people, where do they all come from?
Em7 Em C Em
All the lonely people, where do they all belong?
C Em Em-Em-Em-Em-Em
C Em Em-Em-Em-Em-Em
Am
Eleanor Rigby, died in the church and was buried along with her name.
C Em
Nobody ca-ame.
Am
Father McKenzie, wiping the dirt from his hands as he walks from the grave.
C Em
No one was sa-aved.
Em7 Em C Em
All the lonely people, Where do they all come from?
(Ah, look at all the lonely people).
Em7 Em C Em
All the lonely people, Where do they all belong?
(Ah, look at all the lonely people).
ELECTROLITE - R.E.M.
https://www.youtube.com/watch?v=1LewYq40Svw (Capo 0)
TIP: At the end you'll see <forcefully> prior to a |G|, not because the chord is struck
particularly hard but because that |G| is struck once and it's the last played chord in
the song and you need/want the sustain to carry through the rest of the line.
INTRO: <very gently> G C G
G C G C G C G C
Your eyes are burnin' holes through me. I'm gasoline. I'm burnin' clean.
G C G C G C G C D
Twentieth century go to sleep. You're plasticine. That is obscene. That is obscene.
Am D Am D
You are the star tonight you shine electric outta sight.
B Em G Am Em G Am Em G D D4-D
Your light eclipsed the moon tonight. E lectrolite. You're outta sight.
G C G C G C G C
If I ever want to fly, Mulholland Drive. I am alive.
G C G C G C G C D
Hollywood is under me. I'm Martin Sheen. I'm Steve McQueen. I'm Jimmy Dean.
Am D Am D
B Em G Am Em G Am Em G D
B B Am, B B C-Am, B B Am, C C D, D4-D-D4
G C G C G C G C
If I ever want to fly, Mulholland Drive. Up in the sky.
G C G C G C G C D
Stand on a cliff and look down there. Don't be scared. You are alive. You are alive.
Am D Am D
B Em G Am Em G Am Em G-D D4-D
G C G C G C G C
Twentieth century go to sleep. Really deep. We won't blink.
G C G C G C G C
Your eyes are burnin' holes through me. I'm not scared. I'm outta here.
|G|
I'm not <forcefully> scared. I'm outta here.

EL PASO
Marty Robbins
https://www.youtube.com/watch?v=7UVVS5-9HvA (Capo 0)
TIP: Some versions of Marty's recordings includes just the first two lines of the second
verse while others include all four. All four are presented here.
INTRO: D Em A A7 D
Em A A7 D
Out in the West Texas town of El Paso, I fell in love with a Mexican girl.
Em A A7 D
Nighttime would find me in Rosa's cantina, Music would play and Felina would whirl.
Em A A7 D
Blacker than night were the eyes of Felina, wicked and evil while casting a spell.
Em A A7 D
My love was deep for this Mexican maiden, I was in love, but in vain I could tell.
G D D7
One night a wild young cowboy came in, wild as the West Texas win - in- ind.
D D7 G
Dashing and daring a drink he was sharing with wicked Felina the girl that I loved.
D Em
So in anger I challenged his right for the love of this maiden,
A A7 D
Down went his hand for the gun that he wore.
Em
My challenge was answered in less than a heart-beat,
A A7 D
The handsome young stranger lay dead on the floor.
Em A A7 D
Just for a moment I stood there in silence, shocked by the foul evil deed I had done.
Em
Many thoughts raced through my mind as I stood there,
A A7 D
I had but one chance and that was to run.
G D D7
Out through the back door of Rosa's I ran. Out where the horses were ti -i- ied.
D D7 G
I caught a good one it looked like it could run. Up on its back and away I did ride.
D Em
Just as fast as I could from the West Texas town of El Paso.
A A7 D
Out to the badlands of New Mexico.
Em A A7 D
Back in El Paso my life would be worthless, everything's gone in life nothing is left.
Em
It's been so long since I've seen the young maiden.
A A7 D
My love is stronger than my fear of death.
G D D7
I saddled up and away I did go. Riding alone in the dar - ar- ark.
D D7 G
Maybe tomorrow a bullet may find me. Tonight nothing's worse than this pain in my heart.
A A7 D Em A A7 D
And at last here I am on the hill overlooking El Paso, I can see Rosa's Cantina below.
Em A A7 D
My love is strong and it pushes me onward, down off the hill to Felina I go.
Em A A7 D
Off to my right I see five mounted cowboys, off to my left ride a dozen or more.
Em
Shouting and shooting I can't let them catch me,
A A7 D
I have to make it to Rosa's back door.
G D D7
Something is dreadfully wrong for I feel, a deep burning pain in my si -i- ide.
D D7 G
Though I am trying to stay in the saddle, I'm getting weary unable to ride.
A A7 D Em
But my love for Felina is strong and I rise where I've fallen,
A A7 D
Though I am weary I can't stop to rest.
Em A A7 D
I see the white puff of smoke from the rifle, I feel the bullet go deep in my chest.
Em A A7 D
From out of nowhere Felina has found me, kissing my cheek as she kneels by my side.
Em A A7
Cradled by two loving arms that I'll die for, one little kiss and Felina . . .
D
Goooodbyyyyye.
END OF THE LINE - Traveling Wilburys
(Petty, Lynne, Dylan, Harrison)
https://www.youtube.com/watch?v=UMVjToYOjbM (Capo 0)
INTRO: G D, G A D, G A-D-A-D
(NC) D A G
Well it's alllll right, riding around in the breeze,
D A D
Well, it’s alllll right, if you live the life you please
A G
Well, it's alllll right, doing the best you can
D A D D
Well, it's all, right, as long as you lend a hand.
G D
You can sit around and wait for the phone to ring (at the end of the line).
G D
Waiting for someone to tell you everything (at the end of the line).
G D
Sit around and wonder what tomorrow'll bring (at the end of the line).
A
Maybe a diamond ring.
D A G
Well it's alllll right, even if they say you're wrong
D A D
Well, it's alllll right, sometimes you gotta be strong.
A G
Well it's alllll right, as long as you-got somewhere to lay
D A D D
Well, it's alllll right, everyday is Judgement Day.
G D
Maybe somewhere down the road aways (at the end of the line).
G D
You'll think of me and wonder where I am these days (at the end of the line).
G D A
Maybe somewhere down the road, when somebody plays, (at the end of the line) Purple Haze.
D A G
Well it's alllll right, even when push comes to shove.
D A D
Well it's alllll right, if you got someone to love.
A G
Well it’s allll right, everything’ll work out fine.
D A D D
Well it's alllll right, we're going to the end of the line.
G D
Don't have to be ashamed of the car I drive (at the end of the line).
G D
I'm just glad to be here, happy to be alive (at the end of the line).
G D A
And it don't matter, if you're by my side, (at the end of the line). I'm satisfied.
D A G
Well it's alllll right, even if you're old and gray
D A D
Well, it's alllll right, you still got something to say.
A G
Well it's alllll right, remember to live and let live
D A D
Well, it's alllll right, the best you can do is forgive.
A G
Well it's alllll right, riding around in the breeze
D A D
Well, it's alllll right, if you live the life you please.
A G
Well it's alllll right, even if the sun don't shine
D A D
Well it's alllll right, we're going to the end of the line.
OUTRO: G D, G A D, G A-D-A-D
(Traveling Wilburys) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE END OF THE WORLD - Skeeter Davis
(Connolly/Mybe/St.Louis/Williams/Angelo)
https://www.youtube.com/watch?v=sonLd-32ns4 (Capo 3)
TIP: There's a key shift at the end so slide the capo up one fret where indicated if
playing along to the recording.
TIP: That (Bm3) is actually (Cm) but it's played like a (Bm) on the 3rd fret.
INTRO: G D Em D
G D Em Bm
Why does the sun go on shining? Why does the sea rush to shore?
C Am Bm E7 Am C Bm3 D7
Don't they know it's the end of the world? 'Cause you don't love me anymore.
G D Em Bm
Why do the birds go on singing? Why do the stars glow above?
C Am Bm E7 Am D7 G
Don't they know it's the end of the world? It ended when I lost your love.
C G Am D G
I wake up in the morning and I wonder, why everything's the same as it was?
Bm E7 C Am Bm3 D7
I can't understand, no I can't understand, how life goes on the way it does-sss.
G D Em Bm
Why does my heart, go on beating? Why do these eyes of mine cry?
C Am Bm E7 Am D7 G
Don't they know it's the end of the world? It ended when you said goodbye.
<capo +1>
G D Em Bm
<spoken> Why, does my heart, go on beating? Why, do these eyes of mine, cry?
C Am Bm E7
<sung> Don't they know it's the end of the world?
Am D7 G Bm C D7 |G|
It ended when you said, goooodbye.
(Skeeter Davis)(Artist Index) - (Main Index) - (Song Index)(This Song)

EVE OF DESTRUCTION - Barry McGuire
(Sloan)
https://www.youtube.com/watch?v=qfZVu0alU0I (Capo 0)
[Three versions here in three different keys with various ease of play. The third one,
in [G] is probably the easiest but you have to capo 7 to sing along with Barry.]
TIP: For the movement from (D) to (D4) just hold (D) and add your pinky to the bottom
string of the 3rd fret.
INTRO: D D D D4-A, D D D D4-A, D D D D4-A, D D D D4-A
D G A7
The eastern world, it is explodin'.
D G A
Violence flarin’, bullets loadin’.
D G A
You're old enough to kill, but not for votin'.
D G A
You don't believe in war, but what's that gun you're totin'?
D G A D
And even the Jordan River has, bodies floatin' but cha, tell me,
G A D Bm
Over and over and over again my friend.
G A D G A G
How you don't believe, we're on the eve of destruction.
D G A
Don't-you-understand what I'm, tryin' to say - ay?
D G A
Can't you feel the fears I'm, feelin' today?
D G A
If the button is pushed, there's no runnin' away.
D G A
There'll be no one to save, with the world in a grave.
D G A D
Take a look around you boy, it's bound to scare you boy and ya, tell me,
G A D Bm
G A D G A, G A D
G A7
Yeah my blood's so mad, feels like coagulating.
D G A
I'm sitting here, just, contemplatin'.
D G A
I can’t twist the truth, it knows no regulation
D G A
Handful of senators don't pass legislation.
D G A
And marches alone, can’t bring integration.
D G A
When human respect is, dis-integratin'.
D G A
This whole crazy world, is just too frustratin’.
D G A D Bm
And you tell me, over and over and over again my friend.
G A D G A G A D
G A7
Think of all the hate, there is in Red China.
D G A
Then take a look around, to Selma Alabama.
D G A
You may leave here, for four days in spa-ace.
D G A
But when you return it's the same old place.
D G A
The pounding of the drums, the pride and disgrace.
D G A
You can bury your dead, but don't leave a trace.
D G A D
Hate your next door neighbor, but don't forget to say-grace and tell me,
G A D Bm
G A D
You don't believe, we're on the eve of destruction?
G A D D D4 A G A D
Mmm no no you don't believe, we're on the eve of destruction.
(Barry McGuire) (Artist Index) - (Main Index) - (Song Index) (This Song)
(Sloan)
TIP: Presented here in [C] to omit the (Bm) in favor of (Am).
INTRO: C C C F-G, C C C F-G, C C C F-G, C C C F-G
C F G7
C F G
C F G
C F G
C F G C
F G C Am
F G C F G F
C F G
C F G
C F G
C F G
C F G C
F G C Am
F G C F G F G C
F G7
C F G
C F G
C F G
C F G
C F G
C F G
C F G C Am
F G C F G F G C
F G7
C F G
C F G
C F G
C F G
C F G
C F G C
F G C Am
F G C
F G C C F G F G C
(Sloan)
TIP: Presented here in [G] to omit the (Bm) in favor of (Em).
INTRO: G G G C-D, G G G C-D, G G G C-D, G G G C-D
G C D7
G C D
G C D
G C D
G C D G
C D G Em
C D G C D C
G C D
G C D
G C D
G C D
G C D G
C D G Em
C D G C D C D G
C D7
G C D
G C D
G C D
G C D
G C D
G C D
G C D G Em
C D G C D C D G
C D7
G C D
G C D
G C D
G C D
G C D
G C D G
C D G Em
C D G
C D G G C D C D G
EVERYDAY - Buddy Holly
(Hardin/Petty)
https://www.youtube.com/watch?v=GMezwtB1oCU (Capo 1)
INTRO: D
D Em A7 D G A
Everyday, it's a-gettin' closer. Goin' faster than a roller coaster.
D G A7 D G D A
Love like yours will, surely come my way. A hey, a hey hey.
D Em A7 D G A
Everyday, it's a-gettin' faster. Everyone said go ahead and ask her.
D G A7 D G D
G C
Everyday, seems a little longer. Every way, love's a little stronger.
F Bb A A7
Come what may, do you ever long for, true love from me?
D Em A7 D G A
D G A7 D G D A
D Em A7 D G A D G A7 D G D A
D Em A7 D G A D G A7 D G D A
G C
Everyday, seems a little longer. Every way, love's a little stronger.
F Bb A A7
Come what may, do you ever long for, true love from me?
D Em A7 D G A
D G A7 D G D A
D G A7 D
Love like yours will, surely come my way.
(Buddy Holly) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
EVERY TIME YOU SAY GOODBYE
Alison Krauss & Union Station
(Pennell)
https://www.youtube.com/watch?v=BElU88mIKlE (Capo 2)
TIP: The song has a very quick tempo to it and it’ll help to think like a mandolin
player, with short quick strums.
INTRO: D A G A G A Bm A, G A D G D A D D D D
A G A G A Bm A G
Look at the sky baby. What do you see? Looks like the tears that I cry-y.
A D G D A D
Fallin' down like rain on the ground, everytime you say goodbye.
A G A G A Bm A G
Take a look around now. Why don't you feel, the way that cold wind stings and bi-ites?
A D G D A D
And-your-words-just are, like arrows through my heart, everytime you say goodbye.
A G D
There's a restless feeling knocking at my door today.
A G D
There's a shadow hanging 'round my garden gate.
F# Bm
I read between the lines of words you can't disguise.
E G D Em D
Love has gone away, and put these tears in my eye-eys.
<mandolin/banjo> D A G A G A Bm A, G A D G D A D D
A G A G A Bm A G
Look at the sky baby. See how it cries? Ain't it just like my tear-ears?
A D G D A D
Fallin' down like rain on the ground, everytime you say goodbye.
<fiddle> D A G A G A Bm A, G A D G D A D D
A G D
A G D
F# Bm
E G D Em D
Love has gone away, and put these tears in my eye-eys.
A G D
A G D
F# Bm
E G D Em D
Love has gone away, and put these tears in my eye-eye-eys.
<mandolin> D A G A G A G D |D|
(Alison Krauss) (Artist Index) - (Main Index) - (Song Index) (This Song)
FARE AWAY - The New Main Street Singers
(Vanston/McKean/O'Toole)
https://www.youtube.com/watch?v=megY_67DHCo (Capo 0)
TIP: The intro is the chords from the chorus, “Fare Away . . . “
TIP: In the last verse the line that goes: "Come next April I'm sixty-three", is sung
up-inflection from start to finish so start "come" and finish "three" both on "high d".
INTRO: G G C-G, C G D G
C G C G A D
Sun breaks over the sprits'l yard. Jib sheet's hauling to leeward hard.
G C G C G D G D G
Crosstree's hummin' a morning hymn. I'm the cabin boy call me Jim. His name's Jim.
C G C G D C G
Fare away fare away under main topsail to the fur below of the wily wha - ale.
C G C G A D
Captain's stalking the quarter deck. Tells the tail of his first shipwreck.
G C G C G D G
Castaway with a case of rum. Hoped that rescue would never come. (Never come).
C G C G D C G
C G |D| |D| |D| |D|
To the fur below of the wi - ly, wi - ly . . .
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|-|C|-|C|-|D|-|D|, |D|-|D|, G . . .
C G C G A D
First mate Peter's a hardened man. Says the captain's a charlatan.
G C G C G D G
Don't know tackle from futtock plates. He'll sail us into the Pearrrrr - ly Gates.
C G C G D C G
C G C G A D
I been sailing these seven seas, since I's nigh high to a mermaid's knees.
G C C G C G
Come next April I'm sixty three. I can't advance, I like short pants,
C G D G C G D G
Safe in the cabin on the open sea. Safe in the cabin on the open sea.
C G C G D G
Fare away fare away under main topsail to the fur below of the wily whale.
C G C G C G |D| |D| |D| |D| C G
To the fur below of the fur below of the fur below of the wi - ly, wi - ly wha – ale.
(The New Main Street Singers) (Artist Index) (Folk)

FAT BOTTOMED GIRLS - Queen
(May)
https://www.youtube.com/watch?v=qBk8MnT-Tvk (Capo 0)
TIP: The strum bit after the a cappella intro is different on the album version than on
the "official video". The album has four measures while the video has but one. Four
measures is presented here. Cuz I like it. It's not important you nail the strum
pattern exactly but it is important to the song. For the most part it consists of steady
downbeats. The instrumental passages in particular are usually 7 steady downward strums
of (D), followed by 3 very quick strums of (C), (G), and another (D) and then the pattern
immediately repeats. Listening to the song will help a lot. The pattern changes a bit
at the end from 7 strums of the (D) to 3 and the final one has 9 strums very quickly in
an up and down saw-like pattern.
TIP: Sing the opening verse a cappella (as Queen does), or with just one strum of the
chords where indicated as sort of a guide.
|D| |C| |G|

Are . . . you gonna take me home tonight?
|D| |C| |A|
Ah . . . down beside that red fireli-ight?
|D| |G| |D|
Are . . . you gonna let it all hang out fat bottomed girls
|A| |D|
You make the rockin' world go round.
D x 7 C-G-D, D x 7 C-G-D, D x 7 C-G-D, D x 7 C-G-D, D x 7 C-G-D
Hey. I was just a skinny lad, never knew no good from bad,
A
But I-knew life before I left my nursery.
D G
Left alone with big fat Fanny, she was such a naughty nanny.
D A D C-G-D
Hey big woman, you made a bad boy out of me.
<strum> D x 7 C-G-D <strum> D D, D-D-C-G-D

Hey hey.
<strum> D x 7 C-G-D <strum> D x 7 C-G-D <clap clap>
Whooo.
<strum> (D)x7 (C)-(G)-(D);
<strum> D x 7 <palm strings and pause>

(NC) D
I've been singing with my band, across the wire, 'cross the land.
A
I seen ev'ry blue-eyed floozy on the way, hey.
D G
But their beauty and their style went kind of smooth after a while.
D A D
Take me to them lardy ladies everytime.
C G
C'mon. Oh . . . won't you take me home tonight?
D C A
Oh . . . down beside your red fireli-ight?
D G
Oh . . . when you give it all you got
D A D G
Fat bottomed girls you make the rockin' world go round.
D A D
G D A D, G D A D
Hey listen here.
Now I got mortgages on homes. I got stiffness in my bones.

A
Ain't no beauty queens in this locality. I tell ya!
D G
Oh but I still get my pleasure, still got my greatest treasure.
D A D
Heap big woman, you done made-a-big man of me. Now get this.
C G
Oh, I know, you gonna take me home tonight? Please!
D C A
Oh . . . down beside your red fireli-ight?
D G
Oh . . . you gonna let it hall hang out?
D A D G
D A D
Fat bottomed girls you make the rockin' world go round. Get on your bikes and ride!
<strum> D x 3 C-G-D, D x 3 C-G-D, D x 3 C-G-D, D x 3 C-G-D

Fat bottomed girls.
<strum> D x 3 C-G-D, D x 3 C-G-D, D x 3 C-G-D, D x 3 C-G-D

Fat bottomed girls.
<saw pattern rapidly> D x 8 C-G-D, D x 8 C-G-D, D x 8 C-G-D, D x 8 C-G-D
D x 8 C-G-D, D x 8 C-G-D
Fat bottomed girls.
<strum |D| once and palm>, <strum |D| once and palm>, <strum |D| once and sustain>
(Queen) (Artist Index) - (Main Index) - (Song Index) (This Song)

FATHER & SON
Cat Stevens
https://www.youtube.com/watch?v=P6zaCV4niKk (Capo 0)
TIP: The (Am7) is just (C) without the ring finger. And it will follow the (C) so just
lift off. Couldn't be easier. And you can ignore the (Am7) and just hold the (C) if you
want but I left it in cuz it's so simple.
INTRO: G, G-G-C; G, G-G-C; G, G-G-C; G, G-G-C
G D C Am7
It's not time to make a change. Just relax, take it easy.
G Em Am D
You're still young, that's your fault. There's so much you have to know.
G D C Am7
Find a girl, settle down, if you want, you, can marry.
G Em Am D
Look at me, I am old, but I'm happy.
G D C Am7
I was once like you are now, and I know that it's not easy.
G Em Am D
To be calm, when you've found, something going on.
G D C Am7
But take your time, think a lot, why think of everything you've got
G Em D G G-G-C; G, G-G-C
For you will still be here tomorrow, but your dreams may not.
G Bm C Am7
How can I try to explain, when I do he turns away again.
G Em Am D
It's always been the same, same old story.
G Bm C Am7
From the moment I could talk, I was ordered to listen now
G Em D G D C G G, G-G-C
There's a way, and I know, that I have to go away. I know, I have to go.
G, G-G-C
<chords from verse just completed>: G Bm C Am7 G Em Am D
G Bm C Am7 G Em D G G, D C G
G-G-C; G, G-G-C
G D C Am7
It's not time to make a change. Just sit down, take it slowly,
G Em Am D
You're still young, that's your fault. There's so much you have to know.
G D C Am7
Find a girl, settle down, if you want, you, can marry.
G Em Am D
Look at me, I am old, but I'm happy.
G Bm C Am7
All the times, that I cried, keeping all the things I knew inside
G Em Am D
It's hard, but it's harder to ignore it.
G Bm C Am7
If they were right, I'd agree, but it's them they know not me now
G Em D G D C |G|
There's away, and I know, that I have to go away. I know, I have to go.
FEEL LIKE A NUMBER
Bob Seger
https://www.youtube.com/watch?v=q1FRvwJP1pk (Capo 2)
TIP: In the chorus you'll be playing a (G) and come across "<lift>". This means to lift
off the bottom string of the (G) as you need the <e>.
INTRO: D G A D, D G A D, D G A D, G
D G A D, D G A D, D G A D, G; D
I take my card and I stand in line, to make a buck I work overtime.

G A D G A D
'Dear Sir' letters keep comin' in the mail.
I work my back till it's racked with pain. The boss can't even recall my name.
G A D
I show up late and I'm docked it never fails.
G D
I feel like just another, spoke in a great big wheel.
G A
Like a tiny blade of <lift> grass in a great big field. Whoa.
D
To workers I'm just another drone, to Ma Bell I'm just another phone.
G A D
I'm just another statistic on a sheet.
To teachers I'm just another child, to IRS I'm just another file.
G A D
I'm just another consensus on the street.
G D
Gonna cruise out of this city. Head down to the sea.
G A
Gonna shout out at the <lift> ocean, "Hey it's me!"
D
And I feel like a number. Feel like a number. Feel like a stranger.
G A D
A stranger in this land. I feel like a number. I'm not a number.
G A D
I'm not a number. Dammit I'm a man. I said I'm a man.
D A G-A, D A G-A, D . . D, G G A A D D, D A G-A, G G A A D D

G D
Gonna cruise out of this city. Head down to the sea.
G A
Gonna shout out at the <lift> ocean, "Hey it's me!"
D
Feel like a number. Feel like a number. Feel like a stranger.
G A D
A stranger in this land. I feel like a number. I’m not a number.
G A D
I’m not a number. Dammit I’m a man. Feel like a number.
Feel like a number. Feel like a number.
D G A D, D G A D, D G A D, D G A D . . .
FERRY CROSS THE MERSEY – Gerry and the Pacemakers
(Marsden)
https://www.youtube.com/watch?v=08083BNaYcA (Capo 2)
TIP: Remember to drop your voice going into the bridge to match the (Em).
INTRO: D Am7, D Am7, D Am7, D Am7
D Am7 D Am7, D Am7

Li- ife, goes on day after day.
D Am7 D Am7, D Am7
Hearts, torn in every way.
D F#m G A
So ferry, 'cross the Mersey, 'cause this land's, the place I love.
D Am7, D Am7
And here I'll stay.
D Am7 D Am7, D Am7

Peo-, -ple they rush everywhere.
D Am7 D Am7, D Am7
Each, with their own secret care.
D F#m G A
So ferry, 'cross the Mersey, and always take me there.
D Am7, D Am7
The place I love.
Em G D Em G D
People around every corner. They seem to smile and say.
Em A F#m E A
“We don't care what your name is boy. We'll never turn you away.”
D Am7 D Am7, D Am7

So, I'll continue to say.
D Am7 D Am7, D Am7
Here, I-I always will stay.
D F#m G A
So ferry, 'cross the Mersey, ‘cause this land’s, the place I love.
D Am7 Am7 D D Am7 D D Am7 Am |D|
And here I’ll stay. And here I’ll stay. Here I’ll stay.
(Gerry and the Pacemakers) (Artist Index) (Oldies)

FIELDS OF GOLD - Eva Cassidy/Sting
(Sumner/Bogdanovic)
https://www.youtube.com/watch?v=9UVjjcOUJLE (Eva) (Capo 2)
https://www.youtube.com/watch?v=KLVq0IAzh1A (Sting) (Capo 7)
TIP: Of course Sting wrote and made it famous but I've patterned the one here after
Eva's version as it's one of the most sublime things I've ever heard. Even more poignant
as she must have known by this point she was dying when she sang it. You can still play
along with Sting's original but you'll have to capo 7 and the verses are a little
different. Sting plays a verse that Eva does not and coming out of the instrumental
bridge he goes to the final verse while Eva does a reprise.
Em C G
INTRO: Whoooooh ooooooh oooooooh.
Em C D G
You'll remember me, when the west wind moooves among the fields of barley.
Em C Am7 D G
You can tell the sun in his jealous sky, when we walked in fields of gold.
Em C D G
So she took her love for to gaze awhile, among the fields of barley.
Em C G Am D G
In his arms she fell as her hair came down, among the fields of gold.
Em C D G
Will you stay with me, will you be my looove among the fields of barley?
Em C G Am D G C
And you can tell the sun in his jealous sky, when we walked in fields of gold.
Em C G
<Sting> See the west wind move like a lover so upon the fields of barley.
Em C G C D G
Feel her body rise when you kiss her mouth among the fields of gold.
D G C D G C
I never made promises lightly, and there have been some that I've broken.
D Em C D Em
But I swear in the days still left, we will walk in fields of gold.
D G
Weeee'll walk in fields of gold.
Em C D G, Em C G Am D G, Em C D G, Em G C G Am D G
<Sting goes to verse>

D G C D G C
I never made promises lightly, and there have been some that I've broken.
D Em C D Em
But I-I swear in the days still left, we will walk in fields of gold.
C D G
We'll walk in fields of gold.
Em C G G
Whoooooh ooooooh oooooooh
Em C D G
Many years have passed since those summer dayyyys among the fields of barley.
Em C G Am7 D G
Seee the children run as the sun goes down, as you lie in fields of gold.
Em C D G
You'll remember me, when the west wind moooves among the fields of barley.
Em C G Am7 D G
You can tell the sun in his jealous sky, when we walked in fields of gold.
C D Em C D G
When we walked in fields of gold, when we walked in fields of gold.
Em C G |C|-|D|-|G|
Whooooh oooooh oooooh.
(Eva Cassidy) (Sting) (Artist Index) - (Main Index) - (Song Index) (This Song)
FIRE ON THE MOUNTAIN - Marshall Tucker Band
(McCorkle)
https://www.youtube.com/watch?v=0uMWbZj-gWg (Capo 0)
TIP: The intro emulates the steel guitar. At each chord strike fairly forcefully -
that's the chord in brackets - and strum lightly the same chord.
TIP: I've buried the chorus in the verse but at the end of each chorus you'll end with
an (Em) and then there's a (C),(Em),(C) sequence before beginning the next verse with
another (Em). The (Em) that ends the chorus has a four-count step-down, the (C) a four-
count step-up, followed by another (Em) with a four-count step-down, and another (C) with
a four-count step-up. So you spend quite a bit of time in each chord.
TIP: The instrumental is first steel guitar and then flute and is fairly quick. For the
steel guitar part hit the first chord somewhat hard and then rapidly strum for a bit
before moving on to the next.
INTRO: |G| G, |D| D, |Am| Am, |C| C, |G| G; Em Em C C Em Em C C
Em C
Took my fam'ly away from my Carolina home.
Em C
Had dreams about the West and started to roam.
Em C
Six long months on a dust covered trail.
Em C
They say heaven's-at-the-end-but- so far it's been hell and there's,
G D
Fire on the mountain lightnin' in the air,
Am C Em Em C Em C
Gold in them hills and it's waitin' for me there.
Em C
We were diggin' and siftin' from five to five.
Em C
Sellin'-everything-we-found, just to stay ali-hive.
Em C
Gold flowed free like the whiskey in the bar.
Em C
Sinnin'-was-the-big thing-lord-and, Satan was his star and there's,
G D
Am C Em Em C Em C
G D Am C G, G G D Am C Em; <flute part> Em C Em C Em C Em C

Em C
Dance hall girls were the, evenin' treat.
Em C
Empty-cartridges-and-blood-lined-the gutters of the stre-eet.
Em C
Men were shot-down-for-the, sake of fun,
Em C
Or just to hear the noise of their forty-four guns and there's,
G D
Am C Em Em C Em C
|Em| |C|
Now my widow she, weeps by my grave.
|Em| |C|
Tears flow free for-her-man, she couldn't sa-ave.
|Em| |C|
Shot down in cold blood by a gun that carried fame.
|Em} |C|
All for a useless and no good, worthless claim and there's,
G D
Am C Em G
Gold in them hills and it's waitin' for me ther-ere.
G D
Am C |Em| |C| |G|
Gold in them hills and it's waitin' for me there. Waitin' for me there.
FISH AND WHISTLE
John Prine
https://www.youtube.com/watch?v=G487EDeXadA (Capo 0)
INTRO: G C G, C G D, G C, G D G
C G
I've been thinkin' lately about the people I meet.
C G D
The carwash on the corner and the hole in the street.
G C G
The way my ankles hurt with shoes on my feet,
D G
And I'm wonderin' if I'm gonna see tomorrow.
C G C G D
Father forgive us for what we must do, you forgive us, we'll forgive you.
G C
We'll forgive each other 'til we both turn blue
G D G
Then we'll whistle and go fishin' in the heavens.
G C G, C G D, G C G, G D G
C G
I was in the army but I never dug a trench.
C G D
Used to bust my knuckles on a monkey wrench.
G C
I'd go to town and drink, give the girls a pinch
G D G
But I don't think they ever even noticed me.
C G C G D
G C
G D G
D G
Fish and whistle, whistle and fish, eat everything that they put on your dish.
C G
And when we get through, we'll make a big wish
A D D7 D
That we never have to do this again, again, again.
G C G
On my very first job I said thank you and please.
D
They made me scrub a parking lot down on my knees.
G C G D G
Then I got fired, for being scared of bees and they only give me fifty cents an hour.
C G C G D
G C
G D G
G C G, C G D, G C G, G D G
D G
Fish and whistle, whistle and fish, eat everything that they put on your dish.
C G
And when we get through, we'll make a big wish
A D D7 D
That we never have to do this again, again, again. Ohhhh,
C G C G D
G C
G D G
D G
We'll whistle and go fishing in the heavens.
D G
We'll whistle and go fishing in the heavens.
G C G, C G D, G C G, G D G; G C G, C G D, G C G, G D G
G C G, C G D, G C G, G D G; G C G, C G D, G C, G, G D G |G|
FIVE HUNDRED MILES – Peter, Paul & Mary
(West)
https://www.youtube.com/watch?v=UJmbn1sQw2A (Capo 2)
[Afterwards is The Seeker's version in [G] which is easier to play and I think prettier
as well.]
INTRO: C Am Dm F Dm G, C C
Am Dm F
If you miss the train I'm on, you will know that I am gone.
Dm Em F G
You can hear the whistle blow a hundred miles.
C Am Dm F
A hundred miles a hundred miles a hundred miles a hundred miles.
Dm G F C
Am Dm F
Lord I'm one, Lord I'm two, Lord I'm three, Lord I'm four.
Dm Em F G
Lord I'm five hundred miles from my home.
C Am Dm F
Five hundred miles five hundred miles five hundred miles five hundred miles.
Dm G F C
Am Dm F
Not a shirt on my back, not a penny to my name.
Dm Em F G
Lord I can't go a home this a way.
C Am Dm F
This a way, this a way, this a way, this a way.
Dm G F C
Lord I can't go back home this a way.
Am Dm F
Dm G F C C C |C|
(Peter, Paul & Mary) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
FIVE HUNDRED MILES - The Seekers
(West)
https://www.youtube.com/watch?v=eAqL1OC7GIU (Capo 2)
TIP: For the intro pick the open 3rd string twice and then the (G).
INTRO: 3 - 3 G Em Am C, Am D G-C-G
Em Am C
Am D G
Em Am C
A hundred miles a hundred miles a hundred miles a hundred miles.
Am D G
Em Am C
Lord I'm one, Lord I'm two, Lord I'm three, Lord I'm four.
Am D G
Em Am C
Away from home, away from home away from home away from home.
Am D G
Lord I'm five hundred miles, away from home.
Em Am C
Not a shirt on my back, not a penny to my name.
Am D G
Lord I can't go a home this a way.
Em Am C
This a way, this a way, this a way, this a way.
Am D G
Lord I can't go back home this a way.
Em Am Am C
Lord I'm one (Lord I’m one), Lord I'm two (Lord I’m two), Lord I'm three, Lord I'm four.
Am D G
Em Am C
Away from home, away from home away from home away from home.
Am D |G|
Lord I'm five hundred miles, away from home.
(The Seekers) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
FOLLOW ME
John Denver
https://www.youtube.com/watch?v=VzykTaH5ZwM (Capo 0)
[There's a version in [C] afterwards that doesn't have the (Bm)]
TIP: This is one of those rare songs that begins with a (Bm). So try starting off with
a full (Bm) using a barre across the entire 2nd fret. Form up in the 1-2-3-4 pattern
(fig 1), then lift off the index finger and lay it across the 2nd fret (fig 2). (Bm)
will come along again later in the song and you can play it with three fingers.
( -> )
Bm A D
It's by far the hardest thing I've ever done.
G D Em A A7
To be so in love with you, and so alone.
D G D G
Follow me where I go, what I do and who I know.
D Em A A7
Make it part of you to be a part of me.
D Em D G
Follow me up and down, all the way and all around.
D G A7 D
Take my hand and say you'll follow me.
A G D
It's long been on my mind you know it's, been a long long time.
Bm A G A
I've tried to find the way that I can make you understand.
G D G D
The way I feel about you and just how much I need you.
G D Em G A A7
To be there where I can talk to you, when there's no one else around.
D G D G
D Em A A7
D Em D G
D G A7 D
A G D
You see I'd like to share my life with you, and show you things I've seen.
Bm A G A
Places that I'm going to, places where I've been.
G D G D
To have you there beside me and never be alone.
G D Em G A
And all the time that you're with me, we will be at home.
D G D G
D Em A A7
D Em D G
Follow me up and down, all the wayyy-yy.
D G A7 D A D
FOLLOW ME
John Denver
https://www.youtube.com/watch?v=VzykTaH5ZwM (Capo 2)
Am G C
It's by far the hardest thing I've ever done.
F C Dm G G7
To be so in love with you, and so alone.
C F C F
C F G G7
C Dm C F
C F G C
G F C
It's long been on my mind you know it's, been a long long time.
Am G F G
I've tried to find the way that I can make you understand.
F C F C
The way I feel about you and just how much I need you.
F C Dm F G G7
To be there where I can talk to you, when there's no one else around.
C F C F
C F G G7
C Dm C F
C F G C
G F C
You see I'd like to share my life with you, and show you things I've seen.
Am G F G
Places that I'm going to, places where I've been.
F C F C
To have you there beside me and never be alone.
F C Dm F G
And all the time that you're with me, we will be at home.
C F C F
C F G G7
C Dm C F
Follow me up and down, all the wayyy-yy.
C F G C F C
FOLSOM PRISON BLUES
Johnny Cash
https://www.youtube.com/watch?v=_Xyp63MaSBs (Capo 2)
INTRO: B7 B7 E
I hear the train a-comin', it's rollin' 'round the bend,

E7
And I ain't seen the sunshine since, I don't know when.
A7 E E E
I'm stuck in Folsom Prison, and time keeps draggin' on.
B7 E
But that train keeps a-rollin', on down to San Antone.
When I was just a baby, my momma told me "Son,

E7
Always be a good boy don't ever play with guns."
A7 E E E
But I shot a man in Reno, just to watch him die.
B7 E
When I hear that whistle blowin', I hang my head and cry.
E E E E, A A A A, E E E E, B7 B7 B7 E
I bet there's rich folks eatin' in a fancy dinin' car.

E7
They're prob'ly drinkin' coffee, and smokin' big cigars.
A7 E E E
Well I know I had it comin', I know I can't be free.
B7 E
But those people keep a-movin', and that's what tortures me.
E E E E, A A A A, E E E E, B7 B7 B7 E
Well if they freed me from this prison if that railroad train was mine,
E7
I bet I'd move it all a little farther down the line.
A7 E E E
Far from Folsom Prison, that's where I'd want to stay.
B7 E
And I'd let that lonesome whistle, blow my blues away.
OUTRO: B7 B7 E |E|
FOR BABY
John Denver
https://www.youtube.com/watch?v=pgOU1h12G_w (Capo 0)
INTRO: G C G
C G C D7 G
I’ll walk in the rain by your side. I’ll cling to the warmth of your hand.
C D7 G C G D G
I’ll do anything to keep you sat, isfied. I’ll love you more than anybody can.
C D7 G C D7 G
And the wind, will whisper your name to me. Little birds will sing along in time.
C D7 G C C G D G
Leaves will bow down, when you walk by. And morning bells will chime.
C G C D7 G
I’ll be-there when you’re, feelin’ down. To kiss away the tears if you cry.
C D7 G C
I’ll, share with you, all the happiness I’ve found.
G D G
A reflection of the love in your eyes.
C D7 G C D7 G
And I’ll sing you the songs of the rainbow. A whisper of the joy that is mine.
C D7 G C C G D G
And leaves, will bow down, when you walk by. And morning bells will chime.
C G C D7 G
I’ll walk in the rain by your side. I’ll cling to the warmth of your tiny hand.
C D7 G C G D G
I’ll do anything to help you understand. I’ll love you more than anybody can.
C D7 G C D7 G
And the wind, will whisper your name to me. Little birds will sing along in time.
C D7 G C C G D G |G|
Leaves will bow down, when you walk by. And morning belllls will chime.
FOR EMILY, WHEREVER I MAY FIND HER
Simon and Garfunkel
(Simon)
https://www.youtube.com/watch?v=WaWrdwP1YH0 (Capo 3)
[There are two versions of this song in different keys. This version, from the album
"Parsley, Sage, Rosemary and Thyme" and also how S & G usually did it live is in the key
of [D]. But on their Greatest Hits album they do it in [C]. That versions follows
afterwards.]
TIP: (Cmaj7) is just (C) with the bottom string open.
INTRO: D, G; D, G
D G Em D Cmaj7
What a dream I had. Pressed in organdy, clothed in crinoline, of smokey burgundy.
G A
Softer than the rain.
D G Em
I wandered empty streets down, past the shop displays.
D Cmaj7 G A
I heard cathedral bells, tripping down the alleyways, as I walked on.
D G Em
And when you ran to me your, cheeks flushed with the night.
D Cmaj7 G A
We walked on frosted fields, of juniper and lamplight. I held your hand.
D, G G-Em, D, Cmaj7, G A
D G Em D
And when I awoke, and felt you warm and near, I kissed your honey hair,
Cmaj7 G A C G D
With my grateful tears. Oh I love you, girl. Ohhh, I, love, you.
FOR EMILY, WHEREVER I MAY FIND HER
Simon and Garfunkel
(Simon)
https://www.youtube.com/watch?v=kOgmYFTZ2iU (Capo 0)
TIP: (Fmaj7) is just (F) without the bottom string covered.
INTRO: G, C; G, C
G C Am G Fmaj7
What a dream I had. Pressed in organdy, clothed in crinoline, of smokey burgundy.
C D
Softer than the rain.
G C Am
I wandered empty streets down, past the shop displays.
G Fmaj7 C D
I heard cathedral bells, tripping down the alleyways, as I walked on.
G C Am
And when you ran to me your, cheeks flushed with the night.
G Fmaj7 C D
We walked on frosted fields, of juniper and lamplight. I held your hand.
G, C C-Am, G, Fmaj7, C D
G C Am G
And when I awoke, and felt you warm and near, I kissed your honey hair,
Fmaj7 C G F C G
With my grateful tears. Oh I love you, girl. Ohhh, I, love, you.
FOR LOVIN’ ME
Gordon Lightfoot
https://www.youtube.com/watch?v=WpkATS6mjbc (Capo 2)
INTRO: E D-D, E D; E D-D, E G
D D7 G D D7 C D
That's what you get for lovin' me. That's what you get for lovin' me-ee.
G Em A D D7 G
Everything you had is gone, as you can see. That's what you get for lovin' me.
D D7 G D D7 C D
I ain't the kind to hang around. With any new love that I've fou-ound.
G Em A D D7 G
Since movin' is my stock in trade. I'm movin on. I won't think of you when I'm gone.
E D-D, E D; E D-D, E G
D D7 G D D7 C D
So don't you shed a tear for me. Cuz I ain't the love you thought I'd be-ee.
G Em A
I've got a hundred more like you, so don't be blue.
D D7 G
I'll have a thousand 'fore I'm through.
D D7 G D D7 C D
Now there you go you're crying again. Now there you go you're crying aga-in.
G Em A D D7 G
But then someday when your poor heart is on the mend. I just might pass this way again.
E D-D, E D; E D-D, E G
D D7 G D D7 C D
G Em A D D7 G
D D7 G C-G
That's what you get for lovin' me.
FOR LOVIN’ ME – Peter, Paul and Mary
(Lightfoot)
https://www.youtube.com/watch?v=CzT3MNiH7s4 (Capo 4)
INTRO: D D G, D D G
D G D Em D
G Em A D G
D G D Em D
I ain't the kind to hang around. With any new love that I've fou-ound.
G Em A D G
Movin' is my stock in trade. I'm movin on. I won't think of you when I'm gone.
D G D Em D
So don't you shed a tear for me. Cuz I ain't the love you thought I'd be-ee.
G Em A
I've got a hundred more like you, so don't be blue.
D G
I'll have a thousand 'fore I'm through.
D G D Em D
Now there you go you're crying again. Now there you go you're crying aga-in.
G Em A D G
But then someday when your poor heart is on the mend. I just might pass this way again.
D G D Em D
G Em A
Everything you had is gone, as you can see.
D G D D G, C-G
That’s what you get for lovin’ me.
(Peter, Paul & Mary) (Artist Index) - (Main Index) - (Song Index) (This Song)
FOR MY LADY – The Moody Blues
(Thomas)
https://www.youtube.com/watch?v=zF9NbSoJY8g (Capo 0)
TIP: That (C)(C) after "lady" is the little calliope bit.
INTRO: G Dm C G, G Dm C G
G Dm C G
My boat sails stormy seas. Battles o, ceans filled with tears.
Dm C G
At last, my port's in view, now that I've, discovered you.
C Em Am Em
Oh I'd give, my life, so lightly, for my gen, tle lady.
Dm G7 C C C
Give it freely, and completely, to my lady.
G Dm C G
G Dm C G
As life goes drifting by, like a breeze, she'll gently sigh.
Dm C G
And slowly bow her head, then you'll hear, her softly cry.
C Em Am Em
Dm G7 C C C
Fm C Fm C
Words that you say, when we're alone. But actions speak lou, der than words.
Fm C Am Dm G
But all I can say, is "I love you so." Drive away all my hurt.
C Em Am Em
Dm G7 C C C
G Dm C G, G Dm C G
G Dm C G
Set sail before, the sun. Feel the warmth, that's just begun.
Dm C G
Share-each, and every dream, they belong, to everyone.
C Em Am Em
Dm G7 C C C-|C|
(The Moody Blues) (Artist Index) - (Main Index) - (Song Index) (This Song)
FOR NO ONE – The Beatles
(Lennon/McCartney)
[Sorry, I could not find or create an arrangement with friendly chords that matches the
original recording. But this one is pretty and fairly easy to play.]
TIP: Prior to the (Fmaj) you’ll be playing (C) so just keep the index finger down and
drop the ring and middle fingers down one string. After the (Fmaj7/A) just drop your
index finger down on the bottom two strings as a mini-barre for the (Gsus4).
TIP: Not too fast.
C Em
Your day breaks, your mind aches,
Am C Fmaj7 Gsus4 C
You find that all her words of kindness linger on when she no longer needs you.
Em
She wakes up, she makes up,
Am C Fmaj7 Gsus4 C
She takes her time and doesn't feel she has to hurry, she no longer needs you.
Dm A7 Dm A7 Dm A7
And in her eyes you see nothing, no sign of love behind the tears, cried for no one,
Dm A7 Dm Gsus4 G
A love that should have lasted years.
C Em
You want her, you need her,
Am C Fmaj7 Gsus4 C
And yet you don't believe her when she says her love is dead. You think she needs you.
C Em Am C Fmaj7 Gsus4 C
Dm A7 Dm A7 Dm A7
Dm A7 Dm Gsus4 G
C Em Am C Fmaj7
You stay home, she goes out, she says that long ago she knew someone,
Gsus4 C
But now he's gone she doesn't need him.
Em Am C Fmaj7
Your day breaks, your mind aches, there will be times when all the things she said
Gsus4 C
Will fill your head. You won't forget her.
Dm A7 Dm A7 Dm A7
Dm A7 Dm Gsus4 G
FOR THE GOOD TIMES – Ray Price
(Kristofferson)
https://www.youtube.com/watch?v=phLlo_t-z-U (Capo 1)
INTRO: Em A7 D
Em A7 D
Don't look so sad, I know it's over.
Em A7 D
But life goes on, and this old world, will keep on turning.
G A7 D
Let's just be glad, we had some time, to spend together.
G Em A7
There's no need, to watch the bridges, that we're burning.
D A7 A A7 D A7
Lay your head, upon my pillow. Hold your warm and tender body, close to mine.
D D7 G Gm
Hear the whisper, of the raindrops, blowing soft, against the window.
A7 Em G A7 D A7 D
And make believe you love me, one more time. For the good times.
Em A7 D
I'll get along, you'll find another.
Em A7 D
And I'll be here, if you should find, you ever need me.
G A7 D
Don't say a word, about tomorrow, or forever.
G Em A7
There'll be time, enough for sadness, when you leave me.
D A7 A A7 D A7
Lay your head, upon my pillow. Hold your warm and tender body, close to mine.
D D7 G Gm
Hear the whisper, of the raindrops, blowing soft, against the window.
A7 Em G A7 D A7 D
And make believe you love me, one more time. For the good times.
(Ray Price) (Artist Index) - (Main Index) - (Song Index) (This Song)
FOR WHAT IT'S WORTH - Buffalo Springfield
(Stills)
https://www.youtube.com/watch?v=8bl-vbBnJ3I (Capo 0)
TIP: Notice the (E) that would normally start the song is played at the end of the
intro. Same thing happens at the end the chorus before the next verse.
INTRO: E A, E A, E
A E A
There's somethin' happenin' here. What it is ain't exactly clear.
E A E A
There's a man with a gun over there. Telling me, I got to beware.
E D
I-think-it's-time-we stop, children what's that sound?
A C E E A, E A, E
Everybody look what's goin' dow-own?
A E A
There's battle lines being drawn. Nobody's right, if everybody's wrong.
E A E A
Young people speakin' their minds. Gettin' so much resistance from behind.
E D
It’s-time-we stop, hey what's that sound?
A C E E A, E A, E
E A G E A G
What a field day for the heat. A thousand people in the street.
E A G E A
Singin' songs and a carryin' signs. Mostly sayin' hooray for our side.
E D
It’s-time-we stop, hey what's that sound?
A C E E A, E A, E
A E A
Par-a-noia strikes deep. Into your life it will creep.
E A
It starts when you're always afraid.
E A
You step out of line, the man come, and take you away.
E D
We better stop, hey what's that sound?
A C E D
Everybody look what's going down-you-better stop, hey what's that sound?
A C E D
Everybody look what's going down you-better stop, now what's that sound?
A C E D
Everybody look what's going down stop, children what's that sound?
A C E E A, E A . . . <repeat and fade or end on |E|>
Everybody look what's going dow - own.
(Buffalo Springfield) (Artist Index) - (Main Index) - (Song Index) (This Song)
FOREVER YOUNG - Bob Dylan/Joan Baez
(Dylan)
https://www.youtube.com/watch?v=-4UoJ47SzjA (Capo 2)
TIP: This version is Joan's (gussied up as usual) cover of Dylan's classic. Bob usually
plays the chorus immediately after the first verse while Joan plays the first two verses
together.
INTRO: G C G C G
D
May God bless and keep you always, may your wishes all come true.
Em C G
May you always do for others, and let others do for you.
D
May you build a ladder to the stars, and climb on every rung.
C D G C G
May you sta-a-a-ay, forever young.
D
May you grow up to be righteous, may you grow up to be true.
Em C G
May you always know the truth, and see the lights surrounding you.
D
May you always be courageous, stand upright and be strong.
C D G C G
And may you sta-a-a-ay, forever young.
D Em C
Forever young, forever youn-un-ung.
G D Em Em G
D
May your hands always be busy, may your feet always be swift.
Em C G
May you have a strong foundation, when the winds of changes shift.
D
May your heart always be joyful, and may your song always be sung.
C D G C G
And may you sta-a-a-ay, forever young.
D Em C
Forever young, forever youn-un-ung.
G D G C D C G, G C D C G
(Bob Dylan) (Joan Baez) (Artist Index) - (Main Index) - (Song Index) (This Song)
FORTUNATE SON - Creedence Clearwater Revival
(Fogerty)
https://www.youtube.com/watch?v=ec0XKhAHR5I (Capo 0)
TIP: For the intro, form the chord and strike/stab the middle three strings twice.
INTRO: G F C G, G F C G
F C G
Some folks are born, made to wave the flag. Ooooh they're red white and blue.
F C G
And when the band plays "Hail to the Chief", ooh they point the cannon at you Lord.
D C G
It ain't me, it ain't me, I ain't no senator's son son.
D C G
It ain't me, it ain't me, I ain't no fortunate one no.
F C G
Some folks are born, silver spoon in hand. Lord don't they help themselves y'all.
F C G
But when the taxman comes to the door, Lord the house looks like a rummage sale yeah.
D C G
It ain't me, it ain't me, I ain't no millionaire's son no.
D C G
It ain't me, it ain't me; I ain't no fortunate one no.
G7 C F G, G7 C F G
F C G
Yeah, some folks inherit star spangled eyes. Ooh they send you down to war Lord.
F
And when you ask them "How much should we give?"
C G
Ooh they only answer more, more, more y'all.
D C G
It ain't me, it ain't me, I ain't no military son son.
D C G
It ain't me, it ain't me, I ain't no fortunate one one.
D C G
It ain't me, it ain't me, I ain't no fortunate one, no no no.
D C G |G|
It ain't me, it ain't me, I ain't no fortunate son, no no no.

FRIENDS IN LOW PLACES – Garth Brooks
(Blackwell/Lee)
https://www.youtube.com/watch?v=p0_der_5hRM (Capo 0)
TIP: In the first verse you'll see chords in |brackets|. This means strum the chord
once at that position. Notice after "champagne" you start your normal chord strumming.
TIP: You can kiss my ass. Yeah, that verse is included even though it's not on the
studio version.
INTRO: |A|, |A7|, |Bm|, |E|
(NC) |A| |A7| |Bm| |Bm|

Blame it all on my roots, I showed up in boots. And ruined your black tie affair.
|E| |E7|
The last one to know, the last one to show
|A|
I was the last one you thought you'd see there.
|A| |A7| |Bm| |Dm|
And I saw the surprise, and the fear in his eyes, when I took his glass of champagne.
E E7 E
And I toasted you said “Honey we may be through. But you'll never hear me complain.”
A
'Cause I got friends in low places
Bm E
Where the whiskey drowns and the beer chases my blues away. And I'll be okay.
A A7
Now I'm not big on social graces think I'll slip on down to the oasis.
Bm E A
Oh I got friends, in low places.
A . . . Bm E A
A7 Bm
Well I guess I was wrong, I just don't belong. But then, I've been there before.
E E7 A
Everything's all right. I'll just say goodnight and I'll show myself to the door.
A7 Bm Dm
Hey I didn't mean, to cause a big scene. Just give me an hour and then.
E E7 E
Well I'll be as high as that ivory tower, that you're livin' in.
A
Bm E
A A7
Now I'm not big on social graces think I'll slip on down to the oasis.
Bm E A
A . . . Bm E A
A7 Bm
I guess I was wrong, I just don't belong. But then, I've been there before.
E E7 A
Everything's all right. I'll just say goodnight and I'll show myself to the door.
A7 Bm Dm
I didn't mean, to cause a big scene. Just wait 'til I finish this glass.
E E7 E
Then sweet little lady I'll head back to the bar, and you can kiss my ass.
A
Bm E
A A7
I'm not big on social graces think I'll slip on down to the oasis.
Bm E A
A
I got friends in low places
Bm E
A A7
I'm not big on social graces think I'll slip on down to the oasis.
Bm E A
(Garth Brooks) (Artist Index) - (Main Index) - (Song Index) (This Song)
FROM HELL TO PARADISE - The Mavericks
(Malo)
https://www.youtube.com/watch?v=OYIjLs6tpwo (Capo 0)
TIP: The whole song is just (G)(C)(D) with a strumming pattern that has a two-count on
each chord. Hit the top three strings with an abbreviated down stroke on the first beat
of the chord followed by a full strum of the same chord.
TIP: In the verse the (D) sometimes comes on a downstroke following the preceding word
as Raul briefly pauses before progressing to the following word. You'll hear it when you
play.
TIP: Raul sings the last verse in Spanish but there's a loose translation in English
included.
INTRO: G C D D, G C D D, G C D D, G C D D, G C D D
G C D
For thirty years they sang the song of, promised victory.
G C G
But who they've fought and who has won didn't, matter much to me.
G C D
Well I see them drivin' down the streets in their, fancy shiny cars.
G C D
Crowds of people to their feet and their faces full of scars.
G C D
And no pleasantries no luxuries and no, little children's milk.
G C D
While minister's wives spent all their lives in, China's finest silk.
G C D
Well my back's been broken many times but my, spirit lingers on.
G C D
The day it comes my way on freedom's ship I will be gone.
G C D G C D
From hell to paradise. I'll always pay the price.
G C D G C D
From hell to paradise. I'll always pay the priiice.
G C D D, G C D D, G C D D, G C D D, <softly> G C D D
G C D
This ninety mile trip has taken, thirty years to make.
G C D
They tried to keep forever what was never theirs to take.
G C D
Well I cursed and scratched the Devil's hand as he, stood in front of me.
G C D
And one last drag from his big cigar and he finally set me free.
G C D G C D
G C D G C D
G C D D, G C D D, G C D D, G C D D
G C D G C D
G C D G C D
G C D D
G C D
Con ojos tiernos algun dia te mi ra re.
G C D
Con brasos a biertos algun dia abra sa re.
G C D
Hay me Havana dia cuando pueda regre sa re.
G C D
<English translation> (With tender eyes someday I will look at you.)
G C D
(With open arms someday I will embrace you.)
G C E
(My old Havana someday I will return to you.)
G C D D, G C D D, G C D D, |G|
FUN FUN FUN – The Beach Boys
(Love/Wilson)
https://www.youtube.com/watch?v=dDHErN3dOkc (Capo 1)
TIP: With all the overlapping melody lines it’s rather difficult to keep the flow
without one singer concentrating on the main line and another singer taking care of the
overlap. The funky spacing of the lyrics shows when the overlaps occur.
INTRO: D D D D G G D D A G D A
D G
Well she got her daddy's car and she cruised through the hamburger stand now.
D A
Seems she forgot all about the library like she told her old man now.
D G
And with the radio blasting goes cruising just as fast as she can now.
D G A D
And she'll have fun fun fun til her daddy takes the T-bird away.
||| G A7
(Fun fun fun 'til her daddy
A D
takes the T-bird away.)
|||
A D G
Well the girls can't stand her cause she walks looks and drives like an ace now
|||
(You
walk like an ace now you walk like an ace)
D A
She makes the Indy 500 look like a Roman chariot race now.
|||
(You look like an ace now you look like
an ace)
D G
A lotta guys try to catch her but she leads them on a wild goose chase now.
|||
(You drive like an ace
now you drive like an ace)
||| D G A D
And she'll have fun fun fun til her daddy takes the T-bird away.
|||
(Fun fun fun
G E A
'til her daddy takes the T-bird away.)
A D D A A E A
D G
Well you knew all along that your dad was gettin' wise to you now.
|||
(You shouldn't have lied now you
shouldn't have lied)
D A
And since he took your set of keys you've been thinking that your fun is all through now
|||
(You shouldn't
have lied now you shouldn't have lied)
D G
But you can come along with me cause we gotta a lot of things to do now
|||
(You shouldn't have lied
now you shouldn't have lied)
||| D G A D
And we'll have fun fun fun now that daddy took the T-bird away.
||| G
(Fun fun fun
A7 A
now that daddy took the T-bird
||| D G A D
And we'll have fun fun fun now that daddy took the T-bird away
|||
(Fun
G A7 E
fun fun now that daddy took the T-bird)
||| A
Oooh wee,
D G A
Ooh wee-ee-ee-ee-ee. (Fun fun now her daddy took the T-bird) ooh wee.
D G A
D G A
D G A
D G A
D |D|
Ooh wee-ee-ee-ee-ee.
THE GAMBLER – Kenny Rogers
(Schlitz)
https://www.youtube.com/watch?v=7hx4gdlfamo (Capo 1)
TIP: The original has a semi-tone shift (all chord are sharped) in the second half of
the song which makes things unnecessarily messy. I've kept it simple for playing
purposes, which means the second half won't match the recording unless you slide the capo
up one fret where indicated.
TIP: You can play an (A) or an (A7), whichever sounds better to you.
INTRO: D G A G
D G D
On a warm summers evenin’, on a train bound for nowhere.
A7
I met up with the gambler, we were both too tired to sleep.
D G D
So we took turns a starin’, out the window at the darkness.
G D A7 D
Til boredom overtook us, and he began to speak.
G D
He said son I've made a life, out of readin' peoples faces.
A7
And knowin’ what their cards were, by the way they held their eyes.
D G D
So if you don't mind my sayin’, I can see you’re out of aces.
G D A7 D
For a taste of your whiskey, I'll give you some advice.
G D
So I handed him my bottle, and he drank down my last swallow.
A7
Then he bummed a cigarette, and asked me for a light.
D G D
And the night got deathly quiet, and his face lost all expression.
G D A7 D
Said “If you’re gonna play the game boy, ya gotta learn to play it right.
G D
You got to know when to hold em, know when to fold em,
G D A7
Know when to walk away, and know when to run.
D G D
You never count your money, when you’re sittin’ at the table.
G D A7 D
There'll be time enough for countin, when the dealin’s done.
<capo +1>
G D
Every gambler knows, that the secret to survivin’,
A7
Is knowin’ what to throw away, and knowing what to keep.
D G D
Cause every hand’s a winner, and every hands a loser,
G D A7 D
And the best that you can hope for is to die in your sleep.”
G D
And when he’d finished speakin’, he turned back towards the window.
A7
Crushed out his cigarette, and faded off to sleep.
|D| |G| |D|
And somewhere in the darkness, the gambler he broke even.
|G| |D| |A7| |D|
But in his final words I found an ace that I could keep.
G D
G D A7
D G D
G D A7 D
G D
G D A7
D G D
G D A7 D
G D
G D A7
D G D
G D A7 D
GARDEN PARTY
Rick Nelson
https://www.youtube.com/watch?v=-JNcWvHTLjc (Capo 0)
INTRO: D A G A D
Oooh oooh ooooh oooo oooh.
G D G
I went to a garden party, to reminisce with my old friends.
D A D G A D
And a chance to share old memories, and play our songs again.
G D G
When I got to the garden party, they all knew my name.
D A G A D
But no one recognized me, I didn't look the same.
G A D G A D
But it's, all right now, I learned my lesson well.
G D G A D
You see you, can't please everyone so ya, got to please yourself.
A G D G
People came, from miles around, everyone was there.
D A G A D
Yoko brought her walrus, there was, magic in the air.
G D G
And over in the corner, much to my surprise,
D A D G A D
Mr. Hughes hid in Dylan's shoes, wearing his disguise.
G A D G A D
G D G A D
G A D G A D G D G-A-D
Lot n da n da, la n da da da,
G D G
Played them all the old songs, thought that's why they came.
D A G A D
No one heard the music, we didn't look the same.
G D G
I said hello, to "Mary Lou", she belongs to me.
D A D G A D
When I sang a song about a honky tonk, it was time to leave.
G A D G A D
G D G A D
G A D Bm G A D G D G-A-D
Lot n da n da, la n da da da, la n da da da
A D G D G
Someone opened up, the closet door, and out stepped Johnny B. Goode.
D A D G A G A D
Playin' guitar like a ringin' a bell, and lookin' like he should.
G D G
If you gotta play at garden parties, I wish you a lotta luck,
D A D G A D
But if memories, were all I sang, I'd rather drive a truck.
G A D G A D
G D G A D
G A D Bm G A D G D G-A-D
Lot n da n da, la n da da da, la n da da da
G A D G A D
And it's, all right now, I learned my lesson well.
G D G A D
OUTRO: T2 T3 T4 5O - 5/2 - 5/4 - 4O <which is:> f# - g – g# a – b –c# - d
(Rick Nelson) (Artist Index) - (Main Index) - (Song Index) (This Song)
GENTLE ON MY MIND – Glen Campbell
(Hartford)
https://www.youtube.com/watch?v=mfMnNqn-hKg (Capo 1)
INTRO: D
Em
It's knowin' that your door is always open and your path is free to walk.
A7 D
That makes me tend to leave my sleepin' bag rolled up and stashed behind your couch.
And it's knowin' I'm not shackled by forgotten words and bonds,
Em
And the ink stains that have dried upon some line.
A7
That keeps you in the back roads, by the rivers of my memory,
D
That keeps you ever gentle on my mind.
Em
It's not clingin' to the rocks and ivy planted on their columns now that bind me.
A7 D
Or something that somebody said because they thought we fit together walkin'.
It's just knowing that the world will not be cursing, or forgiving,
Em
When I walk along some railroad track and find.
A7
That you're movin' on the back roads by the rivers of my memory,
Em A7 D
And for hours you're just gentle on my mind.
Though the wheat fields and the clothes lines

Em
And the junkyards and the highways come between us.
A7 D
And some other woman's cryin' to her mother 'cause she turned and I was gone.
I still might run in silence, tears of joy might stain my face,

Em
And the summer sun might burn me till I'm blind.
A7
But not to where I cannot see you walkin' on the backroads,
Em A7 D
By the rivers flowin' gentle on my mind.
Em
I dip my cup of soup back from a gurglin' cracklin' cauldron in some train yard.
A7 D
My beard a rustlin' coal pile, and a dirty hat pulled low across my face.
Em
Through cupped hands 'round a tin can I pretend to hold you to my breast and find.
A7
That you're waitin' from the backroads by the rivers of my memories,
Em A7 D D . . . <repeat and fade or end with final |D|>
Ever smilin' ever gentle on my mind.
(Glen Campbell) (Artist Index) - (Main Index) - (Song Index) (This Song)
GEORGY GIRL - The Seekers
(Springfield/Dale)
https://www.youtube.com/watch?v=2lIy9SA3Y5g (Capo 4)
TIP: In the chorus strum the |D7| once and hold, singing "a little bit" with no chord.
INTRO: <the whistling bit> G D C D, G D C D
G D C D G Em Am D
Hey there, Georgy girl, swingin' down the street so fancy free.
G Em C F |D7|
Nobody you meet could ever see the loneliness there, inside you.
G D C D G Em Am D
Hey there, Georgy girl, why do all the boys just pass you by?
G Em C F D
Could it be you just don't try or is it the clothes you wear?
Em D C G
You're always window shopping but never stopping to buy.
B7 Em A D |D7|
So shed those dowdy feathers and fly, a little bit.
G Bm C D G Em Am D
Hey there, Georgy girl, there's another Georgy deep inside.
G Em C D7 Em
Bring out all the love you hide and oh what a change there'd be.
C D G C G D
The world would see, a new Georgy girl.
G D C D, G D C D
G D C D, G Em Am D, G Em C C F, D
G D C D G Bm Am D
Hey there, Georgy girl dreamin' of the someone you could be.
G Bm C F D Dsus2 D
Life is a reality, you can't always run away.
Em D C G
Don't be so scared of changing and rearranging yourself.
B7 Em A D |D7|
It's time for jumping down from the shelf, a little bit.
G D C D G Em Am D
Hey there, Georgy girl, there's another Georgy deep inside.
G Em C D7 Em
Bring out all the love you hide and oh what a change there'd be.
C D G D C D G D C
The world would see, a new Georgy girl. Wake up Georgy Girl.
D G D C D G D C D |G|
Come on George girl. Wake up Georgy Girl. Come on George Girl.
GET A HAIRCUT - George Thorogood
(Avery/Birch)
https://www.youtube.com/watch?v=Adz1aWRsDw8 (Capo 0)
INTRO: G
I was a rebel from the day I left school. Grew my hair long and broke all the rules.
C D
I'd sit and listen to my records all day, 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| G
Get a haircut and get a real jo-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 G
Get a haircut and get a real job?
I even tried that 9 to 5 scene. I told myself that it was all a bad dream.
C D
I found a band and some good songs to play and now I, 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 |D| G
They took one look at me and said "Oh my God. Get a haircut and get a real jo-ob."
C
D G
C
Get a real job. Why don't you get a real job?
D G
C
D G G G, C, D
Get a real job. Why don't you get a real job.
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
C
D G
C
D G
G G C D G, G G C D G, G G C D G
(George Thorogood) (Artist Index) - (Main Index) - (Song Index) (This Song)
GET BACK – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=IKJqecxswCA (Capo 0)
[The version that wound up on the “Let It Be” album was an edit of a studio take and the
concert on the roof of Apple studios. It was also released as a single that includes a
follow on coda. This is the live/album version.]
TIP: For the opening thrum of (A) in the intro aim for the 5th through 3rd string in a
quick down and up pattern, so on the downstroke you start with the 5th string and on the
upstroke you start with the 3rd string, both are note <a>. This strum pattern is a quick
1-2-3-4, 1-2-3-4 and is played throughout the song.
INTRO <spoken>: Rosetta. Sweet Loretta Fart she thought she was a cleaner but she was a
frying pan. Rosetta. The picker, picks with her fingers burning. Ooh.
Okay.
INTRO: <thrumming> A A A A |G|-|D|
A A7 D A
Jo Jo was a man who thought he was a loner but he knew it couldn't last.
A7 D A
Jo Jo left his home in Tuscon Arizona for some California grass.
A7 D A |G|-|D|
Get back, get back, get back to where you once belonged.
A7 D A
Get back, get back, get back to where you once belonged (get back Jo Jo).
<guitar> A A D A |G|-|D|, A A D A |G|-|D|
A7 D A |G|-|D|
Get back, get back, get back to where you once belonged.
A7 D A
Get back, get back, get back to where you once belonged . . . (Get back Jo).
<electric piano> A A D A , A A D A |G|-|D|
A A7 D A
Sweet Loretta Martin thought she was a woman but she was another man.
A7 D A
All the girls around her say she's got it comin' but she gets it while she can.
A7 D A |G|-|D|
Oh get back, get back, get back to where you once belonged.
A7 D A
Get back, get back, get back to where you once belonged (get back Loretta).
<guitar> A A D A |G|-|D|, A A D A |G|-|D|
A7 D A
Oh get back, yeah get back, get back to where you once belonged.
D |A|
Get back, get ba-a-ack, get back to where you once belonged. Get back. Ooooh.
(I’d like to say thank you on behalf of the group and ourselves I hope we passed the
audition.)
GET TOGETHER – The Youngbloods
(Powers)
https://www.youtube.com/watch?v=nBJYxPN8qIA (Capo 0)
TIP: Unless you're 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 <d> in the middle
register (5th string/4th fret) and then shift to note <a> (3rd string/2nd fret) in a
higher register for the second line in each verse.
INTRO: A, G, A, G, A
G
Love is but a song to sing. Fear's the way we die.
A G
You can make the mountains ring, or make the angels cry.
A G
Though the bird is on the wing, and you may not know why.
D E A
Come on people now, smile on your brother everybody get together.
D E A A
Try to love one another right now.
G
Some may come and some may go. We shall surely pass.
A G
When the one that left us here, returns for us at last.
A G
We are but a moment's sunlight, fading in the grass.
D E A
D E A A
D E A
Come on people now, <up inflection> smile on your brother everybody get together.
D E A
A . . . G G, A . . . G G, A . . . G
D E A
D E A A
A, G, A, G, A
G
If you hear the song I sing, you will understand. Listen.
A G
You hold the key to love and fear, in your trembling hand.
A G G
Just one key unlocks them both. It's there at your command.
D E A
D E A A
D E A
D E A A
D E A
I said, come on people now, <up inflection> smile on your brother everybody get together.
D E A A
Try to love one another right now. Right now. Right now.
(The Youngbloods) (Artist Index) - (Main Index) - (Song Index) (This Song)
GHOST RIDERS IN THE SKY – Frankie Laine/Johnny Cash
(Jones)
https://www.youtube.com/watch?v=Mynzbmrtp9I (Capo 1)
TIP: The middle refrain of “sky” at the end is sung with an up-inflection and there's a
reminder.
INTRO: Am
C
An old cowboy went ridin' out one dark and windy day.
Am C E
Up on a ridge he rested as he went along his way.
Am
When all at once a mighty herd of red-eyed cows he saw,
F Dm Am
Plowin' through the ragged skies, and up a cloudy draw.
C
Their brands were still on fire and their hooves were made of steel.
Am C E
Their horns were black and shiny and their hot breath he could feel.
Am
A bolt of fear went through him as they thundered through the sky,
F Dm Am
For he saw the riders comin' hard, and he heard their mournful cry.
C Am F Am
Yipie i oh, yipie i ay. Ghost riders in the sky.
Am C, Am C E, Am F Dm Am
C
Their faces gaunt their eyes were blurred their shirts all soaked with sweat.
Am C E
He's ridin' hard to catch that herd but he ain't caught 'em yet'.
Am
'Cause they've got to ride forever on that range up in the sky,
F Dm Am
On horses snorting fire, as they ride on hear their cry.
C
As the riders loped on by him he heard one call his name.
Am C E
"If you want to save your soul from hell a riding on our range.
Am
Then cowboy change your ways today or with us you will ride.
F Dm Am
Tryin' to catch the devil's herd, across these endless skies."
C Am F Am
Yipie i oh, yipie i ay. Ghost riders in the sky.
F Am F Am Am Am Am Am
Ghost riders in the <up inflection> sky. Ghost riders in the sky.
(Frankie Laine) (Johnny Cash) (Kid Friendly) (Artist Index)

GIMME SOME MONEY – Spinal Tap
(McKean/Guest/Shearer/Reiner)
https://www.youtube.com/watch?v=I-BYzaDwNoE (Capo 0)
TIP: The rhythm is a little tricky. At the end of the line finish with a single strum
and palm mute which will form the (NC) for the first word of the following line.
TIP: Going into the instrumental if you can remember to play the final (A) with your
bottom fingers it’ll make sliding up to the (B) on “Oh (B) yeah!” For the (Asus4) just
slide your bottom finger up one fret and then back down for the next (A).
INTRO: <strum rapidly> A x 12 <palm mute>
NC E A-D-|E| <palm mute>

Stop wasting my time.
You know what I want.
NC A D-C-|A| <palm mute>
You know what I need.
Or maybe you don't.
NC B
Do I have to come right flat out and tell you everything.
E A E A E A E A
Gimme some money-ey, gimme some money-ey.
B B <strum rapidly> A x 12 <palm mute>

I’m nobody’d fool.
I’m nobody’s clown.
I’m treating you cool.
I’m putting you down.
NC B
But baby I don’t intend to leave empty handed.
E A E A E A E A
B B <strum rapidly> A x 12
Oh yeah! Go Nigel go!
E A E A E A E A, A Asus4 A Asus4, E A E A E B A
E A E A E A E <palm mute>
Don’t get me wrong.
Try getting me right.
Your face is okay.
But your purse is too tight.
NC B
I’m looking for pound notes loose change bad checks anything.
E A E A E A E A
E A E A E A E A
E A E A E A E A
E A E A |E|
Gimme some money-ey.
(Spinal Tap) (Artist Index) - (Main Index) - (Song Index) (This Song)
GIRL - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=-8l3ntDR_lI (Capo 3)
Am E7 Am
Is there anybody going to listen to my story.
Dm C E7
All about the girl who came to stay?
Am E7 Am
She's the kind of girl you want so much it makes you sorry.
Dm Am E7
Still you don't regret a single day.
C Em Dm G7 C Em Dm-G7
Ah gir- irl ssssss. Girl girl.
Am E7 Am
When I think of all the times I've tried so hard to leave her,
Dm C E7
She will turn to me and start to cry.
Am E7 Am
And she promises the earth to me and I believe her.
Dm Am E7
After all this time I don't know why.
Dm A Dm
She's the kind of girl who puts you down when friends are there you feel a fool.
A
Tit tit tit tit tit, tit tit tit tit tit tit tit tit.
Dm
When you say she's looking good,
A Dm F
She acts as if it's understood she's cool, ooh, ooh, ooh.
Gir- irl ssssss. Girl girl.
Am E7 Am
Was she told when she was young that pain would lead to pleasure?
Dm C E7
Did she understand it when they said.
Am E7 Am
That a man must break his back to earn his day of leisure?
Dm Am E7
Will she still believe it when he's dead?
Am E7 Am7 Am-Am7 Dm C E7, Am E7 Am7 Am-Am7 Dm C E7 E
C Em Dm G7 C Em Dm-G7 |C|
Gir- irl ssssss. Girl girl.
THE GIRL FROM YESTERDAY - Eagles
(Tempchin/Frey)
https://www.youtube.com/watch?v=7oFxmgvNtoU (Capo 0)
INTRO: |C|-|Bm|-|Am|-G, D G, D7
G G7 C
It wasn't really sad, the way they said good-bye.
D D7 G D
Or maybe it just hurt so bad, she couldn't cry.
G G7 C
He packed his things walked out the door, and drove away.
G D7 G D7
And she became, the girl from yesterday.
G G7 C
He took a plane across the sea, to some foreign land.
D D7 G D
She stayed at home and tried so hard, to understand.
G G7 C
How someone who had been so close, could be so far away.
G D7 G
And she became, the girl from yesterday.
D C G
She doesn't know what's right. She doesn't know what's wrong.
Bm G Em C D7
She only knows the pain that comes from waiting for so long.
C G C G
And she doesn't count the teardrops, that she's cried while he's away.
Em D G C D
Because she knows deep in her heart that he'll be back someday.
G G7 C, G D G, E
A D
The light's on in the window, she's waiting by the phone.
E E7 A E7
Talking to a memory that's never coming home.
A D
She dreams of his returning, and the things that he might say,
A E7 A D
But she'll always be, the girl from yesterday.
A E7 D |E|-|D|-|A|
Yeah she'll always be, the girl from yesterday.

GLORY DAYS
Bruce Springsteen
https://www.youtube.com/watch?v=nvUOgIgLqOQ (Capo 2)
INTRO: G C-G, C F-C; G C-G, C F-C
G C-G, C F-C; G C-G, C F-C
G C G C
I had a friend was a big baseball player, back in high school.
G C G C
He could throw that speedball by you, make you look like a fool boy.
D C
Saw him the other night at this, roadside bar I was walking in, he was, walkin' out.
D C D
We went back inside sat down, had a few drinks, but all he kept talkin' about
G C G C
Was glory days, well they'll pass you by. Glory days, in the wink of a young girl's eye.
G D G C-G, C F-C
Glory days, glory daaa-aa-ayys.
G C
Well there's a girl, that lives up the block.
G C
Back in school she could turn all the boys' heads.
G C G C
Sometimes on a Friday I'll stop by and have a few drinks, after she put her kids to bed.
D C
Her, husband Bobby, well, they split up, I guess it's two years gone by now.
D
We just sit around, talkin' about the old times,
C D
She says when she feels like cryin' she starts laughin', thinkin' about
G C G C
Glory days, yeah-they'll pass you by. Glory days, in the wink of a young girl's eye.
G D G C-G, C F-C
D-D4-D, D-D4-D, C F-C |D|-|D|-|D|

Whoo.
G C G C
Think I'm going down to the, well tonight and I'm gonna, drink till I get my fill.
G C G C
And I hope when I get old I don't sit around thinkin' about it, but I probably will.
D C
Yeah just sitting back, tryin' to recapture, a little of the, glory of,
D C D
Well the time slips away and, leaves you with nothing mister but, boring stories of
G C G C
Glory days, yeah-they'll pass you by. Glory days, in the wink of a young girl's eye.
G D G C
Glory days, glory daaa-aa-ayys. Yeah they'll pass you by.
G C
Glory days, in the wink of a young girl's eye.
G D G C-G, C F-C
G C-G C F-C G C-G C F-C

Well alright, Oooh yeah. Well alright, Come on now.
Well alright, Oooh yeah. Alright, Come on now.
Whoo hoo, Whoo hoo. Whoo hoo, Whoo hoo.
G C-G C F-C
Alright boys, Keep it rockin' now.
G C-G C F-C, G C-G, C F-C
Keep on goin', We're going on home now.
G C-G C F-C
We're nearly home. Yeah hah.
Bring it home, Oh oh. Alright, Well alright.
Well alright, Well alright. Well alright, Well alright.
G C-G C F-C |G|
Alright, Alright. Let's go.
GOD BLESS AMERICA – Traditional/Kate Smith
(Berlin)
https://www.youtube.com/watch?v=6pZ1brENIjw&t=76s (Capo 5)
TIP: This version adds a reprise like Kate Smith did when she sang it before the
Philadelphia Flyers home games. (Had she still been around for the 1997 Stanley Cup
Finals perhaps they wouldn't have been humiliatingly swept by the Detroit Red Wings.)
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.
TIP: (D4) only appears in the intro and is just (D) with your pinky added to the bottom
string/3rd fret. (Dsus2) is just (D) without the middle finger and it always follows a
(D) so just lift off/on like a toggle. The last note is a (Gadd) so play (G) with your
ring finger on the 2nd string and pinky on the bottom string of the 3rd fret.
INTRO: G C D D4 D <pause>
G D Dsus2 D Dsus2 D D7 G
God bless A mer I ca, land that I love.
C G D G
Stand beside her, and guide her, thru the night with a light from above.
D G C Cmaj7 C Gadd
From the mountains, to the prairies, to the oceans, white-with foam.
C G C G C G D G
God bless A merica, my home, sweet home.
D G C Cmaj7 C Gadd
From the mountains, to the prairies, to the oceans, white-with foam.
C G C G C G D Gadd
God bless A merica, my home, sweet home.
C G C G C G D G CaddG Gadd
God bless A merica, my home . . . sweet . . . home!
(Kate Smith) (Traditional) (Spiritual) (Artist Index)

GOD WILL
Lyle Lovett
https://www.youtube.com/watch?v=oojVDRegR3o (Capo 3)
TIP: There's a four-count step down of |Gadd|-|A|-|Em|-|D| with one strum each, the
first |Gadd| coming on the word "me" followed by the other three chords. This makes the
singing "me" get buried in the mix of the first two chords. So when you're coming up on
"me" do not pause in the singing or the chord sequence, plow right on through.
INTRO: G A D G, G A, |G|-|D|-|A|-|D|
G D
Who keeps on trustin’ you, when you've been cheatin’,
A
And spendin’ your nights on the town?
G D G D A
Who keeps on sayin’, that he still wants you, when you're through runnin’ around?
G D G D A
And who keeps on loving you, when you've been lyin’, sayin’ things ain't what they seem?
G A D G
Well God does, but I don't. God will but I won't
A |Gadd|-|A|-|Em|-|D|
And that's the difference, between God and me.
G D G D
God does, but I don't. God will but I won't
G A |Gadd|-|A|-|Em|-|D|
G A D G, G A, |G|-|D|-|A|-|D|
G D G D
So who says he'll forgive you, and says that he'll miss you,
A
And dream of your sweet memory?
G A D G
A |Gadd|-|A|-|Em|-|D|
G D G D
G A D |G|-|D|-|A|-|D|
And that's the difference, between God . . . and me.
GOING HOME – Mary Fahl
(Osborne/Douglas)
https://www.youtube.com/watch?v=8XtNTJhyEYo (Capo 2)
TIP: The instrumental bridge is a bit of a mess. Just move along with the chords. (D#)
is (D) moved up one string with your pinky added to the 4th string/5th fret. If you can’t
manage to cover that 4th string just take care not to hit it and strum the lower three
strings. To get from (D#) to (Gm) just collapse the index finger to barre the 3rd fret,
holding onto the 4th string if you can.
INTRO: G D, Em C, G D D- G, G G
D Em C
They say there's a place, where dreams have all gone.
G Bm Am D
They never said where, but I think I know.
Em Bm Em C
It’s miles through the night, just over the dawn,
G D G
On the road that will take me home.
D Em C
I know in my bones, I've been here before.
G Bm Am D
The ground feels the same, though the land's been torn.
Em Bm Em C
I'm a long way to go, the stars tell me so,
G D G
On this road that will take me home.
F Em G C F Em C D
Love waits for me round the bend. Leads me en-endlessly on-on.
F Em G C F Em D
Surely sorrows shall find their end, and all, our troubles will be gone.
G D G C
And I’ll know what I've lost, and all that I’ve won,
G D G F
When the road finally takes me home.
<strings> Bb F, Bb D#, D# F, D# Gm, Gm D#, Bb F Bb, D G C G C
G D Em C
And when I pass by, don't lead me astray.
G Bm C D
Don't try and stop me, don't stand in my way.
C G Em C
I'm bound, for the hills, where cool waters flow,
G D G
On this road that will take me home.
F Em G C F Em C D
Love waits for me round the bend. Leads me en-endlessly on-on.
F Em G C F Em D
Surely sorrows shall find their end, and all, our troubles will be gone.
G D G C
And we’ll know what we've lost, and all that we’ve won,
G D G
When the road finally takes me home.
F G F C G
I'm going hooooooome. I'm going hoooo-ome. IIIIIIII'm going home.
(Mary Fahl) (Artist Index) - (Main Index) - (Song Index) (This Song)
GOING UP THE COUNTRY - Canned Heat
(Thomas/Wilson)
https://www.youtube.com/watch?v=p0PjECSyJ7w (Capo 1)
INTRO: <"whistle"> A, A D; D, D A, D A; A E, E A
I'm goin' up the country, baby-don't-you want to go?

D A
I'm goin' up the, country, baby-don't- you want to go?
E E7 A
I'm goin' to someplace where I've never been before.
I'm goin', I'm goin', where the water tastes like wine.
D A
I'm goin', where the, water tastes like wine.
E E7 A
You can jump in the water and stay drunk all the time.
<"whistle"> A, A D; D, D A, D A; A E, E A
I'm gonna leave the city, got to get away.

D A
I'm gonna leave the city, got to get away.
E7 A
All this fussin' and fightin' man you know I sure can't stay.
Now-baby-packin'-up-the-truck-you-know-we've-got-to-leave-today.
D7 A
Just-exactly-where-we're goin'-I-cannot-say but, we might even, leave the U.S.A.
E E7 A
Well it's a brand new game that I don't wanna play.
<"whistle"> A, A D; D, D A, D A; A E, E A
A7 D A
No use of you running, or screaming and cryin'.
E A
Cause you've got a, ho-ome man, long as I've got mine.
<"whistle"> A D, D A; A E-E7, E7 A; D A
A, A D; D, D A, D A; A E, E A, D-A
(Canned Heat) (Artist Index) - (Main Index) - (Song Index) (This Song)
GOING WHERE THE LONELY GO – Merle Haggard
(Haggard/Holloway)
https://www.youtube.com/watch?v=ohyrBDJkksM (Capo 0)
TIP: Play slowly, with a soft rhythm.
TIP: Notice the use of the No Chord (NC). You can just play the preceding chord if you
want but Merle sings a cappella at these points.
INTRO: A
NC D A
Rollin' with the flow. Goin' where the lonely go.
E NC A
Anywhere the lights, are low. Goin', where the lonely go.
D A
Making up things to do. Not runnin' in all directions tryin' to find you.
E NC
I'm just rollin' with the flow. Goin' where the lonely go.
D A
And I've got to keep goin’. I can't lay down.
E A
Sleep won't hardly come, where there’s loneliness all around.
NC D A
I've got to keep goin'. Travlin' down this lonesome road.
E NC A
I'll be rollin' with the flow. Goin’ where the lonely go.
D D A A E E7 A A, D D A A E E7 A A
NC D A
I've got to keep goin’. I can't lay down.
E A
Sleep won't hardly come, where there’s loneliness all around.
D A
I've got to keep goin'. Travlin' down this lonesome road.
E NC A
I'll be rollin' with the flow. Goin’ where the lonely go.
D D A A E E A A, D D A A E E A A, D D A A E7 E7 A A, D |A|
GOLDEN RING – George Jones and Tammy Wynette
(Braddock)
https://www.youtube.com/watch?v=nmClh_arrX4 (Capo 1)
TIP: The final third of the song has sharped chords slide your capo up to the second
fret to match the rest of the recording.
INTRO: D, A, D
In a pawn shop in Chicago, on a sunny summer day,

A D
A couple gazes at the wedding rings there on display.
She smiles n' nods her head, as-he-says "Honey that's for you.
A D
It's not much, but it's the best, that I can do."
Golden ring, (golden ring) with one tiny little stone,

A D
Waiting there, (waiting there) for someone to take you home.
By itself, (by itself) it's just a cold metallic thing.

A D
Only love can make a golden wedding ring.
In a little wedding chapel later on that afternoon,

A D
An old upright piano plays that old familiar tune.
Tears roll down her cheeks, and happy thoughts run through her head,
A D
As he whispers "Lo with this ring, I thee wed."

A D
Shining ring, (shining ring) now at last it's found a home.

A D
<capo +1>
In a small two room apartment, as they fought their final round,

A D
He says "You won't admit it, but I know you're leavin' town."
She says "One thing's for certain, I don't love you any more."
A D
And throws down the ring as she walks out the door.

A D
Cast aside (cast aside) like the love's that dead and gone.

A D
<slower> In a pawn shop in Chicago, on a sunny summer day,

A G D
A couple gazes at the wedding rings there on display. Golden ring.
(George Jones)(Tammy Wynette) (Artist Index) - (Main Index) - (Song Index) (This Song)
GOOD DOG
Dave Stamey
https://www.youtube.com/watch?v=3PfYGglsYiI (Capo 1)
TIP: The (Bm) will always follow a (D) so just hold (D) and add your pinky to the 3rd
string/3rd fret.
INTRO: D D D D
G A D
I got a good dog. Follows me everywhere that I go.
G A D
A friendly dog, glad to know everybody that I know.
G A D Bm
The truck’s his favorite place, with wind in his face.
G A D D D
Makes his big heart race, cause he’s a good dog.
G A D
And he’s a happy dog. Thumps his tail every time I come in sight.
G A D
Not a yappy dog. Barks a little he don’t hardly ever bite.
G A D Bm
He don’t work no cows, never did learn how.
G A D D7
But I take him along anyhow, cause he’s a good dog.
G A D D7
Gettin’ a little grey around the muzzle.
G A D D7
But then again, so am I.
G A D Bm
When I’m blue and life has got me puzzled.
G A
He puts his chin on my knee and he looks me in the eye.
D G A D D
He’s a my dog. Right there anytiiime I need him.
G A D D
A mighty fine dog. Always ready for me to get up and feed him.
G A D Bm
He helps me with the chores, then he lays there on the floor.
G A D D7
Case I want him for something more, cause he’s a good dog.
G A D D7
Gettin’ a little grey around the muzzle.
G A D D7
But then again, so am I.
G A D Bm
When I’m blue and life has got me puzzled.
G A
He puts his chin on my knee and he looks me in the eye.
D G A D
I got a good dog. Follows me everywhere that I go.
G A D
A friendly dog, glad to know everybody that I know.
G A D Bm
The truck’s his favorite place, with the wind in his face.
G A D D7
Makes his big heart race, cause he’s a good dog.
G A D Bm
He don’t chase no sticks, he don’t know many tricks.
G A D D - |D|
But he’ll give you many licks, cause he’s a good dog.
(Dave Stamey) (Artist Index) - (Main Index) - (Song Index) (This Song)
GOOD GOLLY MISS MOLLY - Little Richard
(Marascalco/Blackwell)
https://www.youtube.com/watch?v=lQ6akiGRcL8 (Capo 0)
TIP: For the intro emphasize the top four strings and mentally walk it up and back.
TIP: Strum the chords in |upright brackets| just once where they appear.
TIP: There's one tricky pacing in the last verse "I'm going to the corner..." Delay on
"hugs" and then quickly move through the the rest of the verse.
INTRO: G G G G, C C, G G, D C G |G|
NC G
Good golly Miss Molly, sure like to ball-oooh.
C G
Good golly Miss Molly, sure like to ball.
D C G G
When you're rockin' and a rollin', can't hear your momma call.
|G| |G|
From the early early mornin' till the early early night
|G| |G|
When I caught Miss Molly rockin' at the house of blue light.
NC C G
D C G G
|G| |G|
Momma Poppa told me son you better watch your step,
|G| |G|
If they knew about Miss Molly I'd have to watch my Pop myself.
NC C G
D C G
When you're rockin' and a rollin', can't hear your momma call. Awwwwwww.
G G G G, C C, G G, D C G |G|
NC G
Good golly Miss Molly, sure like to ball-oooh.
C G
D C G G
|G| |G|
I'm going to the corner gonna buy a diamond ring.
|G| |G|
When she hugs me and kiss-me-make-me ting-a-ling-a-ling.
NC C G
D |C| G -D-G-D-|G|
(Little Richard) (Oldies) (Artist Index) - (Main Index) - (Song Index) (This Song)
GOOD HEARTED WOMAN
Waylon Jennings and Willie Nelson
https://www.youtube.com/watch?v=swRJeMsk21g (Capo 0)
TIP: For the intro, pick the open 4th string and then with a short downstroke strike the
open 5th and 4th strings together. Thump, thump. Thump, thump. Then play a (D) to begin
the song.
INTRO (Form D): 4 - 5/4, 4 - 5/4, 4 - 5/4, 4 - 5/4, 4 - 5/4, 4 - 5/4
D G
A long time forgotten with dreams that just fell by the way.
A7 D
The good life he promised, ain't what she's living today. (Willie!)
G
But she never complains, of the bad times or the bad things he's done Lord.
A7 D
She just talks about the good times they've had and all the good times to come.
G
She's a good-hearted woman in love with a good-timin' man.
A7 D
She loves him in spite of his ways she don't understand.
G
Through teardrops and laughter they'll pass through this world hand in hand.
A7 D
A good-hearted woman, loving her good timing man.
G
He likes the bright lights the night life and, good-timin' friends.
A7 A D
When the party's all over she'll welcome him, back home again.
G
Lord knows she don't understand him but, she does the best that she can.
A7 D D |D|
This good-hearted woman, lovin’ her good timin' man.
NC E A
B7 E
She loves me in spite of my ways that she don't understand.
A
B7 E
A
B7 E
She loves me in spite of my ways that she don't understand.
A
B7 E
(Waylon Jennings)(Willie Nelson) (Artist Index) - (Main Index) - (Song Index) (This Song)
GOOD LUCK CHARM – Elvis Presley
(Schroeder/Gold)
https://www.youtube.com/watch?v=Z0gx4kPDW0w (Capo 0)
A7 D7 G
INTRO: Uh-huh-huh, uh-huh-huh, uh-huh-huh, oh yeah.
C G D7
Don't want a four leaf clover. Don't want an old horseshoe.
G C D7 G
Want your kiss 'cause I just can't miss with a good luck charm like you.
NC D7 G
Come on and be my little good luck charm muh-huh huh. You sweet delight.
D7
I want a good luck charm a-hangin' on my arm,
A7 D7 G
To have (to have), to hold (to hold) tonight.
C G D7
Don't want a silver dollar, rabbit's foot on a string.
G C D7 G
The happiness in your warm caress no rabbit's foot can bring.
NC D7 G
D7
A7 D7 G
A7 D7 G A7 D7 G
Uh-huh-huh, uh-huh-huh, uh-huh-huh, oh yeah. Uh-huh-huh, uh-huh-huh, tonight.
C G D7
If I found a lucky penny, I'd toss it across the bay.
G C D7 G
Your love is worth all the gold on earth no wonder that I say.
NC D7 G
D7
A7 D7 G
A7 D7 G
Uh-huh-huh, uh-huh-huh, uh-huh-huh, oh yeah.
A7 D7 G
Uh-huh-huh, uh-huh-huh, tonight.
GOOD OLE BOYS LIKE ME - Don Williams
(McDill)
https://www.youtube.com/watch?v=d32h0TuSgEY (Capo 2)
TIP: The opening sequence is 1-2-3-4 (pause) 5-6, repeat. And notice in the verse the
first |G| starts with the preceding word.
TIP: You can skip the (Cmaj7) but it always follows a (C) so just lift off the index
finger.
INTRO: |G|-|G|-|G|-|D| |D|-|D|, |G|-|G|-|G|-|D| |D|-|D|
|G|-|G|-|G|-|D| |D|-|D|, |G|-|G|-|G|-|D| |D|-|D|
G D C G C D
When I was a kid Uncle Remus would put me to bed.
G D C G C D
With a picture of Stonewall Jackson above my head.
Em D
Then Daddy came in to kiss his little man,
Em D
With gin on his breath, and a bible in his hand.
C D
He talked about honor and things I should know.
C D
Then he'd stagger a little as he went out the door.
G Em C
I can still hear the soft southern winds in the live oak trees.
G Em C Cmaj7 Am
And those Williams boys they still mean a lot to me, Hank and Tennessee.
C D Em D-C
I guess we're all gonna be what we're gonna be.
D |G|-|G|-|G|-|D| |D|-|D|,
So what do you do with good ol' boys like me?
|G|-|G|-|G|-|D| |D|-|D|
G D C G C D
Nothin' makes a sound in the night like the wind does.
G D C G C D
But you ain't afraid if you're washed in the blood like I was.
Em D
The smell of cape jasmine through the window screen,
Em D
John R. and The Wolfman kept me, company.
C D C D
By the light of the radio by my bed, with Thomas Wolfe whisperin' in my head.
G Em C
G Em C Cmaj7 Am
C D Em D-C
D G D, C, D
G D C G C D
When I was in school I ran with a kid down the street.
G D C G C D
And I watched-him burn himself up on bourbon and speed.
Em D
But I was smarter than most, and I could choose.
Em D
Learned to talk like the man on the six o'clock news.
C D C D
When I was eighteen lord I hit the road, but it really doesn't matter how far I go.
G Em C
G Em C Cmaj7 Am
C D Em D-C
D Em C
D |G|-|G|-|G|-|D| |D|-|D|,
Yeah what do you do with good ol' boys like me?
|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 - Willie Nelson
(O'Keefe)
https://www.youtube.com/watch?v=IKsPaJA3G-k (Capo 3)
[There's a version in [G] which follows afterwards for no good reason other than I think
it's easier to pick.]
TIP: There are several versions out there. This one's Willie's and of course he picks
out the intro but here are the chords.
TIP: Open with the <f#>, 4th sring/4th fret.
INTRO: D, D G; G A, A D
G
Everybody's gone away. Said they're moving to L. A.
A D
There's not a soul I know around. Everybody's leavin' town.
G
Some caught a freight some caught a plane. Find the sunshine leave the rain.
A D
They said this town'll waste your time. I guess they're right it's wastin' mine.
G A
Some gotta win, some gotta looo-oose.
D A D
Good time Charlie's got the blues. Good time Charlie's got the blues.
G
You know my heart keeps telling me, you're not a kid at thirty three.
A D
You play around you lose your wife. You play too long you lose your life.
G
I got my pills to ease the pain. Can't find a thing to ease the rain.
A D
I'd love to try and settle down, but everybody's leavin' town.
G A
D A D
D, D G; G A, A D
GOOD TIME CHARLIE'S GOT THE BLUES - Willie Nelson
(O'Keefe)
INTRO: G, G Am; Am D, D G
Am
Everybody's gone away. Said they're moving to L. A.
D G
There's not a soul I know around. Everybody's leavin' town.
Am
Some caught a freight some caught a plane. Find the sunshine leave the rain.
D G
They said this town'll waste your time. I guess they're right it's wastin' mine.
Am D
G D G
Am
You know my heart keeps telling me, you're not a kid at thirty three.
D G
You play around you lose your wife. You play too long you lose your life.
Am
I got my pills to ease the pain. Can't find a thing to ease the rain.
D G
I'd love to try and settle down, but everybody's leavin' town.
Am D
G D G
G, G Am; Am D, D G
GOODNIGHT, SWEETHEART – The Spaniels
(Hudson/Carter)
https://www.youtube.com/watch?v=egX9N8yOgaU (Capo 0)
TIP: The numbers in the intro are the strings to pick with the (G) formed.
TIP: There's a (Cm) which is like (Bm) played on the 3rd fret so you'll see the notation
(Bm3). It's like a 3-note (Bm) but your really kind of need that 4th string covered so
just lay your pinky above your ring finger on the 4th fret/5th string.
INTRO: <Form (G) and> 4 – 4 – 5 – 4 - 6
G Em Am D
Goodnight sweetheart wellll it's time to go.
G Em Am D
G Am Bm3
I hate to leave you but I really must say,
G Em D7 G
Oh goodnight sweetheart, goodni-ight.
G Em Am D
G Em Am D
G Am Bm3
G Em D7 G
G7 Am G Am D7 G
Wellll it's three o'clock, in the morning. Baby, I just can't get ri-ight.
C Am G E7 E Cmaj7 Am C D
Wellll, I hate to leave you baby, don't mean maybe, because I love you so.
G Em Am D
G Em Am D
G Am Bm3
G Em D7 G
Am G Am D7 G
Mother, oh and your father, won’t like it if I stay here too long.
C Am G E7 E Cmaj7 Am C D
One kiss and we'll part, and I'll be go ing. You know I hate to go.
G Em Am D
G Em Am D
G Am Bm3
G Em D7 G
(The Spaniels) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
GOOD RIDDANCE (TIME OF YOUR LIFE) – Green Day
(Armstrong)
https://www.youtube.com/watch?v=CnQ8N1KacJc (Capo 0)
[For a chuckle, see the parody version by Tim Hawkins, “Things You Don’t Say to Your
Wife.”]
TIP: For the instrumental flourish coming out of the chorus the first (G) in the
sequence begins with the last (G) of “life”.
INTRO: G G C D, G G C D
G C D
Another turning point a fork stuck in the road.
G C D
Time grabs you by the wrist directs you where to go.
Em D C G
So make the best of this test and don't ask why.
Em D C D
It's not a question but a lesson learned in time.
Em G Em G
It's something unpredictable but in the end it's right,
Em D G G C D, G G C D
I hope you had the time of your life.
G C D
So take the photographs and still frames in your mind.
G C D
Hang it on a shelf in good health and good time.
Em D C G
Tattoos of memories and dead skin on trial.
Em D C D
For what it's worth it was worth all the while.
Em G Em G
Em D G G C D, G G C D,
G G C D, G G C D, Em D C G, Em D C G
Em G Em G
Em G Em G
Em D G G C D, G G C D, |G|
(Green Day) (Artist Index) - (Main Index) - (Song Index) (This Song)
GRANDPA – The Judds
(O'Hara)
https://www.youtube.com/watch?v=fLiRGW31nyk (Capo 2)
INTRO: D Em-G, Em Em-D, D A7, A D
G
Grandpa, tell me about the good ol’ days.
D A A7
Sometimes it feels like, this world’s gone crazy.
D G
Grandpa, take me back to yesterday.
D A7 D D |D|
When the line between right and wrong, didn't seem so hazy.
G Em D
Did lovers really fall in love to stay, and stand beside each other come what may?
A7 A D
Was a promise really something people kept, not just something they would say.
G Em D
Did families really bow their heads to pray? Did daddy's really never go away?
Em A G D D |D|
But whoa whoa grandpa, tell me bout the good ol days.
D Em-G, Em Em-D, D A7, A D
G
Grandpa, everything is changing fast.
D A A7
We call it progress, but I just don’t know.
D G
And Grandpa, let's wander back into the past,
D A7 G D |D|
Then paint me the picture, of long ago.
G Em D
Did lovers really fall in love to stay, and stand beside each other come what may?
A7 A
Was a promise really something people kept,
D D7
Not just something they would say and then forget.
G Em D
Did families really bow their heads to pray? Did daddy's really never go away?
Em A G D
But whoa whoa grandpa, tell me bout the good ol days.
Em |A| |D|
Whoa whoa grandpa, tell me bout the good ol days.
D Em-G, Em Em-D, D A7, A D
G D D A7 D
Hmmmm-mmmm. Hmmmm-mmmm.
G Em D
Did families really bow their heads to pray? Did daddy’s really never go away?
Em |A| |D|
Whoa whoa grandpa, tell me bout the good ol days.
(The Judds) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE GRANDPA THAT I KNEW - Patty Loveless
(Camp/Mensy)
https://www.youtube.com/watch?v=ELTaJnDT-vw (Capo 4)
TIP: For the intro, strum the strings from top to bottom and then back up again.
TIP: Not too fast.
INTRO: D D D D
G D A D
Brand new shoes they hurt my feet. This lace collar's, chokin' me.
G D A D
Cuttin' off my air supply, when I hang my head to cry.
A D D
When I hang my head to cry.
G D A D
I see tears on daddy's face. Someone's hummin' "Amazing Grace."
G D A D
Rain beats on this graveside tier. Preacher says he did repent.
A D D
Preacher says he did repent.
A D G D A
They've got him layin' there in pinstripes. How'd they get him in that suit?
G D A D
I guess the Lord will recognize him without his overalls and mule.
A D G D A
And they all say he looks so natural, but all I see's a cold dark hole.
G D A D
I won't commit this day to memory, that ain't the Grandpa that I know.
A D D G-D, D A-D D
That ain't the Grandpa that I know.
G D A G
Tractor never pulled his plow, he walked and cussed, and loved that ground.
G D A D
His hand sowed each and every seed, and he'd pray for rain and fight the weeds.
A D
He'd pray for rain and fight the weeds.
G D A D
He said "The simple life it suits me fine." Never dreamed beyond the County line.
G D A D
Grandma was his boyhood bride. He'll be there in her arms tonight.
A D D
He'll sleep there in her arms tonight.
A D G D A
They've got him layin' there in pinstripes. How'd they get him in that suit?
G D A D
I guess the Lord will recognize him, without his overalls and mule.
A D G D A
And they all say he looks so natural, but all I see's a cold dark hole.
G D A D
A D
A D G D A
They played a pretty organ number. Swore it was his favorite tune.
G D A D
But I know he preferred a fiddle, playin' Carroll County Blues.
A D G D A
They all say he looks so natural, but all I see's a cold dark hole.
G D A D
A D D G-D, D A-|D|
THE GRAND TOUR – George Jones
(Richey/Taylor/Wilson)
https://www.youtube.com/watch?v=9-hBAwaH6CI (Capo 2)
TIP: The original changes key and sharps the chords so you'll have to move the capo up
one fret where indicated to match the recording.
TIP: The note to start singing the first "up" is the open 4th string <d>.
NC |G| |G| G
Step right up, come on in, if you'd like, to take, the grand tour,
C G
Of a lonely house that once was home sweet home.
I have nothing here to sell you, just some things that I will tell you.
A A7 D
Some things I know will chill you, to the bone.
|G| |G| G
Over there, sits the chair, where she'd bring the paper to to me,
C G
And-sit-down on my knee and whisper, oh I love you.
D G C G
But now she's gone forever, and this old house will never be the same,
D G
Without the love, that we once knew.
<capo +1>
NC |G| |G| G
Straight ahead, that's the bed, where we lay and love together.
C G
And Lord knows we had a good thing going here.
See her picture, on the table? Don't it look like she'd be able,
A7 D
Just to touch me, and say, “Good morning dear?”
NC |C| |G| G
There's her rings, all her things, and her clothes are in the closet,
C G
Like she left them when she tore my world apart.
D G C
As you leave you'll see the nursery. Oh she left me without mercy,
G D G D
Taking nothing but, our baby and my heart.
|G| |D| |G|
Step right up, come on in.
(George Jones) (Artist Index) - (Main Index) - (Song Index) (This Song)
GUITARS, CADILLACS
Dwight Yoakam
https://www.youtube.com/watch?v=9DkcQ09h2Vo (Capo 0)
TIP: The intro (E) ...... is just (E) for two measures but you alternate your strums
between the top three strings catching the bass <e> at strings 6 and 4, and the lower
three strings catching the treble <e> bottom string.
INTRO: E . . . . . E-E7-A
E
Girl-you taught me how to hurt real bad and cry myself to sleep.
E7 A
And showed me how this town can shatter dreams.
E
Another-lesson 'bout a naive fool who came to Babylon.
E7 A
And found out that the pie don't taste so sweet.
E A E
Now it's, guitars Cadillacs, hillbilly music.
A
Lonely lonely streets that I call home.
E A E
Yeah my, guitars Cadillacs, hillbilly music.
E7 A
It's the only thing that keeps me hangin' on.
A . . . E . . . E . . . A E, A . . . E . . . E . . . E7 A
E
Ain't-no glamour in this tinseled land of lost and wasted lives.
E7 A
Painful scars are all that's left of me.
E
Oh-but thank you girl for teachin' me brand new ways to be cruel.
A
If-I-can-find-my-mind now I guess I'll just leave.
E A E
And it's, guitars Cadillacs, hillbilly music.
A
E A E
E7 A
A . . . E . . . E . . . A E, A . . . E . . . E . . . E7 A
E A E
Oh it's, guitars Cadillacs, hillbilly music.
A
E A E
E7 A
E E7 A
E E7 A A E-E7-A
HALLELUJAH - Lind, Holm, Fuentes, Nilsen
(Cohen)
https://www.youtube.com/watch?v=Qt2FWAbXinY (Capo 0)
[Two versions here. This first version is in [C]. Afterwards is a version in [G]. If
there are two guitarists present have one play this version uncapo'd and the other play
the second version capo'd at the 5th fret. Both will be in [C] but an octave apart.
Sounds real pretty.]
TIP: Cohen wrote some 80 verses of this song and over 300 versions have been recorded so
the "favorite" version is a matter of preference. The link here is to a version by Lind,
Holm, Fuentes, and Nilsen. At the end are a couple of other popular verses that you can
cut and paste.
INTRO: C Am, C Am
C Am C Am
I heard there was a secret chord, that David played and it pleased the Lord.
F G C G
But you don't really care for music do ya?
C F G Am F G
Well it goes like this: the fourth, the fifth, the minor fall and the major lift.
E Am
The baffled king composing Hallelujah.
F Am F C G C Am C Am
Hallelujah, Hallelujah, Hallelujah, Hallelu-uuu-jah.
C Am C Am
Your faith was strong but you needed proof. You saw her, bathing on the roof.
F G C G
Her beauty, and the moonlight, overthrew ya.
C F G Am F G
Well she tied you to a kitchen chair. She broke your throne and she cut your hair.
E Am
And from your lips she drew the Hallelujah.
C Am C Am
Maybe there's a God above, but all I've ever learned from love.
F G C G
Is how to shoot somebody who outdrew ya.
C F G Am F G
It's not a cry that you hear at night, it's not somebody who's seen the light.
E F F Am F
It's a cold and it's a broken Hallelujah. Hallelujah, Hallelujah, Hallelujah,
C G F Am F C Am C
Halleluuu-u Hallelujah, Hallelujah, Hallelujah, Halleluuuuuuuuuujah. Halleluuujah.
[Other popular lyrics]:
C Am C Am
Baby I've been here before. I know this room and I've walked this floor.
F G C G
I used to live alone before I knew you.
C F G Am F G
I've seen your flag on the marble arch, but love is not a victory march.
E Am
It's a cold and it's a broken Hallelujah.
C Am C Dm
You say I took the name in vain. I don't even know the name.
F G C G
But if I did, well really what's it to you?
C F G Am F G
There's a blaze of light in every word, it doesn't matter which you heard,
E Am
The holy or the broken Hallelujah.
C Am C Am
There was a time you let me know, what's really going on below.
F G C G
But now you never show it to me do you?
C F G Am F G
And remember when I moved in you, the holy dove was moving too.
E Am
And every breath we drew was Hallelujah.
C Am C Am
I did my best, it wasn't much. I couldn't feel so I tried to touch.
F G C G
I've told the truth I did-n't come to fool you.
C F G Am F G
And even though it all went wrong, I'll stand before the Lord of Song.
E Am
With nothing on my tongue but Hallelujah.
F Am F C G C Am C Am |C|
(Lind, Holm, Fuentes, Nilsen) (Artist Index) - (Main Index) - (Song Index) (This Song)
HALLELUJAH - Lind, Holm, Fuentes, Nilsen
(Cohen)
https://www.youtube.com/watch?v=Qt2FWAbXinY (Capo 5)
INTRO: G Em, G Em
G Em G Em
I heard there was a secret chord, that David played and it pleased the Lord.
C D G D
But you don't really care for music do ya?
G C D Em C D
Well it goes like this: the fourth, the fifth, the minor fall and the major lift.
B7 Em
The baffled king composing Hallelujah.
C Em C G D G Em G Em
G Em G Em
Your faith was strong but you needed proof. You saw her, bathing on the roof.
C D G D
Her beauty, and the moonlight, overthrew ya.
G C D Em C D
Well she tied you to a kitchen chair. She broke your throne and she cut your hair.
B7 Em
And from your lips she drew the Hallelujah.
G Em G Em
Maybe there's a God above, but all I've ever learned from love.
C D G D
Is how to shoot somebody who outdrew ya.
G C D Em C D
It's not a cry that you hear at night, it's not somebody who's seen the light.
B7 Em C Em C
It's a cold and it's a broken Hallelujah. Hallelujah, Hallelujah, Hallelujah,
G D C Em C G Em G
Halleluuu-u Hallelujah, Hallelujah, Hallelujah, Halleluuuuuuuuuujah. Halleluuujah.
[Other popular lyrics]:
G Em G Em
Baby I've been here before. I know this room and I've walked this floor.
C D G D
I used to live alone before I knew you.
G C D Em C D
I've seen your flag on the marble arch, but love is not a victory march.
B7 Em
It's a cold and it's a broken Hallelujah.
G Em G Em
You say I took the name in vain. I don't even know the name.
C D G D
But if I did, well really what's it to you?
G C D Em C D
There's a blaze of light in every word, it doesn't matter which you heard,
B7 Em
The holy or the broken Hallelujah.
G Em G Em
There was a time you let me know, what's really going on below.
C D G D
But now you never show it to me do you?
G C D Em C D
And remember when I moved in you, the holy dove was moving too.
B7 Em
And every breath we drew was Hallelujah.
G Em G Em
I did my best, it wasn't much. I couldn't feel so I tried to touch.
C D G D
I've told the truth I did-n't come to fool you.
G C D Em C D
And even though it all went wrong, I'll stand before the Lord of Song.
B7 Em
With nothing on my tongue but Hallelujah.
C Em C G D G Em G Em |G|
(Lind, Holm, Fuentes, Nilsen) (Artist Index) - (Main Index) - (Song Index) (This Song)
HANDBAGS & GLADRAGS - Rod Stewart
(D'Abo)
https://www.youtube.com/watch?v=W4AaoM92CHY (Capo 3)
INTRO: G, C, G, C-G, D G G C D G, F C D G
F C D G F C D
Ever seen a blind man cross the road, trying to make the other side?
G F C D G F C D
Ever seen a young girl growing old, trying to make herself a bride?
Em D D G A
So what becomes of you my love, when they have finally stripped you of,
C D
The handbags and the gladrags that your poor old Grandad
C G F G D G F G D
Had to sweat to buy ya?
G F C D G F C D
Once I was a young man, and all I thought I had to do was smile.
G F C D G F C D
You are still a young girl, and you bought everything in style.
Em D D G
But once you think you're in you're out.
A7
But that don't mean a single thing without,
C D
The handbags and the gladrags that your poor old Grandad
C G F C D G, D-D-G, |D|-|D|
Had to sweat to buy ya
G F C D G F C D
Sing a song of six-pence for your sake, and take a bottle full of rye.
G F C D G F C D
Four and twenty blackbirds in a cake, and bake them all in a pie.
Em D D G
They told me you missed school today.
A7
So what I suggest you just throw them all away.
C D C G
The handbags and the gladrags that your poor old Grandad had to sweat to buy ya.
G . . . G . . . G . . . Em <sustain>
D D
They told me you missed school today.
G A
So what I suggest you just throw them all away.
C D C G
The handbags and the gladrags that your poor old Grandad had to sweat to buy ya.
G, C, G, C G, D G F C D G F C, |D|-|D| |G|
(Rod Stewart) (Artist Index) - (Main Index) - (Song Index) (This Song)
HANDLE WITH CARE - Traveling Wilburys
(Harrison/Orbison/Lynne/Petty/Dylan)
https://www.youtube.com/watch?v=1o4s1KVJaVA (Capo 0)
TIP: If you can play the (Gadd) where indicated, fine. If not, then just play a regular
(G). I've indicated a (B7) because I find (B7) easier to play than (B). But either
works. The (Cmaj7) follows a (C) so just lift off the bottom finger.
/ /
INTRO: D C G G, D C G G
D Gadd D Gadd
Been beat up and battered around. Been sent up and I've been shot down.
C G Em C Cmaj7 G
You're the best thing that I've ever found. Handle me with care.
D Gadd D Gadd
Reputations changeable. Situations tolerable.
C G Em C Cmaj7 D
But baby you're adorable. Handle me with care.
G B7 C D G B7 C D
I'm so tired of being lonely. I still have some love to give.
G B7 C D G G
Won't you show me that you really care.
C Gadd G C D
Everybody's, got somebody, to lean on. Put your body, next to mine, and dream on.
Gadd D Gadd D
I've been fobbed off and I've been fooled. I've been robbed and ridiculed.
C G Em C Cmaj7 G
In day care centers and night schools. Handle me with care.
D G, D Gadd G
D Gadd D Gadd
Been stuck in airports terrorized. Sent to meetings hypnotized.
C G Em C Cmaj7 D
Overexposed commercialized. Handle me with care.
G B7 C D G B7 C D
I'm so tired of being lonely. I still have some love to give.
G B7 C D G
Won't you show me that you really care.
C Gadd G C D
Everybody's, got somebody, to lean on. Put your body, next to mine, and dream on.
Gadd D Gadd D G
I've been uptight and made a mess. But-I'll clean it up myself I guess.
C G Em C Cmaj7 G
Oh the sweet smell of success. Handle me with care.
D G, D Gadd G; C Gadd Em; C Cmaj7 G
<pause> D C G G, D C G G, D C G G, D C |G|
THE HANGING TREE - Marty Robbins
(Livingston/David)
https://www.youtube.com/watch?v=D4hv5dJwc6Q (Capo 1)
TIP: If you want to play along with Marty you have to slide the capo up one fret after
each verse since the songwriters thought it would be clever to raise the chords a semi-
tone each time.
INTRO: C
Am C G
I came to town, to search for gold, and I brought with me, a memory.
Am Em C
And I seem to hear, the night wind cry:
F C F C
"Go hang your dreams on the hangin' tree, your dreams of love that could never be.
G C
Hang your faded dreams, on the hangin' tree."
<capo +1>
C Am C G
I searched for gold, and I found my gold. And I found a girl, who loved just me.
Am Em C
And I wished that I, could love her too.
F C F C
But I'd left my heart on the hangin' tree, I'd left my heart with a memory.
G C
And a faded dream, on the hangin' tree.
<capo +1>
C Am C G
Now there were men, who craved my gold, and meant to take, my gold from me.
Am Em
When a man is gone, he needs no gold.
F C F C
So they carried me to the hangin' tree, to join my dreams and a memory.
G C
Yes they carried me, to the hangin' tree.
<capo +1>
C Am C G
To really live, you must almost die, and it happened just, that way with me.
Am Em C
They took the gold, and set me free.
F C F C
And I walked away from the hangin' tree. I walked away from the hangin' tree.
G C
And my own true love, she walked with me.
F G F C
That's when I knew, that the hangin' tree, was a tree of life, new life for me.
F C F C
A tree of hope new hope for me, a tree of love new love for me.
F C
The hangin' tree, the hangin' tree, the hangin' tree.
HANG ON SLOOPY - The McCoys
(Farrell/Russell)
https://www.youtube.com/watch?v=TlTKhPkZSJo (Capo 0)
TIP: Just a simple, basic (G)(C)(D)(C) walk up/down riff which is played throughout the
song but the cadence is everything. I'm sure you know it: 1, 1-2-3, 1-2-3, 1-2-3, 1-2
...
FUN FACT: The official rock song of the state of Ohio. And apparently Sloopy was a real
person, one Miss Dorothy Sloop, a jazz singer from Steubenville. I did not know that.
TOTALLY WORTHLESS FACT: When we first heard this song back in 1965 I, and many of my
generation, initally thought it was "Hang on Snoopy." Going around the neighborhood
singing “Hand on Snoopy” is a good way to get your ass kicked by the big kids.
INTRO: |G|, |G|-|G|-|C|, |C|-|C|-|D|, |D|-|D|-|C|, |C|-|C|
G C D C G C D C
Ha-ang on Sloopy, Sloopy hang on.
G C D C G C D C
G C D C G C D C
Sloopy lives in a very bad part of town.
G C D C G C D C
And everybody yeah tries to put my Sloopy down.
G C D C G C D C
Sloopy I don't care what your daddy do.
G C D C D C D
Cause' you know Sloopy girl I'm in love with you-ou and so I say now,
G C D C G C D C
G C D C G C D C
G C D C G C D C
Sloopy wears a red dress yeah as old as the hills.
G C D C G C D C
But when Sloopy wears that red dress yeah you know it gives me the chills oh oh.
G C D C G C D C
Sloopy when I see you walkin' walkin' down the stree-eet.
G C D C D C D
I say "Don't worry Sloopy girl you belong to me-ee" and so I sing out,
G C D C G C D C
G C D C G C D C
Ha-ang on Sloopy, Sloopy hang on yeah yeah yeah yeah yeah.
G C D C, G C D C, G C D C, G C D C, G C D C, G C D C
G C D C G C D C
Sloopy let your hair down girl let it hang down on me.
G C D C G C D
Sloopy let your hair down girl let it hang down on me yeah yeah.
C G C D C G C D
Come on Sloopy come on come on. Well come on Sloopy come on come on.
C G C D C G C D
Well come on Sloopy come on come on. Well come on Sloopy come on come on.
C G C D C G C D
Well it feels so good come on come on. You know it feels so good come on come on.
C G C D
Well shake it shake it shake it Sloopy come on come on.
C G C |D| |D|-|D| x 16 . . .
Well shake it shake it shake it yeah come on come on.
G C D C G C D C
Ha-ang on Sloopy, Sloopy hang on yeah yeah yeah yeah yeah yeah yeah.
G C D C G C D C
Aww ha-ang on Sloopy, Sloopy hang on, yeah yeah yeah yeah yeah yeah.
G C D C |G| |G|-|G|, |C||C|-|C|, |D||D|-|D|, |C||C|-|C|, |G|

(The McCoys) (Oldies) (Artist Index) - (Main Index) - (Song Index) (This Song)
HANKY PANKY - Tommy James and the Shondells
(James)
https://www.youtube.com/watch?v=bsgKZb9jQ1s (Capo 0)
[Man, they don't write 'em like this anymore . . . probably a good thing.]
TIP: First off, you can skip the (E7) and all the (A7)s if you want and just play the
majors but the 7ths give it a little sass.
TIP: While the intro to each verse is sung a cappella the (E7) entry comes in at the
very end of the first line so use the (NC) to set up for the brief (E7) and jump to the
(A).
TIP: The A in brackets, |A|, means strum once and sustain. The first one sets up the
rapid strum of (E) and the second one lingers into the first line of the next verse (in
which you can set up for the (E7). Groovy.
NC E7 A A7 A A7 A
My baby does the hanky panky yeah. My ba by does the hanky pank y.
D A A7 A A7 A
My baby does the hanky panky. My ba by does the hanky panky.
E D |A| . . . |E| x 7 |A|
Hey-my baby does the hanky panky.
NC E7 A A7 A A7 A
D A A7 A A7 A
E D |A| . . . |E| x 7 |A|
NC E7 A A7 A A7
I saw her walking on down the line yeah. You know I saw her for the very first time.
D A A7 A A7
A pretty little girl standing all alone. Hey baby-baby can I take you home?
E D |A| . . . |E| x 7 |A|
I never saw her never really saw her.
NC E7 A A7 A A7 A
D A A7 A A7 A
E D |A| . . . |E| x 7
A, D, A, E7 D A E x 7 |A|
NC E7 A A7 A A7
D A A7 A A7
E D |A| . . . |E| x 7 |A|
NC E7 A A7 A A7 A
My baby does the hanky panky. My ba by does the hanky pank y.
D A A7 A A7 A
E D |A| . . . |E| x 7 |A|
NC E7 A A7 A A7
D A A7 A A7
E D |A| . . . |E| x 7 |A|
A A7 A A7 A A7 A A7 A
My ba by does the hanky panky. My ba by does the hanky panky yeah.
D A A7 A A7 A
E D |A|
My baby does the hanky panky.
(Tommy James & the Shondells) (Artist Index) - (Main Index) - (Song Index) (This Song)
HAPPY JACK - The Who
(Townshend)
https://www.youtube.com/watch?v=52cQeFBU2Kw (Capo 1)
INTRO: D
A7 D
Happy Jack wasn't old but he was a man.
A7 D
He lived in the sand at the Isle of Man.
A7
The kids would all sing he would take the wrong key.
A7 D
So they rode on his head in their furry donkey.
G A
The kids couldn't hurt Jack, they tried tried tried.
G A
They dropped things on his back, they lied lied lied lied lied.
D A7 D
But they couldn't stop Jack or the waters lapping.
A7 D
And they couldn't prevent Jack from being happy.
A D, A D, A D, D-D, A D-D; D-D
D A7 D
They couldn't stop Jack or the waters lapping.
A7 D
And they couldn't prevent Jack from being happy.
A D, A D, G A D G A . . .
G A
The kids couldn't hurt Jack, they tried tried tried.
G A
They dropped things on his back, they lied lied lied lied lied.
D A7 D
But they couldn't stop Jack or the waters lapping.
A7 D D
And they couldn't prevent Jack from being happy. (I saw ya!)
HAPPY TOGETHER - The Turtles
(Bonner/Gordon)
https://www.youtube.com/watch?v=9ZEURntrQOg (Capo 4)
[Afterwards there's a version in [C] which avoids the (Bb) and is easier to play. But
you'd have to capo too far up the neck (C9) to comfortably play along with the
recording.]
INTRO: Dm
C
Imagine me and you, I do. I think about you day and night, it's only right.
Bb A
To think about the girl you love, and hold her tight. So happy together.
Dm C
If I should call you up, invest a dime. And you say you belong to me, and ease my mind.
Bb A
Imagine how the world could be, so very fine. So happy together.
D Am D F
I can't see me loving nobody but you, for all my life.
D Am D F
When you're with me baby the skies will be blue, for all my life.
Dm C
Me and you, and you and me. No matter how they tossed the dice, it had to be.
Bb A
The only one for me is you, and you for me. So happy together.
D Am D F
D Am D F
Dm C
Bb A
D Am D F
Ba ba ba ba ba ba ba ba ba ba ba, ba ba ba ba.
D Am D F
Dm C
Bb A Dm A Dm
The only one for me is you, and you for me. So happy together. So happy together.
A Dm A Dm
How is the weather ba ba ba ba? So happy together ba ba ba ba.
A Dm A Dm
We're happy together ba ba ba ba. So happy together ba ba ba ba.
A Dm A Dm
So happy together ba ba ba ba. So happy together ba ba ba ba.
A |Dm|
So happy together ba ba ba ba.
(The Turtles) (Artist Index) - (Main Index) - (Song Index) (This Song)
HAPPY TOGETHER - The Turtles
(Bonner/Gordon)
TIP: The intro cadence is bump bump-bump, bump bump-bump: Aim for the middle strings
and strum (Am) once, lift index finger (Asus2) followed by another quick (Am). Then
strum (Am) once, lift all fingers to play (NC) following by (Am). Repeat and then start
the song.
TIP: The (GF#) in the chorus is just a (G) with the note on the bottom string slid from
the 3rd fret to the 2nd. You can just slide them all down one fret and don't hit the top
strings.
INTRO: Am Asus2-Am, Am NC-Am; Am Asus2-Am, Am NC-Am
Am G
Imagine me and you, I do. I think about you day and night, it's only right.
F E
To think about the girl you love, and hold her tight. So happy together.
Am G
If I should call you up, invest a dime. And you say you belong to me, and ease my mind.
F E
Imagine how the world could be, so very fine. So happy together.
A G GF# A G
A G GF# A G
Am G
F E
A G GF# A G
A G GF# A G
Am G
F E
A G GF# A G
A G GF# A G
Am G
F E Am E Am
The only one for me is you, and you for me. So happy together. So happy together.
E Am E Am
How is the weather ba ba ba ba? So happy together ba ba ba ba.
E Am E Am
We're happy together ba ba ba ba. So happy together ba ba ba ba.
E Am E Am
So happy together ba ba ba ba. So happy together ba ba ba ba.
E |Am|
So happy together ba ba ba ba.
(The Turtles) (Artist Index) - (Main Index) - (Song Index) (This Song)
HARPER VALLEY P.T.A. – Jeannie C. Riley
(Hall)
https://www.youtube.com/watch?v=_VQU-_18i80 (Capo 2)
TIP: Alright so this gets a tad complicated. Tom T. wrote this song in three ascending
keys. If you're playing along with the recording you'll have to slide the capo up and
back where indicated. If you're just playing without regard to the recording just ignore
the capo instructions and play what you see. Sock it to me.
INTRO: G Em, G Em
G
I want to tell you all a story 'bout a Harper Valley widowed wife,
C
Who had a teenage daughter who attended Harper Valley Junior High.
G
Well her daughter came home one afternoon and didn't even stop to play.
C D G
And she said "Mom I-got-a-note here from the Harper Valley P. T. A."
Well the note said "Mrs. Johnson, you're wearing your dresses way too high.
C
It's reported you've been drinking and a-runnin' 'round with men and going wild.
G
And we don't believe you ought to be a bringin' up your little girl this way."
C D G
And it was signed by the Secretary Harper Valley P. T. A.
(capo +1) < strum G >
Well it happened that the P.T.A. was gonna meet that very afternoon,
C
And they were sure surprised when Mrs. Johnson wore her mini-skirt into the room.
G
And as she walked up to the blackboard I can still recall the words she had to say.
C D G
She said "I'd like to address this meeting of the Harper Valley P. T. A."
Well there's Bobby Taylor sittin' there and seven times he's asked me for a date.
C
And Mrs. Taylor sure seems to use a lot of ice whenever he's away.
G
And Mr. Baker can you tell us why your secretary had to leave this town?
C D G
And shouldn't widow Jones be told to keep her window shades all pulled completely down?
(capo -1) < strum A >
Well Mr. Harper couldn't be here 'cause he stayed too long at Kelly's Bar again.
D
And if you smell Shirley Thompson's breath you'll find she's had a little, nip of gin.
A
And then you have the nerve to tell me, you think that as a mother I'm not fit.
D E A
Well this is just a little Peyton Place and you're all Harper Valley hypocrites.
No I wouldn't put you on because it really did, it happened just this way.
D E A
The day my Mama socked it to, the Harper Valley P. T. A.
D E A A E7 A
The day my Mama socked it to, the Harper Valley P. T. A.
(Jeanie C. Riley) (Artist Index) - (Main Index) - (Song Index) (This Song)
HAVE YOU EVER SEEN THE RAIN
Creedence Clearwater Revival
(Fogerty)
https://www.youtube.com/watch?v=Gu2pVPWGYMQ (Capo 0)
TIP: The recurring twinkle, |Am|-|C|-|Em|-|G|-|G|-|C|, is played one strum each.
TIP: Heavy on the bass side of things.
INTRO: Am, F, C; |Am|-|C|-|Em|-|G|-|G|-|C|, |C|-|C|-|Em|-|G|-|G|-|C|
G
Someone told me long ago, there’s a calm before the storm I know.
C
It’s been comin' for some time.
G
When it’s over so they say, it’ll rain a sunny day I know.
C
Shinin' down like water.
F G C Em Am Am7 F G
I want to know. Have you ever seen the rain? I want to know.
C Em Am Am7 F G C
Have you ever seen the rain, comin’ down on a sunny day?
|Am|-|C|-|Em|-|G|-|G|-|C|
G
Yesterday and days before, sun is cold and rain is hard I know.
C |Am|-|C|-|Em|-|G|-|G|-|C|
Been that way for all my time.
G
Til forever on it goes. Through the circle fast and slow I know.
C
It can’t stop I wonder?
F G C Em Am Am7 F G
C Em Am Am7 F G C
Have you ever seen the rain, comin’ down on a sunny day? Yeah!
F G C Em Am Am7 F G
C Em Am Am7 F G C
Have you ever seen the rain, comin’ down on a sunny day?
|Am|-|C|-|Em|-|G|-|G|-|C|

HE STOPPED LOVING HER TODAY – George Jones
(Braddock/Putman)
https://www.youtube.com/watch?v=VExw77xJsBQ (Capo 0)
TIP: This is another one of those songs where the verses are sharped after the first
verse creating messy chords. And in this case you start without a capo and then add it
to the 1st fret (if you want to play along with the recording). Otherwise just ignore
the capo setting and repeat the chords (play what you see).
TIP: George's singing style, with his vocal hesitations (which is what made George,
George) is 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.
NC G C
He said “I'll love you, 'til I die.” She told him “You'll, forget in time.”
D7 G
As the years went, slowly by, she still preyed upon his mind.
C
He kept her picture, on his wall. Went half crazy, now and then.
D7 G
He still loved her, through it all, hoping she'd come back again.
<capo +1>
C
Kept some letters, by his bed. Dated Nineteen, Sixty Two.
D7 G
He had underlined in red, every single, I love you.
C
I went to see him, just today. Oh but I didn't, see no tears.
D7 G
All dressed up, to go away. First time I'd seen him smile in years.
C
He stopped loving her today. They placed a wreath upon his door.
D7 G C G
And soon they'll carry, him away. He stopped loving her today.
G C
<Spoken> You know, she came to see him one last time.
C D7
Oh and we all wondered if she would.
D7 G
And it kept runnin' through my mind: “This time, he's over her for good.”
C
He stopped loving her today. They placed a wreath upon his door.
D7 D G D C G
And soon they'll carry, him away. He stopped loving, her, today.
HE WALKED ON WATER (In D) – Randy Travis
(Shamblin)
https://www.youtube.com/watch?v=zyhR8uYg9Gg (Capo 0)
[Also a version in (G) afterwards.]
TIP: There’s one (Bm) in the bridge which follows a (D) so just add your pinky to the
fourth string/fourth fret.
|D| |G|
He wore starched white shirts, buttoned at the neck,
|D| |A|
And he'd sit in the shade and watch the chickens peck.
|D| |G|
And his teeth were gone, but what the heck,
|D| D |A| A |D|
I thought, that he walked, on water.
D G
Said he was a cowboy, when he was young.
D A
He could handle a rope, and he was good with a gun.
D G
And my mama's daddy was his oldest son,
D A D
And I thought, that he walked, on water.
G G D D
If the story was told, only heaven knows,
A A D D
But his hat seemed to me, like an old halo.
G G D D
And though his wings, they were never seen,
A D
G
Well he tied a cord, to the end of a mop,
D A
And said "Son here's a pony, keep her at a trot."
D G
And I'd ride in circles while he laughed a lot,
D A D
Then I'd flop down beside him.
Bm A
And he was ninety years old in Sixty-Three,
G A
And I loved him and he loved me,
G A
And Lord I cried the day he died,
D A D
'Cause I thought, that he walked, on water.
G G D D
A A D D
G G D D
A D
A |A| D
Yeah I thought, that he walked . . . on water.
HE WALKED ON WATER (In G) – Randy Travis
(Shamblin)
https://www.youtube.com/watch?v=zyhR8uYg9Gg (Capo 7)
|G| |C|
He wore starched white shirts, buttoned at the neck,
|G| |D|
And he'd sit in the shade and watch the chickens peck.
|G| |C|
And his teeth were gone, but what the heck,
|G| G |D| D |G|
|C|-|D|- G C
Said he was a cowboy, when he was young.
G D
He could handle a rope, and he was good with a gun.
G C
And my mama's daddy was his oldest son,
G D G
And I thought, that he walked, on water.
C C G G
D D G G
C C G G
D G
C
Well he tied a cord, to the end of a mop,
G D
And said "Son here's a pony, keep her at a trot."
G C
And I'd ride in circles while he laughed a lot,
G D G
Then I'd flop down beside him.
Em D
And he was ninety years old in Sixty-Three,
C D
And I loved him and he loved me,
C D
And Lord I cried the day he died,
G D G
'Cause I thought, that he walked, on water.
C C G G
D D G G
C C G G
D G
D |D| G
Yeah I thought, that he walked . . . on water.
HE WAS IN HEAVEN BEFORE HE DIED
John Prine
https://www.youtube.com/watch?v=zDGr1GnXERc (Capo 5)
TIP: The song can also be played uncapo'd with (C),(F), and (G); or capo'd at the 3rd
fret with (A), (D), and (E). I just happen to think it sounds pretty in [G] capo'd at
the 5th.
TIP: The pacing is just a little tricky. If you don't see a punctuation mark at the end
of a line be prepared to jump right into the next line. This is especially true in the
chorus.
INTRO: G
C D G
There's a rainbow of babies draped over the graveyard,
C G D
Where all the dead sailors, wait for their brides.
G C G
And the cold bitter snow, has strangled each grass blade,
C G D G
Where the salt from their tears washed out with the tide.
C D G
And I smiled on the Wabash the last time I passed it
C G D
Yes I gave her a wink from the passenger side.
G C G
And my foot fell asleep as I swallowed my candy
C G D G
Knowing he was in heaven, before he died.
C D G
Now the harbor's on fire, with the dreams and desires,
C G D
Of a thousand young poets who failed 'cause they tried.
G C G
For a rhyme without reason, floats down to the bottom,
C G D G
Where the scavengers eat 'em and wash in with the tide.
C D G
C G D
G C G
C G D G
C D G
The sun can play tricks with your eyes on the highway.
C G D
The moon can lay sideways till the ocean stands still.
G C G
But a person can't tell, his best friend he loves him.
C G D G
Till time has stopped breathing you're alone on the hill.
C D G
C G D
G C G
C G D G G |G|
HEARD IT IN A LOVE SONG – Marshall Tucker Band
(Caldwell)
https://www.youtube.com/watch?v=SiLUTWcLCgU (Capo 2)
TIP: At the end of some lines drag the chord for half a beat before playing the line
that follows.
INTRO: C C G G F F C C, C C G G F F C C
Em
I ain't never been with a woman long enough, for my boots to get old.
F C
We've been together so long now they both need resoled.
Em
If I ever settle down, you'd be my kind,
F G C
And it's a good time for me to head on down the line.
G F F F C G F F
Heard it in a lo-ove song. Heard it in a lo-ove song.
C G |F| C G F C
Heard it in a lo-ove song. Can't be wrong.
C Em
I'm the kind of man, who likes to get away.
F C
Like to start dreaming about tomorrow today.
Em
Never said that I love you even thooough it's so.
F G C C
Where's that duffle bag of mine it's time to go.
G F F F C G F F
C G |F| C G F C
<flute> C C Em Em F F C C, C C Em Em F G C C
<piano> C C Em Em F F C C, C C Em Em F G C C
<guitar> C G-F F F, C G-F F, C Em |F|

G-C C Em
I'm gonna be leavin’, at the break of dawn.
F C
Wish you could come but I don't need no woman taggin’ along.
Em
Don’t sneak out that door-or couldn’t stand to see you cry.
F G C C
I’d stay another year if I saw a tear drop in your eye.
G F F F C G F F
C G |F| C G F C
Em
I-never-had-a-damn-thing-but-what-I-had I had to leave it behind.
F C
You're the hardest thing I ever tri-ied to get off my mind.
Em
Always somethin’ greener on the other side of that hill
F G C C
I was born a wrangler and a rounder and I guess I always will.
G F F F C G F F
C G |F| C C G G F F C C |G|-|C|
HEART OF GOLD
Neil Young
https://www.youtube.com/watch?v=X3IA6pIVank (Capo 0)
TIP: Neil made a couple of different versions. This one is from the album "Harvest".
TIP: At the end of the verse there's a (C)-(CaddD)-(C)-(G) walk-down. Move quickly from
the (G) to the (C) and then it's easy to play since you just add (and then remove) your
pinky to/from the the 2nd string/3rd fret while holding the (C) before ending with
another (G).
INTRO: Em Em D Em, Em Em D Em;
<harmonica> Em C D G, Em C D G, Em Em C D G
Em Em D Em
C D G Em C D G
I want to live. I want to give. I’ve been a miner for a heart of gold.
Em C D G Em G
It’s these expressions, I never give, that keep me searching for a heart of gold,
C G |C|-|CaddD|-|C|-|G|
And I’m getting old.
Em G C G |C|-|CaddD|-|C|-|G|
Keeps me searching for a heart of gold, and I’m getting old.
Em Em C D-G, Em C D G, Em Em C D-G; Em Em D Em
C D G Em C D G
I’ve been to Hollywood. I’ve been to Redwood. I crossed the ocean for a heart of gold.
Em C D G Em G
I’ve been in my mind, it’s such a fine line, that keeps me searching for a heart of gold,
C G |C|-|CaddD|-|C|-|G|
And I’m getting old.
Em G C G |C|-|CaddD|-|C|-|G|
Keeps me searching for a heart of gold, and I’m getting old.
Em Em C G, Em C D G, Em Em C G
Em D Em D Em
Keep me searching for a heart of gold. You keep me searching and I'm growin' old.
D Em G
Keep me searching for a heart of gold. I've been a miner for a heart of gold.
Em |C| |CaddD| |C| |G|
Ahhh, mmm – mmm - mmm - mmm.
HEARTBREAK HOTEL – Elvis Presley
(Axton/Durden)
https://www.youtube.com/watch?v=e9BLw4W5KU8 (Capo 2)
|D| |D|-|D| |D|-|D|

Well since my baby left me, well-I-found a new place to dwell.
D7 G7
Well it's down at the end of Lonely Street at, Heartbreak Hotel where I'll be,
A A7 D
I’ll be so lonely baby. I’ll be so lonely. I’ll be so lonely I could die.
|D| |D|-|D| |D|-|D|

Although it's always crowded, you still can find some room.
D7 G7
Where broken hearted lovers is to cry there in their gloom they'll be so,
They’ll be so lonely baby. They’ll be so lonely.

A A7 D
They’ll be so lonely, they could die.
|D| |D|-|D| |D|-|D|

Now the bellhop's tears keep flowin'. And the desk clerk's dressed in black.
D7
Well they been so long on lonely street they'll never they'll never look back
G7
And they'll be so. They’ll be so lonely baby. Well they're so lonely.
A A7 D
They’re be so lonely they could die.
|D| |D|-|D| |D|-|D|

Well now if your baby leaves you, and you got a tale to tell.
D7 G7
Well just take a walk down lonely street to, Heartbreak Hotel where you will be,
You make him so lonely, baby. Well he will be lonely.

A A7 D
He'll be so lonely you could die.
D, D, D, D7 . . . G7 A A7 D
|D| |D|-|D| |D|-|D|

Although it's always crowded, you still can find some room.
D7 G7
Where broken hearted lovers, is to cry there in their gloom they'll be so,
They’ll be so lonely baby. Well they’re so lonely.
A A7 D D A D, G-D
They’ll be so lonely they could die.
HE’LL HAVE TO GO – Jim Reeves
(Allison)
https://www.youtube.com/watch?v=whxFcO3rFRo (Capo 1)
[Afterwards there's a version in [G] for no other reason than I already had it transposed
before seeing it would need to be capo'd at the 6th fret to play along with Jim.]
INTRO: C G C G
C F C
Put your sweet lips, a little closer, to the phone.
G
Let’s pretend, that we're together, all alone.
C F
I'll tell the man, to turn the juke-box, way down low.
C G C G
And you can tell, your friend there with you, he’ll have to go.
C F C
Whisper to me, tell me do, you love me true?
G
Or is he, holding you, the way I do?
C F
Though love is blind, make up your mind, I've got to know.
C G C
Should I hang up, or will you tell him, he’ll have to go?
F C
You can't say the words I want to hear, while you're with, another man.
F C G
Do you want me answer yes or no, darling I, will understand.
C F C
G
C F
C G C
And you can tell, your friend there with you, <slower> he’ll have to go.
HE’LL HAVE TO GO – Jim Reeves
(Allison)
https://www.youtube.com/watch?v=whxFcO3rFRo (Capo 6)
INTRO: G D7 G D7
G C G
D7
G C
G D7 G D7
And you can tell, your friend there with you, he’ll have to go.
G C G
Whisper to me, tell me do, you love me true?
D7
Or is he, holding you, the way I do?
G C
Though love is blind, make up your mind, I've got to know.
G D7 G
Should I hang up, or will you tell him, he’ll have to go?
C G
You can't say the words I want to hear, while you're with, another man.
C G D7
Do you want me answer yes or no, darling I, will understand.
G C G
D7
G C
G D7 G
And you can tell, your friend there with you, <slower> he’ll have to go.
HEAVEN’S JUST A SIN AWAY – The Kendalls
(Gillespie)
https://www.youtube.com/watch?v=Z0ZK1DvTBpw (Capo 4)
TIP: It seemed in vogue during the 70s for country songwriters to sharp (up one semi-
tone) the final verse of a song, or in this case a refrain. This key shift creates nasty
sharped chords. So when you get to this point if you want to keep playing with the
recording you slide the capo up one fret.
INTRO: D, D D-A-D
G
Heaven's just a sin away oh whoa just a sin away.
D E A7
I can't wait another day I think I'm givin' in.
D G
How I'd love to hold you tight oh whoa be with you tonight.
D A7 D
That still won't make it right 'cause I belong to him.
G D
Oh way down deep inside, I know that it's all wrong.
G A7 A D
Your eyes keep tempting me, and I never was that stron-on-ong.
G
Devil's got me now oh whoa gone and got me now.
D E A7
I can't fight him anyhow I think he's gonna win.
D G
D A7 D
Heaven help me when I say, I think I'm givin' in.
D, G, D, A A-D
G D
Oh way down deep inside, I know that it's all wrong.
G A7 A D
Your eyes keep tempting me, and I never was that stron-on-ong.
G
Devil's got me now oh whoa gone and got me now.
D E A
I can't fight him anyhow I think he's gonna win.
D G
D A7 D
Heaven help me when I say, I think I'm givin' in.
[capo +1]
G
D E A7
I can't wait another day I think I'm givin' in.
D G
How I'd love to hold you tight oh whoa be with you tonight.
D A7 D
That still won't make it right 'cause I belong to him.
G D A7 D, |D|
(The Kendalls) (Artist Index) - (Main Index) - (Song Index) (This Song)
HELLO - Adele
(Adkins/Kurstin)
https://www.youtube.com/watch?v=YQHsXMglC9A (Capo 1)
TIP: Adele's pacing can be difficult to follow. In particular, in the chorus for the
words "To tell you I'm sorry..." she bottoms on "you" and then climbs on "I'm" before
pausing briefly. I've hyphenated these two words to indicate that. Also in the chorus
(and second chorus) there's the phrase "...when (Em) I call you..." and "...it (Em)
don't-matter-it..." her voice jumps higher on "I" and "don't" and then right back down on
"call" and "matter" so the (Em) comes in early.
TIP: There's only a brief pause before repeating the chorus even though they appear here
as separate paragraphs.
INTRO: Em G, D C
Em G D C
Hel-lo, it's me.
Em G D C
I was wondering if after all these years you'd like to meet.
Em G D C
To go over, everything.
Em G D C
They say that time's supposed to heal ya, but I ain't done much healing.
Em G D C
Hel-lo, can you hear me?
Em G D C Em G D C
I'm in California dreaming about who we used to be, when we were younger, and free.
Em G D C Em D
I've forgotten how it felt before the world fell at our feet there's such a difference,
Bm C Em D C
Between us and a mill, ion, miles.
Em C D C Em C D C
Hello from the other si-i-ide. I must've called a thousand ti-i-imes.
Em C G D
To tell you-I'm, sorry, for everything that I've done
Em C G D
But when I call you, never, seem to be home.
Em C D C Em C D C
Hello from the outsi-i-ide. At least I can say that I've tri-i-ied.
Em C G D
To tell you-I'm, sorry, for breaking your heart
Em C G D Em G D C
But it don't-matter-it, clearly, doesn't tear you apart anymore.
Em G D C
Hel-lo, how are you?
Em G D C Em G D C
It's so typical of me to talk about myself I'm sorry. I hope, that you're well.
Em G D C Em G
Did you ever make it out of that town where nothing ever happened it's no se cret,
Bm C Em D C
That the both of us, are running out of time.
Em C D C Em C D C
So hello from the other si-i-ide. I must've called a thousand ti-i-imes.
Em C G D
Em C G D
Em C D C Em C D C
Em C G D
Em C G D Em
D G Em C D G Em C
Oooo ohh, anymore. Oooo ohh, anymore.
D G Em C D G
Oooo ohh, anymore. Anymore.
Em C D C Em C D C
Hello from the other si-i-ide. I must've called a thousand ti-i-imes.
Em C G D
Em C G D
Em C D C Em C D C
Em C G D
Em C G D Em G D C Em
(Adele) (Artist Index) - (Main Index) - (Song Index) (This Song)

HELLO MARY LOU - Ricky Nelson/Statler Brothers
(Pitney/Mangiaracina)
https://www.youtube.com/watch?v=ttMt9SHRwsM (Ricky) (Capo 2)
https://www.youtube.com/watch?v=6mZjy255MY8 (Statlers) (Capo 1)
[Afterwards there's a version in [C] which doesn't have the (B7) and is easier to play,
although you have to capo pretty high to play along with the recording.]
TIP: This is Ricky's version. For the Statler Brothers version capo the 1st fret and
swap the first verse and chorus (they start the song with "You passed me by . . . ").
INTRO: G D G D G D G
C G D7
Hello Mary Lou, goodbye heart. Sweet Mary Lou I'm so in love with you.
G B7 Em G D7 G C-G
I knew, Mary Lou, we'd never part. So hello Mary Lou goodbye heart.
C
You passed me by one sunny day, flashed those big brown eyes my way
G D7
And ooh I wanted you forever more.
G C
Now I'm not one that gets around. I swear my feet stuck to the ground
G D7 G C-G
And though I never did meet you before.
C G D7
I said hello Mary Lou, goodbye heart. Sweet Mary Lou I'm so in love with you.
G B7 Em G D7 G C-G
G C, G D7 D7, G B7 Em G D7 G C-G
C
I saw your lips I heard your voice. Believe me I just had no choice
G D7
Wild horses couldn't make me stay away.
G C
I thought about a moonlit night, my arms about you good and tight
G D7 G
That's all I had to see for me to say.
C G D7
Hey hey hello Mary Lou, goodbye heart. Sweet Mary Lou I'm so in love with you.
G B7 Em G D7 G C-G
D7 G C-G D7 G C-G |C|-|G|

So hello Mary Lou, goodbye heart. Yes hello Mary Lou, goodbye heart.
(Rick Nelson)(Statler Brothers) (Oldies) (Artist Index)

HELLO MARY LOU - Ricky Nelson/Statler Brothers
(Pitney/Mangiaracina)
TIP: This is Ricky's version. For the Statler Brothers version swap the first verse and
chorus (they start the song with "You passed me by . . . ") Now you can play along with
the recording but you'd have to capo 9 for Ricky and capo 8 for the Statlers.
INTRO: C G C G C G C
F C G
Hello Mary Lou, goodbye heart. Sweet Mary Lou I'm so in love with you.
C E7 Am C G C F-C
F
You passed me by one sunny day, flashed those big brown eyes my way
C G
And ooh I wanted you forever more.
C F
Now I'm not one that gets around. I swear my feet stuck to the ground
C G C F-C
And though I never did meet you before.
F C G
I said hello Mary Lou, goodbye heart. Sweet Mary Lou I'm so in love with you.
C E7 Am C G C F-C
C F, C C G, C E7 Am C G C F C
F
I saw your lips I heard your voice. Believe me I just had no choice
C G
Wild horses couldn't make me stay away.
C F
I thought about a moonlit night, my arms about you good and tight
C G C
That's all I had to see for me to say.
F C G
Hey hey hello Mary Lou, goodbye heart. Sweet Mary Lou I'm so in love with you.
C E7 Am C G C F-C
G C F-C G C F-C |F|-|C|

So hello Mary Lou, goodbye heart. Yes hello Mary Lou, goodbye heart.
(Rick Nelson)(The Statler Brothers)(Oldies)(Artist Index)

HELP! - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=2Q_ZzBGPdqE (Capo 2)
TIP: In the chorus you start with an (Asus) and the key thing is to play it like an (Am)
with your pinky added to the 2nd string/3rd fret (2nd Asus diagram). Then simply lift it
to get to the (Am) that follows. Also in the chorus there's a step-down sequence of the
bass line that overlaps with John singing the next line so hit that last chord and move
on.
; /
|Am| |F|
INTRO: Help! I need somebody. Help, not just anybody.
|D| |G|
Help, you know I need someone. Help!
G Bm Em
When I was younger so much younger than today,
C F G
I never needed anybody's help in any way.
Bm Em
But now these days are gone I'm not so self-assured.
C F G
Now I find I've changed my mind, I've opened up the doors.
Asus Am F Dm F F-Em
Help me if you can I'm feelin' down, and I do appreciate you being 'round.
D C D G G
Help me get my feet back on the gro-ou-ound. Won't you please, please help me?
Bm Em
And now my life has changed in oh so many ways.
C F G
My independence seems to vanish in the haze.
Bm Em
But every now and then I feel so insecure.
C F G
I know that I just need you like I never done before.
Asus Am F Dm F F-Em
D C D G G
Bm Em
When I was younger so much younger than today,
C F G
I never needed anybody's help in any way.
Bm Em
But now these days are gone I'm not so self-assured.
C F G
Now I find I've changed my mind, I've opened up the doors.
Asus Am F Dm F F-Em
D C D G G
Em G |Em|
Help me help me ooh.
HELP ME MAKE IT THROUGH THE NIGHT
Kris Kristofferson/Willie Nelson
(Kristofferson)
https://www.youtube.com/watch?v=1bCDWLSrlI4 (Capo 0)
TIP: In some recordings Willie does the song in [C].
INTRO: D G D
NC D G D G
Take the ribbon from your hair. Shake it loose and let it fall.
Em A D
Layin' soft upon my skin. Like the shadows on the wall.
NC D G
Come and lay down by my side, til the early morning light.
Em A D
All I'm takin' is your time. Help me make it through the night.
D7 G D
I don't care what's right or wrong, I won't try to understand.
E A
Let the devil take tomorrow. Cuz tonight I need a friend.
NC D G
Yesterday is dead and gone, and tomorrow's out of sight.
Em A D
And it's sad to be alone. Help me make it through the night.
D, G D; D G G Em; Em A; A D G D; D D7 G; G A D G D
D7 G D
I don't care what's right or wrong, I won't try to understand.
E A
Let the devil take tomorrow. For tonight I need a friend.
NC D G
Yesterday is dead and gone, and tomorrow's out of sight.
Em A D
And it's sad to be alone. Help me make it through the night.
Em A G A D
Well I don't wanna be alone. Help me make it through the night.
HERE COMES THE SUN – The Beatles
(Harrison)
https://www.youtube.com/watch?v=xUNqsfFUwhY (Capo 7)
[Afterwards is a version in [A] with no capo.]
TIP: (A7sus4) is just (A7) with your bottom finger slid forward one fret. For the lone
(A7G) after the bridge just add your pinky to the bottom string/3rd fret.
INTRO: D G A A7sus4 A7, D G A7
D G E7
Here comes the sun du du du du, here comes the sun and I say,
D G D G A7
It's all right.
D G A A7sus4 A7
Little darling, it's been a long cold lonely winter.
D G A7
Little darling, it feels like years since it's been here.
D G E7
D G D G D; D, A A7sus4 A7
It's all right.
D G A A7sus4 A7
Little darling, the smiles returning to the faces.
D G A7
Little darling, it seems like years since it's been here.
D G E7
Here comes the sun, here comes the sun and I say,
D G D G D; D, F C G D, A7
It's all right.
F C G D A7 F C G D A7
Sun sun sun here it co-omes. Sun sun sun here it co-omes.
F C G D A7 F C G D A7
F C G D A A7sus4 A7 A7G
Sun sun sun here it co-omes.
D G A A7sus4 A7
Little darling, I feel that ice is slowly melting.
D G A7
Little darling, it seems like years since it's been clear.
D G E7
D G D G D A7
It's all right.
D G E7
Here comes the sun, here comes the sun,
D G D G D A7
It's all right.
D G D G D A7 F C G <slow down> |D|
It's all right.
HERE COMES THE SUN – The Beatles
(Harrison)
https://www.youtube.com/watch?v=xUNqsfFUwhY (Capo 0)
TIP: (Esus) is just (E) with your pinky added to the 3rd string/3rd fret under the ring
finger which cancels out the index finger in the 1st fret. For the lone (E7/D) after the
bridge just add your pinky to the bottom string/2nd fret.
INTRO: A D E Esus E7, A D E7
A D B7
A D A E7
It's all right.
A D E Esus E7
Little darling, it's been a long cold lonely winter.
A D E7
Little darling, it feels like years since it's been here.
A D B7
A D A D A; A, E Esus E7
It's all right.
A D E Esus E7
Little darling, the smiles returning to the faces.
A D E7
Little darling, it seems like years since it's been here.
A D B7
A D A, D A; A, E Esus E7; C G D A, E7
It's all right.
C G D A E7 C G D A E7
C G D A E7 C G D A E7
C G D A E Esus E7 E7/D
Sun sun sun here it co-omes.
A D E Esus E7
Little darling, I feel that ice is slowly melting.
A D E7
Little darling, it seems like years since it's been clear.
A D B7
A Asus2 A D A D A E7
It's all right.
A D B7
Here comes the sun, here comes the sun.
A D A D A E7
It's all right.
A D A D A E7 C G D <slow down> |A|
It's all right.
HERE I AM – Patty Loveless
(Arata)
https://www.youtube.com/watch?v=0i5WuOE8wAE (Capo 1)
TIP: For the intro the focus is on the open 4th string <d> and covered 3rd string <a> so
aim for the top three strings on the strum of (G).
TIP: Patty drags on the “a” before “brand” which is why it’s spelled out as “a-a”.
INTRO: G D, G D, G D, G D
Don't do it darlin', don't you dare look in there.

G D
You said you didn't want to see me, but you've been lookin' for me everywhere.
A G D
And you know that you're gonna find me, if you keep on drinkin' fast.
G A Bm G D
'Cause honey I'm right there waitin' on you at the bottom of your glass.
G A G G A D
Here I am. Here I am.
G D A G
In the bourbon and the water, that burn you just like a-a brand.
A D
Here I am.
It ain't workin' darlin', hard as you may try.

G D
You keep hearin' the words you told me, in everyone's goodbye.
A G D
And you know that you're just one step, from another one bein’ gone.
G A Bm G D
I know I've seen 'em all unravel I've been watchin' it all along.
G A G G A D
G D A G
In every lie you’re hearin’, that burn you just like a-a brand.
A D
Here I am.
Em D G A Bm A G
Honey I got over, you passin' me over, a long, ti-ime, ago.
Em D G A
And my pride was stronger, when I was younger
Bm A G |G|
Now I'd rather have you to know.
NC G G A D
G D A G
I still carry a flame for you, burnin' me like a-a brand.
A D G G D D, G G D D D |D|
Here I am.
HERE IN THE REAL WORLD – Alan Jackson
(Irwin/Jackson)
https://www.youtube.com/watch?v=3mKkTm38w3E (Capo 1)
TIP: The intro and instrumental segue consists of two fiddle draws, one of (D) and one
of (Dsus2) where you just lift off the bottom string. If you’d rather, you can pick
notes <d> and <e> instead.
INTRO: |D|-|Dsus2| - G G A A D G D
G G A D D
Cowboys don't cry, and heroes don't die.
G G A D D
Good always wins, again and again.
G A D D
And love is a sweet dream, that always comes true.
G G A D G D
Oh if life were like the movies, I'd never be blue.
G D D
But here in the real world, it's not that easy at all.
A D D
'Cause when hearts get broken, it's real tears that fall.
G A D
And darlin' it's sad but true, but the one thing I've learned from you,
Em F#m G A G D
Is how the boy don't always get the girl, here in the real world.
|D|-|Dsus2| - G G A A D G D
G G A D D
I gave you my love, that wasn't enough,
G G A D D
To hold your heart, when times got rough.
G A D D
And tonight on that silver screen, it'll end like it should.
G A D G D
Two lovers will make it through, like I hoped we would.
G D D
But here in the real world, it's not that easy at all.
A D D
'Cause when hearts get broken, it's real tears that fall.
G A D
And darlin' it's sad but true, but the one thing I've learned from you,
Em F#m G A G D
Is how the boy don't always get the girl, here in the real world.
Em F#m G A G |D|-|A|-|D|
No the boy don't always get the girl, here in the real world.
(Alan Jackson) (Artist Index) - (Main Index) - (Song Index) (This Song)
HE’S GOT THE WHOLE WORLD IN HIS HANDS
Traditional
INTRO: D D7 G
He’s got the whole, world, in His hands.

D7 D
G
D D7 G
He’s got the whole world in His hands.
He’s got the wind and the rain, in His hands.

D7 D
G
D D7 G
He’s got the little bitty baby, in His hands.

D7 D
G
D D7 G
He’s got you and me brother, in His hands.

D7 D
He’s got you and me brother, in His hands.
G
He’s got you and me brother, in his hands.
D D7 G

D7 D
G
D D7 G
HEY GOOD LOOKIN’
Hank Williams
https://www.youtube.com/watch?v=2PqfDyPAcBw (Capo 0)
INTRO: D G C G7
C
Say hey, good lookin’, wha, tcha got cookin?
D7 G7 C G7
How’s about cookin’ somethin’ up with me?
C
Hey, sweet baby, don’t you think maybe,
D7 G C C7
We could find us, a brand new recipe?
F C
I got a hot-rod Ford and a two dollar bill.
F C
And I know a spot right over the hill.
F C
There’s soda pop and the dancin’s free
D7 G7
So if you wanna have fun come along with me.
C
And say hey, good lookin’, wha, tcha got cookin?
D7 G7 C G
C C D7 G7 C G7, C C D7 G7 C C7,
F C F C F C D G C, C C D7 G7 C G7
C
I’m free, and ready, so we, can go steady.
D7 G7 C G7
How’s about saving all you time for me?
C
No more lookin’, I know, I been tooken.
D7 G7 C C7
How’s about keeping steady company?
F C
I’m gonna throw my date book over the fence.
F C
And find me one for five or ten cents.
F C
I’ll keep it til it’s covered with age,
D7 G7
Cause I’m writin’ your name down on every page.
C
Say hey, good lookin’, wha, tcha got cookin’?
D7 G7 C |C|
HIGH COTTON – Alabama
(Murrah/Anders)
https://www.youtube.com/watch?v=IhsbhbnKoR0 (Capo 5)
TIP: Originally done in (F) with a key shift to (G) but to avoid the (Bb) here it is in
(C).
INTRO: C F C G C
F
We didn't know that times were lean. Around our home the grass was green.
C G
It didn't seem like things were all that bad.
C F
I bet we walked a thousand miles, choppin' cotton and pushin' plows,
C G C
And learnin' how to give it all we had.
F
As life went on and years went by, I saw the light in daddy's eyes,
C G
And felt the love in mama's hands.
C F
They kept us warm and kept us fed. Taught us how to look ahead.
C G C
Now lookin' back I understand.
NC C F
We were walkin' in, high cotton. Old times there are not forgotten.
C G
Those fertile fields are never far away.
C F
C G C
Leavin' home was the hardest thing we ever faced.
C F C G C
F
When Sunday mornings rolled around, we dressed up in hand me downs.
C G
Just in time to gather with the church.
C F
Sometimes I think how long it's been, and how it impressed me then.
C G C
It was the only day my daddy, wouldn't work.
NC C F
C G
C F
C G C
<key shift>
NC D G
D A
D G
D A D
NC |D| D <palm mute>

Walkin' in, high cotton . . .
(Alabama) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
HIGH LONESOME SOUND
Vince Gill
https://www.youtube.com/watch?v=XcOdKprfZfM (Capo 0)
INTRO: G C G G, C C G G, G C G G F C G G
C G C G
Whenever my soul is lonely, whenever I'm feeling blue,
C G
I-start thinkin' 'bout my blue eyed darlin',
F C G
And my heart starts pinin' for you.
C G C G
I wanna hear that high lonesome sound, cause my sweet baby ain't around.
C G F C G
When my life's got me down, I want to hear that hi-igh lonesome sound.
G C G G, C C G G, G C G G F C G G
C G C G
When I'm lost in this ocean of darkness, not knowing which way I should turn,
C G F C G
And my eyes are filled with sadness, of knowing you'll never return.
C G C G
Gonna hear that high lonesome sound, cause my sweet baby ain't around.
C G F C G
G C G G, C C G G, G C G G F C G G
C G C G
Gonna hear that high lonesome sound, cause my sweet baby ain't around.
C G F C G
C G C G
I wanna hear that high lonesome sound, cause my sweet baby ain't around.
C G F C G
C G C G C-|G|
Whoo-hoo hoo-hoo. Whoo-hoo hoo.
(Vince Gill) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE HOCKEY SONG
Stompin’ Tom Conners
https://www.youtube.com/watch?v=bg2G5gf9GHk (Capo 0)
TIP: The intro and outro is just how it appears, single strums of a double-chord. The
(C7) follows the (C) so just add your pinky to the 3rd string/3rd fret. Easy! Try it on
skates (CCM or Bauers).
INTRO: |C|-|C|, |C7|-|C7|, |F|-|F|, |Fm|-|Fm|, |G|-|G|-|G7|-|G7|-|C|, |G|
C G
Hello out there, we're on the air, it's Hockey Night tonight.
C
The tension grows the whistle blows, and the puck goes down the ice.
F
The goalie jumps and the players bump and the fans all go insane.
C G C |G|
Someone roars, "Bobby Scores!" at the good old hockey game. Oh!
C G7
The good old hockey game, is the best game you can name.
C
And the best game you can name, is the good old hockey game.
G
Second Period. Where players dash with skates a-flash the home team trails behind.
C
But they grab the puck and go bursting up and they’re down across the line.
F
They storm the crease like bumblebees, they travel like a burning flame.
C G C |G|
We see them slide the puck inside it’s a one-one hockey game. Oh!
C G7
C
And the best game you can name, is the good old hockey game.
Third Period. Last game in the play-offs too.

C G
Oh take me where, the hockey players, face off down the rink.
C
And the Stanley Cup is all filled up for the champs who win the drink.
F
Now the final flick, of a hockey stick, and a one gigantic scream:
C G C |G|
"The puck is in, the home team wins!” the good old hockey game. Oh!
C G7
C |G|
And the best game you can name, is the good old hockey game. Oh!
C G7
C |G|
And the best game you can name, is the good old hockey game. Oh!
C G7
F G C
And the best game you can name, is the good, old, hoc,key game.
|C|-|C|, |C7|-|C7|, |F|-|F|, |Fm|-|Fm|, |G|-|G|-|G7|-|G7|-|C|, |C| He shoots and scores!
(Stompin' Tom Conners) (Kid Friendly) (Artist Index)

HOLD MY HAND – Hootie and the Blowfish
(Bran/Felber/Rucker/Sonefeld)
https://www.youtube.com/watch?v=xoW3bqnr7tw (Capo 2)
TIP: This song is all about the strum pattern of the (A) and (D). It's kind of either
you know it or you don't. Have a mate sing the backup lines in parentheses.
INTRO: A D, A D, A D, A D
A D A D
With a little love, and some tenderness.
A D A D
We’ll walk upon the water. We’ll rise above the mist.
A D A D
With a little peace, and some harmony.
A D A D
We’ll take the world together. We’ll take ’em by the hand.
E D A E D A
’Cause I’ve got a hand for you. Ahh. I wanna run with you.
D A D A D
Yesterday, I saw you standing there.
A D A D
Your head was down your eyes were red. No comb had touched your hair.
A D A D
I said get up, and let me see you smile.
A D A D
We’ll take a walk together, walk the road a while, 'cause.
E D A
’Cause I’ve got a hand for you (I got a hand for you).
E D A
’Cause I wanna run with you (Won’t you let me run with you yeah).
D E
Hold, my, hand (Want you to hold my hand).
A D E
Hold, my, hand (I’ll take you to a place where you can be).
A D E
Hold, my, hand (Anything you wanna be because).
|D| A D
I wanna love you, the best that, the best that I can.
A D, A D, A D, A D
A D A D
See I was wasted, and I was a wasting time.
A D A D
’Til I thought about your problems, I thought about your crimes.
A D A D
Then I stood up, and then I screamed aloud:
A D A D
“I don’t wanna be part of your problems, don’t wanna be part of your crowd, no.
E D A
’Cause I’ve got a hand for you (I got a hand for you).
E D A
’Cause I wanna run with you (Ah won’t you let me run with you?).
D E
A D E
Hold, my, hand (I’ll take you to the promised land).
A D E
Hold, my, hand (Maybe we can’t change the world but).
|D| A D
I wanna love you the best that, the best that I can. Yeah.
A D, A D, A D, A D; E D A A, E D A A
D E
A D E
Hold, my, hand (I’ll take you to a place where you can be).
A D E |D|
Hold, my, hand (Anything you wanna be because, I . . . oh no, no, no, no, no)
D E
Hold, my, hand (I want you to hold my hand).
A D E
Hold, my, hand (I’ll take you to the promised land).
A D E
Hold, my, hand (Maybe we can’t change the world but).
|D| A D
I wanna love you, the best that, the best that I can.
A D A D A |D|
Ohh, the best that I can.
(Hootie and the Blowfish) (Artist Index) - (Main Index) - (Song Index) (This Song)
HOME ON THE RANGE – Traditional
(Higley/Kelley)
TIP: The intro is the chords from "and the skies are not cloudy all day."
INTRO: Am7 G D7 G D7
G C
Oh give me a home, where the buffalo roam,
G A7 D7
Where the deer and the antelope play.
G C Am7
Where seldom is heard, a discouraging word,
G D7 G D7
And the skies are not cloudy all day.
G C G Em A7 D7
Home, home on the range. Where the deer and the antelope play.
G C Am7 G D7 G
Where seldom is heard, a discouraging word, and the skies are not cloudy all day.
C
How often at night, when the heavens are bright,
G A7 D7
With the lights from the glittering stars.
G C
Have I stood there amazed, and asked as I gazed,
G D7 G D7
If their glory exceeds that of ours.
G C G Em A7 D7
G C Am7 G D7 G
C
Oh I love those wild flowers, in this dear land of ours.
G A7 D7
The curlew, I love to hear scream.
G C
And I love the white rocks, and the antelope flocks,
G D7 G D7
That graze on the mountain so green.
G C G Em A7 D7
G C Am7 G D7 G
C
Where the air is so pure, and the zephyrs so free.
G A7 D7
The breezes so balmy and light.
G C
That I would not exchange, my home on the range,
G D7 G D7
For all of the cities so bright.
G C G Em A7 D7
G C Am7 G D7 G C G
(Traditional) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
HOMEWARD BOUND - Simon and Garfunkel
(Simon)
https://www.youtube.com/watch?v=R4EnErMCKrI (Capo 3)
TIP: In the intro/outro, strike the 3rd and 4th (C) emphasizing the top three strings.
And while the chorus is jumpy, the verses are a bit throttled back so don't play them too
fast.
INTRO: |G|, |C| - |G| - |F| - |C| - |C| - |C| - |G|
G Bm E
I'm sittin' in the railway station got a ticket to my destinati-on. Mmmm.
Am F
On a tour of one-night stands my suitcase and guitar in hand,
G D7 G
And ev'ry stop is neatly planned for a poet and a one man ban-and.
C G C
Homeward bound, I wish I was. Homeward bound.
G Am G
Home, where my thought's escaping home,
Am G
Where my music's playing home,
Am D G
Where my love lies waitin' silently for me.
Bm E
Every day is an endless stream of cigarettes and magazi-ines. Mmmm.
Am F
And each town looks the same to me the movies and the factories,
G D7 G
And ev'ry stranger's face I see reminds me that I long to be.
C G C
G Am G
Am G
Am D G
Where my love lies waitin' silently for me.
Bm E
Tonight I'll sing my songs again I'll play the game and pretend. Mmmm.
Am F
But all my words come back to me in shades of mediocrity,
G D7 G
Like emptiness in harmony I need someone to comfort me.
C G C
G Am G
Am G
Am D G D G
Where my love lies waitin' silently for me. Silently for me.
OUTRO: |G|, |C| - |G| - |F| - |C| - |C| - |C| - |G|, g
(Simon and Garfunkel) (Artist Index) - (Main Index) - (Song Index)(This Song)
HONKY TONKIN'
Hank Williams
https://www.youtube.com/watch?v=kN17OTQIGqg (Capo 1)
TIP: The intro chords are played as in "...we'll go honky tonkin round this town."
INTRO: D A7-D
When 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.
A7 D
We'll go honky tonkin' 'round this town.
D . . . A7 D
When you and, your baby, have a fallin' out,
Call me up sweet mama and we'll go steppin' out
A7 D
D . . . A7 D
We're goin' into the city, into the city fair.
If you go to the city baby you will find me there
A7 D
D . . . A7 D
We goin' honky tonkin' honky tonkin'. Honky tonkin' honey baby.

A7 D A7-D
We goin' honky tonkin' 'round this town.
HONKY TONK WOMEN – The Rolling Stones
(Richards/Jagger)
https://www.youtube.com/watch?v=61jfm219ArA (Capo 0)
[There's another version in [A] which follows that I think sounds better.]
INTRO: G, G, G C D G, G
C
I met a, gin-soaked bar room queen in Memphis.
G D
She tried to take me upstairs for a ride.
G C
She had to heave me right across her shoulder.
G D G
'Cause I just can't seem to drink you off my mind.
D G D G
It's the hon-onky tonk woman. Gimme gimme gimme the honky tonk blues.
C
I played a, divorcee in New York City.
G D
I had to, put up some kind of a fight.
G C
The lady then she covered me with roses.
G D G
She blew my nose and then she blew my mind.
D G D G
G C F-F F-C, G A A, G C F-F F-C, G D D G
D G D G
D G D G G C D G
HONKY TONK WOMEN – The Rolling Stones
(Richards/Jagger)
TIP: In the instrumental bridge there's a (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.
INTRO: A, A, A D E A, A
D
I met a, gin-soaked bar room queen in Memphis.
A E
She tried to take me upstairs for a ride.
A D
She had to heave me right across her shoulder.
A E A
'Cause I just can't seem to drink you off my mind.
E A E A
D
I played a, divorcee in New York City.
A E
I had to, put up some kind of a fight.
A D
The lady then she covered me with roses.
A E7 E A
She blew my nose and then she blew my mind.
E A E A
A D D4-D4 D4-D, A E EC#-EC# EC#-E, A D D4-D4 D4-D, A E E A
E A E A
E A E A A D E A
HOTEL CALIFORNIA -Eagles
(Felder/Frey/Henley)
https://www.youtube.com/watch?v=811QZGDysx0 (Capo 2)
TIP: Two measures for each chord in the intro. Sneak in an (E) at the end of the (E7)
just prior to moving to the (G).
INTRO: Am, E7 E; G, D; F, C; Dm, E
Am, E7 E; G, D; F, C; Dm, E
Am E E7
On a dark desert highway, cool wind in my hair.
G D
Warm smell of colitas, rising up through the air.
F C
Up ahead in the distance, I saw a shimmering light.
Dm E E7 E
My head grew heavy and my sight grew dim, I had to stop for the night.
Am E E7
There she stood in the doorway. I heard the mission bell.
G D
And I was thinking to myself "This could be heaven or this could be hell."
F C
Then she lit up a candle, and she showed me the way.
Dm E
There were voices down the corridor, I thought I heard them say:
F C
Welcome to the Hotel California.
E7 Am
Such a lovely place (such a lovely place) such a lovely face.
F C
Plenty of room at the Hotel California.
Dm E
Any time of year (any time of year) you can find it here.
Am E E7 E
Her mind is Tiffany twisted. She got the Mercedes Benz.
G D
She got a lot of pretty pretty boys, she calls friends.
F C
How they dance in the courtyard, sweeeeet summer sweat.
Dm E E7 E
Some dance to remember, some dance to forget.
Am E E7 E
So I called up the Captain, "Please bring me my wine" and he said,
G D
"We haven't had that spirit here since Nineteen Sixty-Nine."
F C
And still those voices are calling from far away.
Dm E
Wake you up in the middle of the night, just to hear them say:
F C
Welcome to the Hotel California.
E7 Am
Such a lovely place (such a lovely place) such a lovely face.
F C
Livin’ it up at the Hotel California.
Dm E <pause>
What a nice surprise (what a nice surprise) bring your alibis.
Am E E7 E
Mirrors on the ceiling. The pink champagne on ice and she said,
G D
"We are all just prisoners here, of our own device."
F C
And in the master's chambers, they gathered for their feast.
Dm E
They stab it with their steely knives but they just can't kill the beast.
Am E E7 E
Last thing I remember, I was, running for the door.
G D
I had to find the passage back to the place I was before.
F C
"Relax" said the night man, "We are, programmed to receive.
Dm E
You can check out any time you like, but you can never leave."
Am E, G D, F C, Dm E; Am E, G D, F C, Dm E
Am E, G D, F C, Dm E; Am E, G D, F C, Dm E; |Am|-|Am|-|Am|-|Am|

HOUSE OF THE RISING SUN – The Animals
(Traditional - Turner/Martin)
https://www.youtube.com/watch?v=MJkr0DWbhTk (Capo 0)
INTRO: Am C D F Am E Am E
Am C D F Am C E
There is, a house, in New Orleans, they call, the Rising Sun.
Am C D F
And it's been, the ruin, of many a poor boy,
Am E Am C D F Am E Am E
And God, I know, I’m one.
Am C D F Am C E
My moth, er was, a tailor, sewed, my new, blue jeans.
Am C D F Am E Am C D F Am E Am E
My fa, ther was, a gam, blin' man, down, in New, Orleans.
Am C D F Am C E
Now the on, ly thing, a gambler, needs, is a suitcase and, a trunk.
And the on, ly time, he's, satisfied, is when, he's on, a drunk.
Am C D F Am C E, Am C D F Am E Am, C D F Am E Am E
Am C D F Am C E
Oh mother, tell your children, not to do, what I, have done.
Am C D F
Spend, your life, in sin, and miser-ry,
Am E Am C D F Am E Am E
In the house, of the Rising Sun.
Am C D F Am C E
Well I’ve got one, foot on the platform, the other foot on the train.
I’m going back to New Orleans, to wear that ball and chain.
Am C D F Am C E
Well there is, a house, in New Orleans, they call, the Rising Sun.
Am C D F
And it's been, the ruin, of many a poor boy,
Am E Am C D F Am E Am
And God, I know, I’m one.
Dm Am, Dm Am, |Dm|-|Dm|-|Dm|-|Dm|-|Dm|-|Dm|, |Am|-|Am|-|Am|-|Am|-|Am|-|Am|
|Dm|-|Dm|-|Dm|-|Dm|-|Dm|-|Dm|, |Am|-|Am|-|Am|-|Am|-|Am|-|Am|
(Animals) (Artist Index) - (Main Index) - (Song Index) (This Song)

HOW LONG - Eagles
(Souther)
https://www.youtube.com/watch?v=LmW5McLF-Uk (Capo 0)
[This version is in [C] but another version follows afterwards and it's chords are in
[G]. But that version is capo'd at the 5th fret so both are in the same key. So if you
have another guitar player with you one plays one version and one plays the other.
Sounds really nice.]
TIP: Get some mates together and harmonize that last verse of "howww lonnngs..."!
INTRO: C, F; C F C G C
F
Like a blue bird with his heart removed, lonely as a train.
C F C G C
I've run, just as far as I can run.
F
If I never see, the good old days, shinin' in the sun,
C G C
I'll be doin' fine and then some.
Am G F C G
How long how long, woman will you weep?
Am G F C G C
How long how long? Rock yourself to sleep.
F
Well I been doin' time in lonesome prison, where the sun don't shine.
C G
Just outside the freedom river runs.
C F
Out there in that shiny night, with blood hounds on your mind,
C G C
Don't you know it's the same sad situation?
Am G F C G
Am G F C G C
C, F; C F C G
C F
Everybody feels alright you know I heard some poor fool say.
C G
Everyone is out there on the loose.
C F
Well I wish I lived in the land of fools, no one knew my name.
C G C
But what you get is not quite what you choose.
Am G F C G
Tell me how long how long, woman will you weep?
Am G F C G C
Am G F C Am D G
How . . . long . . . how . . . long. Muddy River runs so deep.
Am G F C
How . . . long . . . how . . . long.
G C G
Good night baby rock yourself to . . . Sleep tight baby rock yourself to . . .
C G F C |C|
B-B-Bye bye baby rock yourself to sleeeeeeeeee-eep.

HOW LONG - Eagles
(Souther)
https://www.youtube.com/watch?v=LmW5McLF-Uk (Capo 5)
TIP: Get some mates together and harmonize that last verse of "howww lonnngs..."!
INTRO: G, C; G C G D G
C
Like a blue bird with his heart removed, lonely as a train.
G C G D G
I've run, just as far as I can run.
C
If I never see, the good old days, shinin' in the sun,
G D G
I'll be doin' fine and then some.
Em D C G D
Em D C G D G
C
Well I been doin' time in lonesome prison, where the sun don't shine.
G D
Just outside the freedom river runs.
G C
Out there in that shiny night, with blood hounds on your mind,
G D G
Don't you know it's the same sad situation?
Em D C G D
Em D C G D G
G, C; G C G D G
G C
Everybody feels alright you know I heard some poor fool say.
G D
Everyone is out there on the loose.
G C
Well I wish I lived in the land of fools, no one knew my name.
G D G
But what you get is not quite what you choose.
Em D C G D
Tell me how long how long, woman will you weep?
Em D C G D G
Em D C G Em A D
How . . . long . . . how . . . long. Muddy River runs so deep.
Em D C G
How . . . long . . . how . . . long.
D G D
Good night baby rock yourself to . . . Sleep tight baby rock yourself to . . .
G D C G |G|
B-B-Bye bye baby rock yourself to sleeeeeeeeee-eep.

HUMIDITY BUILT THE SNOWMAN
John Prine
https://www.youtube.com/watch?v=TWXbxp_ebRQ (Older John) (Capo 0)
https://www.youtube.com/watch?v=Ar2_LS8UsBQ (Younger John) (Capo 2)
[Cancer surgery later in life caused John's voice to lower so he'd often perform a song
in a different key than when he did when he was younger. Both versions here are from
live performances and you capo accordingly for either version. In his earlier
performance he does a reprise while in the later work he does not so you'll see a dashed
line for each version.]
TIP: The double chords, e.g. |E|(E), meaning strum once and then strum the same chord
again.
INTRO: A E A E A E A E
A E A E
Does he still think about her? Why there was never really any doubt.
A E A E
Every time he lights a candle, or blows a candle out.
D E A D
The scientific nature of the, ordinary man,
A E A A
Is to go on out, and do, the best you can.
D A
I don't think that you know, that I think you don't know.
D A E
That old barometer goes crazy baby everytime it starts to snow.
A E D
You won't find me walking, 'round your part of towwwn,
A E A
Humidity built the snowman, sunshine, brought him down.
|E| E, |A| A, |E| E, |A| A, |E| E, |A| A, |E| E
A E A E
This world is full of people, they never seem to fall.
A E A E
Somebody said they seen you, you hadn't changed at all.
D E A D
The fundamental story of the, contemporary man,
A E A A
Is to walk away, and someday, understand.
================
<Older John>
D A
D A E
A E D
A E A E
A E A E |A|
Brought him down. Brought him down. <end song>
=========================
<Younger John>
D A
D A E
A E D
A E A
|E| E, |A| A, |E| E, |A| A, |E| E, |A| A, |E| E, |A| A, |E| E, |A| A, |E| E
D E A D
The scientific nature of the, ordinary man,
A E A A
Is to go on out, and do, the best you can.
D A
D A E
A E D
A E A
D A E A |E| E, |A| A, |E| E

Humidity built the snowman, sunshine . . . brought him down.
A |E| E, |A| A, |E| E A |E| E, |A| A, |E| E, |A| A
Brought him down. Brought him down.
I ALWAYS GET LUCKY WITH YOU - Merle Haggard/George Jones
(Powers/Church/Whitson/Haggard)
https://www.youtube.com/watch?v=cB2JiluN7zU (Capo 2)
INTRO: G, B, C, A7; G D G D
G B C A7
I've had good luck, and bad luck, and no, luck it's true.
G D G D7
But I always get lucky, with you.
G B C A7
I've been turned on, and turned down, when the bars close at two.
G D G
But I always get lucky, with you.
C A7 G
I keep two strikes, against me, most all, of the time.
A7 Am D7
When it's down to, a phone call, I'm minus, a dime.
G B C A7
There’s been good days, and bad days, but when the day, is all through.
G D G G7
Hey I always get lucky, with you.
C A7 G
I keep two strikes, against me, most all, of the time.
A7 Am D7
When it's down to, a phone call, I'm minus, a dime.
G B C A7
There’s been good days, and bad days, but when the day, is all through.
G D G G7
Hey I always get lucky, with you.
G B C A7 G D G, C A7 G A7 Am D7
G B C A7 G D C G
Oh I always get lucky with you.
(Merle Haggard)(George Jones) (Artist Index) - (Main Index) - (Song Index) (This Song)
I AM A MAN OF CONSTANT SORROW
Dan Tyminski/The Soggy Bottom Boys
(Traditional)
https://www.youtube.com/watch?v=OdYGnAFaeHU (Capo 3)
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 last line of each verse that
appears in brackets. The 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 which has the opening fiddle instrumental and all the verses in the
order in which it was performed.
TIP: There are a couple of cadence things to be aware of. You'll see hyphenated words.
For example, the first word in each verse is sung in two syllables (e.g. "I-I" which is
sung like "eye-eye"). It's important to sing both syllables to keep cadence. Also, in
the second and third lines of each verse the chord sequence goes (A) <word> (G) (for
example ...(A) trouble (G) all..." and "... (A) I (G) was born ..." in the first verse.
You want to transition from the (A) to the (G) while singing the word. In other words
the change to (G) comes at the end of the word, not the beginning of the next word. It’s
more pronounced during last line of each verse (in brackets) but it's the same idea.
INTRO: D D, G; A G-D
A G D
(In constant sorrow- -ow all through his days.)
G A G D
I-I am a ma-an of constant sorrow. I've seen trouble all my day.
G A G D
I-I, bid fare well-ell to old Kentucky. The place where I was born and raised.
G A G D
(The place where he- -ee was born and raised.)
D D, G; A G-D
G A G D
For-or six long year-ers I've been in trouble. No pleasure here on earth I found.
G A G D
For-or-or in this wor-rld I'm bound to ramble. I have no friends to help me now.
G A G D
(He has no frien- -ends to help him now.)
D D, G; A G-D
G A G D
Ih - it's fare thee well-ell my old true lover. I never expe-ect to see you again.
G A G D
For-or I'm bound to ride, that northern railroad. Perhaps I'll die upon this train.
G A G D
(Perhaps he'll die- -ie upon this train.)
D D, G; A G-D
G A G D
You, can bury me, in some deep valley. For many years where I may lay.
G A G D
The-eh-en you may lear-ern to love another, while I am slee-ping in my grave.
G A G D
(While he is slee- -eeping in his grave.)
D D, G; A G-D
G A G D
May-ay-be your friends thi-ink I'm just a stranger. My face you'll nev-ver see no more.
G A G D
Bu-ut there is one pro-mise that is given. I'll meet you on God's golden shore.
G A G D G-D
(He'll meet you on- -on God's golden shore.)
(Dan Tyminski)(The Soggy Bottom Boys) (Artist Index)

I AM A PILGRIM
Merle Travis (with The Nitty Gritty Dirt Band)
(Traditional/Travis)
https://www.youtube.com/watch?v=ag3rTyKKiYQ (Capo 0)(MC0)
TIP: The strumming pattern is important which is down, down-up-down.
TIP: For those opening notes, if you form (D) you can pick the open 4th string <d> and
then reach up with your index finger to cover the 4th string/2nd fret <e> and then pick
the open 3rd string <g> on the way back down to covering the 3rd string to get back to (D).
Easy.
TIP: In the harmonica bridge there’s a (CaddG) in which you just add your pinky to the
bottom string/3rd fret to get that high <g> in there. You can just play regular (C) as
well.
INTRO: d – e – g – D, D G-C-|G|
NC D G C G
I am a pilgrim, and a stranger, travelin’ through, this wearisome land.
Gadd C
And I've got a home in, that yonder city good Lord.
|G| NC D G C-G
And it's not good Lordie and it’s not not made by hand.
D G C G
I've got a mother, a sister and a brother, who have gone, to that sweet home.
Gadd C
And I’ve determined, to go and see them good Lord.
|G| NC D G C-G
Over on good Lordie over on that other shore.
d – d - e – g – D, D G, G C, C G, G G Gadd C, C G D G-C-|G|
NC D G C G
As I go down to, the river of Jordan, just to bathe, my weary soul.
Gadd C
If I could touch but, just the hem of his garment good Lord.
|G| NC D G C-G
I believe good Lordie I believe that it would make me whole.
D G C G
Now when I’m dead, layin’ in my coffin. All of my friends, all gather round.
Gadd C
They can say that he, just layin there sleeeepin’ good Lord.
|G| NC D G C-G
Sweet peace Lord his sweet peace his soul is found.
<harmonica> G D, D G, G CaddG, CaddG G, G G C, C G D G-C-G

D G C G
I am a pilgrim, and a stranger, just travelin’ through, this wearisome land.
Gadd C
But I've got a home in, that yonder city good Lord.
|G| NC D G C-G |D|-|G|
And it's not good Lordie and it’s not not made by hand.
(Merle Travis) (Traditional) (Spiritual) (Artist Index)

I AM A ROCK - Simon & Garfunkel
(Simon)
https://www.youtube.com/watch?v=JKlSVNxLB-A (Capo 5)
INTRO: G G-G, C-G, G-G; C-G, G-G
C G Am D7 C G
A winter's day, in a deep and dark December. I am alo-o-one.
Am D Am D Am C D
Gazing from my window, to the streets below, on a freshly fallen silent shroud of snow.
C G C D G G G G G C-G, G G G G C-G, D-G
I am a rock, I am an is . . . land.
G C G Am D7 C G
I've built walls, a fortress deep and mighty. That non-one may penetrate.
Am D Am D
I have no need of friendship, friendship causes pain.
Am C D
It's laughter and it's loving I disdain.
G C G Am D7 C G
Don't talk of love. Well I've heard the words before. It's sleeping in my memory.
Am D Am D
I won't disturb the slumber of feelings that have died.
Am C D
If I never loved I never would have cried.
G C G Am D7 C G
I have my books, and my poetry to protect me. I am shielded in my armor.
Am D Am D Am C D
Hiding in my room, safe within my womb. I touch no one and no one touches me.
C G C D G G G G G C-G
Am D7 G Am D7 G
And a rock feels no pain. And an island never cries.
G-G, C-G, G-G; C-G <pause> |G|-|G|
(Simon and Garfunkel) (Artist Index) - (Main Index) - (Song Index)(This Song)
I DON'T WANNA PLAY HOUSE - Tammy Wynette
(Sherill/Sutton)
https://www.youtube.com/watch?v=wuMCBE9yUqg (Capo 0)
TIP: For the intro, pick top string/2nd fret, top string/3rd fret, and open 5th string
and then immediately into the song.
TIP: Don't sweat the instrumental walk-up at the key change. It's just three quick
strums of (F) played at the 2nd and 3rd frets and one at the 5th fret.
TIP: The song has a distinct strumming pattern of down, up-down; down, up-down, etc.
INTRO: f# - g – a
G D7 G
Today, I sat alone, at the window.
D7
And I watched, our little girl, outside at play.
C G
With the little boy, next door, like so many times, before,
A7 D7
But, something, didn't seem quite right today.
G D7 G
So I went outside, to see, what they were doing.
B7 Em G7
And then the teardrops made my eyes grow dim.
C G
'Cause I heard him name, a game, and I hung my head, in shame,
D7 G
When I heard, our little girl, say to him:
NC C G
"I don't wanna play house. I know, it can't be fun.
D7 C G D7 G G7 C
I've watched mommy, and daddy, and if that's, the way it's done I don't wanna play house.
G D C D7 G
It makes, my mommy cry. 'cause when she played house, my daddy said, goodbye."
<key change>: |F#|-|F#|-|F#|-|F3|-|F3|-|F3|-|F5|
NC D A
I don't wanna play house. I know, it can't, be fun.
E D A E7 A7 D
I've watched mommy, and daddy, and if that's, the way it's done I don't wanna play house.
A |E| |D| |E7| D A
It makes, my mommy cry. 'Cause when she played house my daddy said goodbye.
I DON’T WANT TO FEEL LIKE THAT – Patty Loveless
(Radigan/Schlitz)
https://www.youtube.com/watch?v=MCtd5EELlF0 (Capo 1)(MC4)
INTRO: D D D D
G C C C
Cried myself to sleep last night, and I don't want to feel like that no more.
G C C C
Woke up before the morning light, and I don't want to feel like that no more.
D C
I couldn't think one thought that didn't start with your name.
D C
I couldn't see one day that wasn't more of the same.
Am C G G G
And I don't want to feel like that. I don't want to feel like that no more.
C C
I don't want to feel like that.
G C C C
I said I had to get it off my chest. I don't want to play that game no more.
G C C C
I could've lied a little more or less, but I don't want to play that game no more.
D C
If you're not willin’ to hear what I have to say,
D C
It's too late 'cause now I've said it anyway.
Am C G G G
And I don't want to feel like that. I don't want to feel like that no more.
D C
I don't want to feel like my life's hanging by a string.
D C
I don't want to feel like I ain't feelin’ anything.
<fiddle> Em Em C C Em Em C |C|
G C C C
Cried myself to sleep last night, and I don't want to feel like that no more.
G C C C
I said a prayer with all my might, said I don't want to feel like this no more.
D C
Got myself in this mess I can get myself out,
D C
Starting right here and I'm starting right now.
Am C Em Em |Em|
'Cause I don't want to feel like that, I don't want to feel like that no more.
G G C
I don't want to feel like that. Mmmmm.
G G C
I don't want to feel like that. Ohhh.
G G C
I don't want to feel like that. No more.
G G C C |G|
I don't want to feel like that.
I FALL TO PIECES – Patsy Cline
(Howard)
https://www.youtube.com/watch?v=iuZTk1hdpMs (Capo 3)
TIP: If you want to try the opening notes instead of the chords they're pretty easy and
all played on the 2nd string. They're open 2nd string <b>, 2nd string/1st fret <c>, and
2nd string/3rd fret <d>.
INTRO: |G|-|C|-|G| C D G, D or b – c – d C D G, D
G C D C D G D
I, fall, to pieces, each time I see you again.
G C D C D G
I, fall, to pieces. How can I be just your friend?
C
You want me to act like we've never kissed.
D G
You want me to forget, pretend we've never met.
C D G
And I've tried, and I've tried, but I haven't yet.
C D7 G |G|-|C|-|G| C, D, G, D
You walk by, and I, fall to pieces.
G C D C D G D
I, fall, to pieces, each time someone speaks your name.
G C D C D G
I, fall, to pieces. Time only adds to the flame.
C
You tell me to find someone else to love.
D G
Someone who'll love me too, the way you used to do.
C D G
But each time, I go out, with someone new,
C D7 G C D7 G
You walk by, and I, fall to pieces. You walk by and I fall to pieces.
(Patsy Cline) (Artist Index) - (Main Index) - (Song Index) (This Song)
I FEEL LUCKY - Mary Chapin Carpenter
(Schlitz/Carpenter)
https://www.youtube.com/watch?v=2CNdQaLLCL8 (Capo 2)
INTRO: A
Well I woke up this mornin' stumbled out of my rack.
I opened up the paper to the page in the back.

D7
It only took me a minute for my finger to find,
A
My daily dose of destiny under my sign.
E E7
My eyes just about popped out of my head
|A|
It said "The stars are stacked against you girl get back in bed."
D7 A A7
I feel lucky. I feel lucky yeah.
E E7 |A|
No Professor Doom gonna stand in my way. Hmm I feel lucky today.
A
Well I strolled down to the corner gave my numbers to the clerk.
The pot's eleven million so I called in sick to work.

D7
I bought a pack of Camels, a burrito, and a Barq's,
A
Crossed against the light made a beeline for the park.
E E7
The sky began to thunder, wind began to moan
|A|
I heard a voice above me sayin' "Girl you'd better get back home."
D7 A A7
But I feel lucky. Oh oh oh I feel lucky yeah.
E E7 |A|
No tropical depression gonna steal my sun away. Hmm I feel lucky today.
D7 A A E E E A E
A
Now eleven million later I was sittin' at the bar.
I bought the house a double and the waitress a new car.

D7
Dwight Yoakim's in the corner, tryin' to catch my eye
A
Lyle Lovett's right beside me with his hand upon my thigh.
E E7
Moral of this story, it's simple but it's true
A
Hey the stars might lie but the numbers never do.
D7 A A7
I feel lucky. Oh oh oh I feel lucky yeah.
E7 E A
Hey Dwight, hey Lyle, boys, you don't have to fight. Hot dog I feel lucky tonight.
D7 A
I feel lucky. I feel lucky yeah.
E A
Think I'll flip a coin I'm a winner either way. Hmm I feel lucky today.
A A D7 D7 A A E7 E A A7 <tickle> |A|
I FOUGHT THE LAW – Bobby Fuller
(Curtis)
https://www.youtube.com/watch?v=OgtQj8O92eI (Capo 0)
TIP: The intro starts with a soft but driving (G) backbeat to set the pace and then
jumps into the riff. That riff is played again throughout the song. The riff has two
parts, the last part is played the same but in the intro and last line of the
instrumental bridge it's 7 strums of (G) and then a (C) but every other time it's 3
strums of (G) and then a (C).
TIP: The intrumental bridge is all pinky work.
INTRO: G . . . G x 7 C D, G x 7 |D|-|G|-|D|-|G|
C G C G
Breakin’ rocks in the, hot sun. I fought the law and the, law won,
D7 G G x 3 C D, G x 7 |D|-|G|-|D|-|G|
I fought the law and the, law won.
C G C G
I needed money cause I, had none. I fought the law and the, law won,
D7 G G x 3 C D, G x 7 |D|-|G|-|D|-|G|
C G
I left my baby and it feels so sad, I guess my race is run.
C G C G
Well she’s the best girl that I ever had. I fought the law and the, law won,
D7 G G x 3 C D, G x 7 |D|-|G|-|D|-|G|
|G|-|G|-|G|, |C|-|C|-|C|, |C|-|C|-|C|-|C|
|G|-|G|-|G|, |C|-|C|-|C|, |G|-|C|-|G|-|D|
|G|-|G|-|G|, |C|-|C|-|C|, |C|-|C|-|C|-|C|
G x 7 C D, G x 7 |D|-|G|-|D|-|G|
C G C G
Robbin’ people with a, six gun. I fought the law and the, law won,
D7 G G x 3 C D, G x 7 |D|-|G|-|D|-|G|
C G C G
I miss by baby and the, good fun. I fought the law and the, law won,
D7 G G x 3 C D, G x 7 |D|-|G|-|D|-|G|
C G
I left my baby and it feels so sad. I guess my race is run.
C G C G
But she’s the best girl that I ever had. I fought the law and the, law won,
D7 G G x 3 C D, G x 7 <slower> |D|-|G|-|D|-|G|
(Bobby Fuller) (Artist Index) - (Main Index) - (Song Index) (This Song)
I GET AROUND – The Beach Boys
(Love/Wilson)
https://www.youtube.com/watch?v=wREBD2og5iY (Capo 0)
TIP: Okay this is from the strange, brilliant mind of Brian Wilson with his arrangement
of prototypical Beach Boys overlapping harmonies. It’s a little (okay a lot) tricky to
get a good flow without having more than one person sing the melodies.
TIP: And to complicate things there’s a key change so move the capo up one fret where
indicated.
G E7
Round round get around I get around yeah.
Am F D
Get around round round I get around.
G
I get around,
E7
From town to town.
Am
I'm a real cool head,
F
I'm makin' real good bread. D
Am D Am D
I'm gettin' bugged driving up and down the same old strip.
Am D Am D G G G G
I gotta find a new place where the kids are hip.
Am D Am D
My buddies and me are getting real well known,
Am D Am D
Yeah the bad guys know us and they leave us alone.
G
I get around,
E7
From town to town.
Am
F
E E7 A
I get around round get around-round-round ooooooh.
D A E F
Wah-wah-ooooooh. Wah-wah-ooooooh. Wah-wah-ooh-ooh.
<capo +1>
Am D Am D
We always take my car 'cause it's never been beat,
Am D Am D G G G G
And we've never missed yet with the girls we meet.
Am D Am D
None of the guys go steady 'cause it wouldn't be right
Am D Am D
To leave their best girl home now on Saturday night.
G
I get around,
E7
From town to town.
Am
F
E
I get around round
E7 D
ooh-ooh-ooh-ooh-ooh-ooh-ooh-ooh.
|G|
Round round get around
E
I get around yeah.
Am F D
G
Get around round round I get around
E7
wah-wah-ooh
Am
Oooh-ooh-ooh-ooh
F
Ooh-ooh-ooh-ooh
D G
Get around round round I get around I get around round round I get around
E
I get around
Am F E7 |Am|
Ooh-ooh-ooh-ooooh, oooh-ooh-oooh.
I HOPE THAT I DON’T FALL IN LOVE WITH YOU
(Waits)
https://www.youtube.com/watch?v=xrf9Dkk96Ng (Capo 0)
[Also presented afterward in the key of [G], mainly for fingerstyle.]
INTRO: C F G, C F G
C F G
Well I hope that I don't fall in love with you.
C F G
Fallin' in love just makes me blue.
F C G C
Well the music plays and you display a part for me to see.
F C F G
I had a beer and now I hear you calling out for me.
C F G C
Still I hope that I don't fall in love with you.
|G|-|C| G C F G
See the room is crowded people everywhere.
C F G
And I wonder should I offer you a chair?
F C G C
Well I turn around to look at you, you light a cigarette.
F C F G
I wish I had the guts to bum one but we've never met.
C F G C
And I hope that I don't fall in love with you.
|G|-|C| G C F G
See the night does funny things inside a man.
C F G
These old tomcat feelings you don't understand.
F C G C
Well I turn around to look at you, you look back at me.
F C F G
The guy you're with has up and split the chair next to you’s free.
C F Gadd C
Now I hope that you don't fall in love with me.
|G|-|C| G C F G
Now it's closing time . . . the music's fading out.
C F G
Last call for drinks I'll have another stout.
F C G C
Well I turn around to look at you, you're nowhere to be found.
F C F G
I search the place for your lost face . . . guess I'll have another round.
C F G C F C
Now I think that I just fell in love with you.
I HOPE THAT I DON’T FALL IN LOVE WITH YOU
(Waits)
https://www.youtube.com/watch?v=xrf9Dkk96Ng (Capo 5)
TIP: This is a lovely song to fingerpick but easier to do so in [G] rather than the key
of [C] (at least for me it is). You can still chord strum this version if you wish.
INTRO: G C D, G C D
G C D
Well I hope that I don't fall in love with you.
G C D
Fallin' in love just makes me blue.
C G D G
Well the music plays and you display a part for me to see.
C G F D
I had a beer and now I hear you calling out for me.
G C D G
Still I hope that I don't fall in love with you.
D G C D
See the room is crowded people everywhere.
G C D
And I wonder should I offer you a chair?
C G D G
Well I turn around to look at you, you light a cigarette.
C G C D
I wish I had the guts to bum one but we've never met.
G C D G
And I hope that I don't fall in love with you.
D G C D
See the night does funny things inside a man.
G C D
These old tomcat feelings you don't understand.
C G D G
Well I turn around to look at you, you look back at me.
C G C D
The guy you're with has up and split the chair next to you’s free.
G C D G
Now I hope that you don't fall in love with me.
D G C D
Now it's closing time . . . the music's fading out.
G C D
Last call for drinks I'll have another stout.
C G D G
Well I turn around to look at you, you're nowhere to be found.
C G C D
I search the place for your lost face . . . guess I'll have another round.
G C D G C G
Now I think that I just fell in love with you.
I KNOW YOU’RE OUT THERE SOMEWHERE – Moody Blues
(Hayward)
https://www.youtube.com/watch?v=s-bgC1Yip6c (Capo 0)
Em Am G D
I know you're out there somewhere. Somewhere, somewhere.
Em Am C G G, C; G, C
I know I'll find you somehow. And somehow I'll return again to you.
G C
The mist is lifting slowly, I can see the way ahead.
G C
And I've left behind, the empty streets that once inspired my life.
G C
And the strength of the emotion, is like thunder in the air,
G C
Cuz the promise that, we made each other haunts me to the end.
Em Am G D
Em Am C D
I know you're out there somewhere. Somewhere you can hear my voice.
Em Am G D
I know I'll find you somehow. Somehow, somehow.
Em C Am C G G, C; G, C
G C
The secret of your beauty, and the mystery of your soul.
G C
I've been searching for in everyone I meet.
G C
And the times I've been mistaken, it's impossible to say.
G C
And the grass is growing underneath our feet.
Em Am G D
Em Am C D
Em Am G D
< slowly strum C >
D7
You see I know you're out there somewhere . . .
C D7
Oh yes I know you're out there somewhere . . .
C D7
You see I know I'll find you somehow . . .
C D7
Oh yes I know I'll find you somehow . . .
G, C; G, C
G C
The words that I remember, from my childhood still are true.
G C
That there's none so blind as those who will not see.
G C
And to those who lack the courage, and say it's dangerous to try.
G C
Well they just don't know that love eternal, will not be denied.
Em Am G D
Em Am C D
Em Am G D
G C
Yes I know it's going to happen, I can feel you getting near.
G C
And soon we'll be returning to the fountain of our youth.
G C
And if you wake up wondering, in the darkness I'll be there.
G C
My arms will close around you and protect you with the truth.
Em Am G D
Em Am C D
Em Am G D
Em C Am C G G, C; G, C, |G|
I LIKE BEER
Tom T. Hall
https://www.youtube.com/watch?v=AOiyksNlrY0 (Capo 0)
INTRO: F# B7 E
A E B7
In some of my songs I have casually mentioned, the fact that I like to drink beer.
E A E F# B7
This little song is more to the point, roll out the barrel and lend me your ears.
NC A E A
I like beer. It makes me a jolly good fellow. I like beer.
F# B7 NC
It helps me unwind and sometimes it makes me feel mellow. Makes him feel mellow.
E A E A
Whiskey's too rough, champagne costs too much, vodka puts my mouth in gear.
E B7 E
This little refrain should help me explain as a matter of fact I like beer.
(He likes beer).
A E B7
My wife often frowns when we're out on the town, and I'm wearing a suit and a tie.
E A E F# B7
She's sipping vermouth and she thinks I'm uncouth, when I yell as the waiter goes by.
NC A E A
F# B7 NC
E A E A
E B7 E
(He likes beer).
A E B7
Last night I dreamed, that I passed from the scene, and I went to a place so sublime.
E A E F# B7
Oh the water was clear and tasted like beer, then they turned it all into wine. (Awww).
NC A E A
F# B7 NC
E A E A
E B7 E
|E| |F#| |B7| |E|

(Yes he likes beer).
I LOVE
Tom T. Hall
https://www.youtube.com/watch?v=65AuuFpNFxY&t=2s (Capo 2)
[A version in [G] follows this one. You won't be able to sing along with the video but
you can play through without changing the capo setting.]
TIP: The last verse of the song is sharped so you'll have to slide the capo up one fret
to continue singing along with Tom.
TIP: These are Tom T's original lyrics. Sometime in the 70s someone got their knickers
in a knot over the reference to "bourbon in a glass and grass" in the second verse so for
live performances Tom would sometimes substitute in "old TV shows and snow."
TIP: For the intro, form (D/A), which is just (D) with your pinky added to the 4th
string/4th fret. Now you walk down the strings from 4 to 2, come back up to grab the 3rd
string again, and walk up the strings beginning with the bottom string. Repeat. Easy.
INTRO <Form D/A>: 4 – 3 – 2 – 3 – 1 – 2 – 3, 4 – 3 – 2 – 3 – 1 – 2 - 3
D G D G D A7 D
I love, little baby ducks, old pick-up trucks, slow moving trains, and rain.
G D G D A7 D
I love, little country streams, sleep without dreams, Sunday school in May, and hay.
G A D
And I, love, you too.
G D G D A7 D
I love, leaves in the wind, pictures of my friends, birds in the world, and squirrels.
G D G D A7 D
I love, coffee in a cup, little fuzzy pups, bourbon in a glass, and grass.
G A D
<capo +1>
G D G D A7 D
I love, honest open smiles, kisses from a child, tomatoes on the vine, and onions.
G D G D A7 D
I love, winners when they cry, losers when they try, music when it’s good, and life.
A7 D
Music when it's good, and life.
G A D
I LOVE
Tom T. Hall
TIP: Tom sharps the last verse but rather than deal with the strange sharped chords I've
increased it by a full step, from [G] to [A] in which you play different, but familiar
chords.
TIP: These are Tom T's original lyrics. Sometime in the 70s someone got their knickers
in a knot over the reference to "bourbon in a glass and grass" in the second verse so
for live performances Tom would sometimes substitute in "old TV shows and snow."
TIP: For the intro, form (G) and pick the strings indicated. You walk down the strings
from 6 to 4, come back up to grab the 5th string again, then walk up the strings
beginning with the 3rd string. Repeat. Easy. The sequence repeats in the verse but you
don't have to play it if you don't want to.
INTRO <Form G>: 6 – 5 – 4 – 5 – 3 – 4 - 5, 6 – 5 – 4 – 5 – 3 – 4 - 5
G C G C G D7 G
I love, little baby ducks, old pick-up trucks, slow moving trains, and rain.
C G C G D7 G
I love, little country streams, sleep without dreams, Sunday school in May, and hay.
C D G
C G C G D7 G
I love, leaves in the wind, pictures of my friends, birds in the world, and squirrels.
C G C G D7 G
I love, coffee in a cup, little fuzzy pups, bourbon in a glass, and grass.
C D G
<key change> Strum A
D A D A E7 A
I love, honest open smiles, kisses from a child, tomatoes on the vine, and onions.
D A D A E7 A A7
I love, winners when they cry, losers when they try, music when it’s good, and life.
D E A
I RIDE AN OLD PAINT - Johnny Cash
(Traditional)
https://www.youtube.com/watch?v=qUFbDqp28so (Capo 0)
TIP: Here in [D] as Johnny does it. Woody and Michael do it in [E] capo 7. Can also be
done using (G)(D) and (C). Johnny also drops to a lower key for one verse and then
returns to the previous key for the last refrain.
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.
INTRO: A A7-D
I ride an old paint. I lead an old dan.

A D
I'm off to Montan' for to throw the hoolian.
A D
They feed in the coulees, they water in the draw.
A7 D
Their tails are all matted, their backs are all raw.
A D
Ride around little dogies, ride around slow,
A7 D A7 D A D
The fiery and snuffy are a rarin' to go.
Bill Jones had two daughters, and a song.

A7 D
One went to Denver, the other went wrong.
A7 D
His young wife died in a pool room fight.
A D
But he tries to keep singin', from morning till night.
A D
A7 D C
<key change>
When I die, take my saddle from the wall.

G C
Strap it on my pony, lead him out of the stall.
G C
Throw my bones on his back, turn our faces to the west.
G C
And we'll ride the prairie, that we love the best.
<key change>
D A D
A7 D A7 D A D
(Traditional)(Johnny Cash) - (Artist Index)(Main Index) - (Song Index) (This Song)

I SAW HER STANDING THERE – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=oxwAB3SECtc (Capo 0)
[Two versions, the original here in [E] and afterwards in [D].]
TIP: The intro is spoken and then there’s kind of a “thump, thumpa thump-thump, thumpa
thump-thump, thump-thump-thump” and then the thing repeats.
E7, E7-E7-E7-E7, E7 . . . E7-E7-E7-E7, E7 . . .

INTRO: One, two, three, four!
E A7 E
Well she was just, seventeen, if you know, what I mean,
B7
And the way she looked, was way beyond compare.
E E7 A C E B7 E E
So how could I dance with another, (oooh) when I saw her standing there.
A7 E
Well she, looked at me, and I, I could see,
B7
That before too long, I'd fall in love with her.
E E7 A C E B7 E E
She wouldn't dance with another, (whooh) when I saw her standin' there.
A7 A A7 A
Well my heart went "boom", when I crossed that room,
A7 A B7 A
And I held her hand in mi-iiiiii-iiine.
E A E
Oh we danced, through the night, and we held each other tight,
B7
And before too long I fell in love with her.
E E7 A C E B7 E
Now I'll never dance with another, (oooh) when I saw her standing there.
E E E E E E B7 B7 E E A A E B7 E7
A7 A A7 A
A7 A B7 A
E A E
B7
E E7 A C E B7 E E
B7 E
Oh since I saw her standing there.
B7 A A |E|-|E|-|E|-|E|, |E7|
Yeah-well-since-I saw her standing there.
I SAW HER STANDING THERE – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=oxwAB3SECtc (Capo 2)
TIP: The intro is spoken and then there’s kind of a “thump, thumpa thump-thump, thumpa
thump-thump, thump-thump-thump” and then the thing repeats.
TIP: The (Gadd) on “(Oooh)” is actually a (Bb). Play a (Bb) if you can, otherwise just
play the (Gadd).
D, D-D-D-D, D . . . D-D-D-D, D . . .
INTRO: One, two, three, four!
Gadd D
Well she was just, seventeen, if you know, what I mean,
A7
And the way she looked, was way beyond compare.
D D7 G Gadd D A D D
So how could I dance with another, (oooh) when I saw her standing there.
Gadd D
Well she, looked at me, and I, I could see,
A7
That before too long, I'd fall in love with her.
D D7 G Gadd D A D D
She wouldn't dance with another, (whooh) when I saw her standin' there.
G7 G G7 G
G7 G A G
D G D
A7
D D7 G Bb D A D
D D D D D D A7 A7 D D G G D A7 D7
G7 G G7 G
G7 G A G
D G D
A7
D D7 G Gadd D A D D
A7 D
Oh since I saw her standing there.
AA7 G G |D|-|D|-|D|-|D|, |D7|
Yeah-well-since-I saw her standing there.
I SAW IT ON TV
John Fogerty
https://www.youtube.com/watch?v=YwhxeaVfk3s (Capo 0)
INTRO: G
C G
They sent us home, to watch the show, comin’ on the little screen.
C G
A man named Ike, was in the White House. Big black limousine.
Em G Em G
There were many shows to follow, from ’Hooter’ to ’Doodyville’.
C D
Though I saw them all, I can’t recall, which cartoon was real.
G C G
The coon-skin caps, Yankee bats, the "Hound Dog" man’s big start.
C G
The A-bomb fears, Annette had ears, I lusted in my heart.
Em G Em G
A young man from Boston, set sail, the New Frontier.
C D
And we watched the dream, dead-end in Dallas, they buried innocence that year.
C G D Em Em-Em-Em-D-C C D7 G
I know it’s true, oh so true, ’cause I saw it on T. V.
G C G
We gathered round, to hear the sound, comin’ on the little screen.
C G
The grief had passed, the old man laughed, and all the girls screamed.
Em G Em G
’Cause four guys from England, took us all by the hand.
C D
It was time to laugh, time to sing, time to join the band.
G C G
But all too soon, we hit the moon, and covered up the sky.
C G
They built their bombs, and aimed their guns, and still I don’t know why.
Em G Em G
The dominoes tumbled, and big business roared.
C D
Every night at six, they showed the pic-tures and counted up the score.
G C G
The old man rocks, among his dreams, a prisoner of the porch.
C G
The light, he says, at the end of the tunnel, was nothin’ but a burglar’s torch.
Em G Em G
And them that was caught in the cover, are all rich and free.
C D
But they chained my mind, to an endless tomb, when they took my only son from me.
OUTRO: G, G, G, G, C, <pause> |G|
I SAW THE LIGHT
Hank Williams
https://www.youtube.com/watch?v=xtolv9kM1qk (Capo 0)
TIP: For the intro play the first part like the first line of the verse, and play the
second part of the intro like last line of the first verse.
INTRO: G, G G D G
C G
I wandered so aimless life filled with sin. I wouldn't let my dear Saviour in.
Gadd G D G
Then Jesus came like a stranger in the night. Praise the Lord I saw the light.
C G
I saw the light I saw the light. No more darkness no more night.
Gadd G D G G G D G
Now I'm so happy no sorrow in sight. Praise the Lord I saw the light.
C G
Just like a blind man I wandered alone. Worries and fears I claimed for my own.
Gadd G D G
Then like the blind man that God gave back his sight. Praise the Lord I saw the light.
C G
Gadd G D G
G G, C G, G, G G D G
C G
I was a fool to wander and stray. For straight is the gate and narrow's the way.
Gadd G D G
Now I have traded the wrong for the right. Praise the Lord I saw the light.
C G
Gadd G D G G G D G
(Hank Williams) (Artist Index) (Spiritual) - (Main Index) - (Song Index) (This Song)
I SHOULD HAVE BEEN TRUE - The Mavericks
(Malo/Lynch)
https://www.youtube.com/watch?v=Eu8e01M6gwY (Capo 0)
TIP: The strumming pattern is: down, down-up-down, down-up-down, down-up-down, down-up-
(chord change/down).
TIP: For the (CaddD) you're already playing a (C) so just add your pinky to the 3rd
string/2nd fret and then smoothly move to the (Am).
INTRO: C Am, C Am
C Am Dm G7
You held, my hand. I was, your man.
C Am Dm G7
I know, that I, was wrong to lie.
C CaddD Am
If I could go back in time, back when you were mine,
F G7
I could hold you tight, a-a-nd be with you.
G C Am
I should have been true. I should have been blue.
Dm G7
I shouldn't wonder why you're gone. I should have known that I was wrong.
C Am Dm G7
Your eyes, your lips. Your touch, I'll miss.
C Am Dm G7
The nights, so long, since you've, been gone.
C CaddD Am
If I could go back in time, back when you were mine,
F G7
I could hold you tight, a-a-nd be with you.
G C Am
Dm G7
I shouldn't wonder why you're gone. I should have known that I was wrong.
G C Am
Dm G7
I shouldn't wonder why you're gone. I should have known that I was wroooong.
C Am, C Am, C Am, |C|
I WALK THE LINE
Johnny Cash
https://www.youtube.com/watch?v=FyS12e4-zTs (Capo 3)
TIP: There's a chord after the "Mmmmmm" because Johnny pauses and strums for a measure
before beginning the next verse.
INTRO: G C G D A D D D
Mmmmmmmmmmm.
A7 D
I keep a close watch on this heart of mine.
A7 D
I keep my eyes wide open all the time.
G D
I keep the ends out for the tie that binds.
A D G G
Because you’re mine, I walk the line. Mmmmmmmmm.
D7 G
I find it very very easy to be true.
D7 G
I find myself, alone when-each-day is through.
C G
Yes I'll admit, that I'm a fool for you.
D G C C
Because you're mine, I walk the line. Mmmmmmmm.
G C
As sure as night is dark and day is light.
G C
I keep you on my mind both day and night.
F C
And happiness I've known proves that it's right.
G C G G
Because you're mine, I walk the line. Mmmmmmmm.
D7 G
You've got a way, to keep me on your side.
D7 G
You give me cause for love that I can't hide.
C G
For you I know I'd even try to turn the tide.
D G D D
Because you're mine, I walk the line. Mmmmmmmmm.
A7 D
I keep a close watch on this heart of mine.
A7 D
I keep my eyes wide open all the time.
G D
I keep the ends out for the tie that binds.
A D D . . . <fade>
Because you're mine, I walk the line.
I WANNA HOLD YOUR HAND - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=v1HDt1tknTc (Capo 0)
[This is how the lads wrote it but it has (B) chords which some don't like so there's an
easier version (unless you don't like the (F) either) which follows.]
TIP: In the intro, for the alternating (D)-(Bm) bit keep the (D) and just add your pinky
to the 3rd string/3rd fret. On/off, on/off. And don't forget the (D7) at the end before
jumping into the song.
- ;
INTRO: C-C D, C-C D, C C-D-Bm-D-Bm-D-Bm-D7
G D7 Em Bm
Oh yeah I´ll, tell you somethin'. I think you'll understand.
G D7 Em B7
When I, say that somethin'. I wanna hold your hand.
C D7 G Em C D G
I wanna hold your ha -a- and, I wanna hold your hand.
D7 Em Bm
Oh please, say to me. And let me be your man.
G D7 Em B7
And please, say to me. You’ll let me hold your hand.
C D7 G Em C D G
Now let me hold your ha -a- and, I wanna hold your hand.
Dm7 G C Am
And when I touch you I feel happy, inside.
Dm7 G C D C D C D
It's such a feeling that my love, I can't hide. I can't hide. I can't hide.
G D7 Em Bm
Yeah you, got that somethin'. I think you'll understand.
G D7 Em B7
C D7 G Em C D G
Dm7 G C Am
Dm7 G C D C D C D
G D7 Em Bm
G D7 Em B7
When I, feel that somethin'. I wanna hold your hand.
C D G Em C D B7
C D |C| |C| |C| |C| |C| |C| |G|
I wanna hold your ha- -a- -a- -a- -a- -a- -and.
I WANNA HOLD YOUR HAND - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=v1HDt1tknTc (Capo 7)
TIP: Unlike the version above, the sing-song cadence off the (G) at the end of the intro
is exceedingly messy so just play the (F) straight through to the (G7).
INTRO: F-F G, F-F G, F-F G, G7
C G7 Am Em
Oh yeah I´ll, tell you somethin'. I think you'll understand.
C G7 Am E7
F G7 C Am F G C
G7 Am Em
Oh please, say to me. And let me be your man.
C G7 Am E7
And please, say to me. You’ll let me hold your hand.
F G7 C Am F G C
Now let me hold your ha -a- and, I wanna hold your hand.
Gm C F Dm
Gm C F G F G F G
C G7 Am Em
C G7 Am E7
F G7 C Am F G C
Gm C F Dm
Gm C F G F G F G
C G7 Am Em
C G7 Am E7
When I, feel that somethin'. I wanna hold your hand.
F G C Am F G E7
F G |F| |F| |F| |F| |F| |F| |C|
I wanna hold your ha- -a- -a- -a- -a- -a- -and.
I WILL – The Beatles/Alison Krauss
(Lennon/McCartney)
https://www.youtube.com/watch?v=p-abNGP1BK4 (The Beatles) (Capo 5)
https://www.youtube.com/watch?v=-sTBJoOZGa8 (Alison) (Capo 1)
TIP: The Beatles rendition (the original of course) has no intro. Alison plays all the
chords (first banjo, then steel guitar, then banjo again) from the first two verses, the
chorus, and thene the first verse again before beginning the song.
TIP: The (F4), which is actually a (G#), is just played like an (F) with your pinky
added above your ring finger on the 5th string/6th fret to cover the bass <d#>. If you
can't cover, just don't hit the 5th string.
G C Am Dm G C Am Em
Who knows how long I've loved you? You know I love you still.
F G C Am F G C C Am
Will I wait a lonely lifetime? If you want me to I will.
C Am Dm G C Am Em
For if I ever saw you, I didn't catch your name.
F G Am C F G C
But it never really mattered. I will always feel the same.
F G C Am Dm G C
Love you forever, and forever. Love you with all my heart.
F G C Am Dm G
Love you whenever, we're together. Love you when we're apart.
C Am Dm G C Am Em
And when at last I find you. Your song will fill the air.
F G C Am F G Am
Sing it loud so I can hear you. Make it easy to be near you.
F G C Am F G F4 F4 C
For the things you do, endear you to me. Oh you know I will. I will.
F G C Am, Dm G C
(The Beatles)(Alison Krauss) (Artist Index) - (Main Index) - (Song Index) (This Song)
I WILL ALWAYS LOVE YOU – Dolly Parton/Whitney Houston
(Parton)
https://www.youtube.com/watch?v=lKsQR72HY0s (Dolly)(Capo 0)
https://www.youtube.com/watch?v=3JWTaaS7LdU (Whitney)(Capo 0)
[There's an easier version without the (F#m) afterwards.]
TIP: It's Dolly's version that appears here. Dolly wrote this song as both an homage
and farewell to her long-time partner Porter Waggoner and of course Whitney just owned it
with her breathtaking cover. Whitney takes liberty with her vocal range and changes a
word here or there but it's in the same key and easy to adjust if you prefer to sing it
like Whitney.
TIP: If you can, add a base note or two to the (F#m) - second diagram - which will
require a barre on the second fret to at least cover the bottom three strings. It will
just sound a little fuller. If too difficult, just play the bottom three strings as
indicated in the first diagram.
( )
INTRO: A F#m D E
A E A F#m D E
If I, should stay, I would only be in your way.
A E A F#m D E
And so I'll go, and yet I know, that I'll think of you each step of my way.
A F#m D E A F#m D E A F#m D E

And I - I will al ways love you, I will al ways love you.
A E A F#m D E
Bittersweet memories. That is all that I’m taking with me.
A E A F#m D E
Goodbye, please don't cry. We both know that I'm not what you need.
A F#m D E A F#m D E A
E A E A F#m D E
I hope life, will treat you kind. And I hope you’ll have all you ever dreamed of.
A E A F#m D E
And I, wish you joy and happiness. But above all of this, I wish you love.
A F#m D E A F#m D E A
And I - I will al ways love you, oh I will al ways love you.
F#m E D A
I will always love you.
(Dolly Parton)(Whitney Houston) (Artist Index) - (Main Index) - (Song Index) (This Song)
I WILL ALWAYS LOVE YOU – Dolly Parton/Whitney Houston
(Parton)
https://www.youtube.com/watch?v=lKsQR72HY0s (Dolly)(Capo 2)
https://www.youtube.com/watch?v=3JWTaaS7LdU (Whitney)(Capo 2)
TIP: It's Dolly's version that appears here. Dolly wrote this song as both an homage
and farewell to her long-time partner Porter Waggoner and of course Whitney just owned it
with her breathtaking cover. Whitney takes liberty with her vocal range and changes a
word here or there but it's in the same key and easy to adjust if you prefer to sing it
like Whitney.
INTRO: G Em C D
G D G Em C D
If I, should stay, I would only be in your way.
G D G Em C D
And so I'll go, and yet I know, that I'll think of you each step of my way.
G Em C D G Em C D G Em C D
G D G Em C D
Bittersweet memories. That is all that I’m taking with me.
G D G Em C D
Goodbye, please don't cry. We both know that I'm not what you need.
G Em C D G Em C D G
D G D G Em C D
I hope life, will treat you kind. And I hope you’ll have all you ever dreamed of.
G D G Em C D
And I, wish you joy and happiness. But above all of this, I wish you love.
G Em C D G Em C D G
And I - I will al ways love you, oh I will al ways love you.
Em D C G
I will always love you.
(Dolly Parton)(Whitney Houston) (Artist Index) - (Main Index) - (Song Index) (This Song)
I WILL FOLLOW HIM - Little Peggy March
(Pourcel/Moriat)
https://www.youtube.com/watch?v=jgPMYQTINNk (Capo 0)
[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 angst. The one
that follows was adapted for the movie Sister Act, a rendition that depicts love of God.]
C
INTRO: Da doo doo, da doo doo, da doo doo,
Am
Da doo doo doo da doo doo, da doo doo, da doo doo.
C
I love him, I love him, I love him,
Am
And where he goes I'll follow, I'll follow, I'll follow.
NC C G
I will follow him. Follow him wherever he may go.
Am Em Am G C G
There isn't an ocean too deep, a mountain so high it can keep me away.
NC C G
I must follow him. Ever since he touched my hand I knew.
Am Em Am G C
That near him I always must be, and nothing can keep him from me. He is my destiny.
I love him, I love him, I love him

Am
C
He'll always be my true love, my true love, my true love,
Am
From now until forever, forever, forever.
NC C G
Am Em F
There isn't an ocean too deep, a mountain so high it can keep.
G C Am G C
Keep me away. Away from my love.
I love him, I love him, I love him

Am
C
He'll always be my true love, my true love, my true love,
Am
From now until forever, forever, forever.
NC C G
Am Em F
G C Am G C
Keep me away. Away from my love.
Am C
Da doo doo, I love him, I love him, I love him,
Am
C
I know I'll alway love him, I love him, I love him.
Am
Am
<Slow down>] I will follow him.
(Little Peggy March) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
I WILL FOLLOW HIM - Version from the movie Sister Act
(Pourcel/Moriat)
TIP: The arrangement used in the movie is very difficult so you won't be able to play
along with the video because you'd have to capo 10 to play in [C] -- and even if you capo
3 and play in [D] the key changes after the first two verses and things just get messy.
So here it is again [C] with the verses and cadence used in the movie.
TIP: The (CaddG) can be omitted to simplify things if need be.
INTRO <very slowly>: C CaddG G
NC C CaddG G
I will follow Him. Follow Him wherever He may go.
Am Em F G C G
And near Him I always will be. For nothing can keep me away. He is my destiny.
NC C CaddG G
I will follow Him. Ever since He touched my heart I knew.
Am Em F
There isn’t an ocean too deep. A mountain so high it can keep.
G C Am G C
Keep me away. Away from His love.
<strum C upbeat tempo>
I love Him, I love Him, I love Him.

Am
And where He goes I'll follow, I'll follow, I'll follow.
NC C CaddG G
Am Em Am G C
There isn’t an ocean too deep. A mountain so high it can keep. Keep me away.
NC C CaddG G
I must follow Him. Follow Him wherever He may go.
Am Em F
G C Am G C
Keep us away. Away from His love.
G C CaddG G
Am Em F
G C Am G C
Am C
Oh yes I love him, and where He goes I'll follow. He'll always be my true love.
Am C Am
From now until forever. I love him, and where He goes I'll follow.
Am Em F
G C Am G F C
(Little Peggy March) (Artist Index) - (Main Index) - (Song Index) (This Song)
I’LL FLY AWAY (In D) – Alison Krauss & Gillian Welch
(Traditional/Brumley)
https://www.youtube.com/watch?v=uz-0C2dhKlg (Capo 0)
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).
INTRO: D G D, D A D
G D
Some bright morning when this life is over, I'll, fly away.
A D
To that home on God's celestial shore, I-'ll, fly away.
G D
I'll, fly away oh glory I'll, fly away (in the morning).
A D
When I die Hallelujah by and by, I-‘ll, fly away.
G D
When the shadows of this life have gone, I'll, fly away.
A D
Like a bird from these prison walls I’ll fly, I-'ll, fly away.
G D
I'll fly away fly away oh glory I'll, fly away (in the morning).
A D
D G D, D A D
G D
Oh how glad and happy when we meet, I’ll, fly away.
A D
No more cold iron shackles on my feet, I-’ll, fly away.
G D
A D
D G D, D A D
G D
A D
G D
Just a few more weary days and then, I'll, fly away.
A D
To a land where joys will never end, I-'ll, fly away.
G D
A D A D G D
When I die Hallelujah by and by, I-‘ll, fly away. I-’ll, fly away.
(Traditional) (Spiritual) (Alison Krauss) (Gillian Welch) (Artist Index)

I’LL FLY AWAY (In G) – Alison Krauss & Gillian Welch
(Tradtional/Brumley)
https://www.youtube.com/watch?v=uz-0C2dhKlg (Capo 7)
TIP: This old traditional Christian spiritual has many versions. This is the one
popularized in the movie “O Brother, Where Art Thou?”
INTRO: G C G, G D G
C G
Some bright morning when this life is over, I'll, fly away.
D G
To that home on God's celestial shore, I-'ll, fly away.
C G
D G
C G
When the shadows of this life have gone, I'll, fly away.
D G
Like a bird from these prison walls I’ll fly, I-'ll, fly away.
C G
D G
G C G, G D G
C G
Oh how glad and happy when we meet, I’ll, fly away.
D G
No more cold iron shackles on my feet, I-’ll, fly away.
C G
D G
G C G, G D G
C G
D G
C G
Just a few more weary days and then, I'll, fly away.
D G
To a land where joys will never end, I-'ll, fly away.
C G
D G D G C G
When I die Hallelujah by and by, I-‘ll, fly away. I-’ll, fly away.
(Traditional) (Spiritual) (Alison Krauss) (Gillian Welch) (Artist Index)

I'LL NEVER FIND ANOTHER YOU - The Seekers
(Springfield)
https://www.youtube.com/watch?v=QISuv4qoJYM (Capo 3)
TIP: In 1965 The Seekers released two versions, a studio release and a studio "live"
version. They have subtle differences, mainly with how the chord sequence at the end of
the verse (D) vs (G). This is the studio release.
TIP: The opening riff is repeated once at the end of the verse with the first (G) on
"you".
INTRO: G C D; |D|-|D|-|D|-|D| G C D
|D|-|D|-|D|-|D| G C D, |D|-|D|-|D|-|D| G C D
G C A7 D
There's a new world somewhere, they call The Promised Land.
G Em C D
And I'll be there someday, if you will hold my hand.
Em C D C G
I still need you there beside me, no matter what I do.
C G C D7 G C D
For I know I'll never find another you.
G C A7 D
There is always someone, for each of us they say.
G Em C D
And you'll be my someone, forever and a day.
Em C D C G
I could search the whole world over, until my life is through.
C G C D7 G C D
But I know I'll never find another you.
Em C G C G
It's a long long journey, so stay by my side.
D Em D C G C D7
When I walk through the storm you'll be my guide, be my guide.
G C A7 D
If they gave me a fortune, my treasure would be small.
G Em C D
I could lose it all tomorrow, and never mind at all.
Em C D C G
But if I should lose your love dear, I don't know what I'll do.
C G C D7 G C D
G C A7 D, G Em C D
Em C D C G
But if I should lose your love dear, I don't know what I'll do.
C G C D7 G C D
G C D7 G C G
Another you-ou. Another you.
(The Seekers)(Folk) (Artist Index) - (Main Index) - (Song Index) (This Song)
I'M A BELIEVER – The Monkees
(Diamond)
https://www.youtube.com/watch?v=wB9YIsKIEbA (Capo 0)
INTRO: F
G D G
I thought love was only true in fairy tales.
D G
Meant for someone else but not for me.
C G C
Love was out to get me (do do do do do do)
G C
That’s the way it seemed (do do do do do do).
G D7
Disappointment haunted all my dreams.
NC G C G C G C G
Then I saw her face. Now I’m a believer.
C G C G C G
Not a trace, of doubt in my mind. I'm in love.
C G F Dm7 Dm7
I’m a believer I couldn’t leave her if I tried.
G D G
I thought love was more or less a given thing.
D G
Seems the more I gave, the less I got.
C G C
What’s the use in tryin (do do do do do do)?
G C
All you get is pain (do do do do do do).
G D7
When I needed sunshine I got rain.
NC G C G C G C G
C G C G C G
C G F Dm7 Dm7
G D G, G D G
Ahh.
C G C
Ahhhh love was out to get me (do do do do do do)
G C
That’s the way it seemed (do do do do do do).
G D7
Disappointment haunted all my dreams.
NC G C G C G C G
C G C G C G
C G F Dm7 Dm7
NC G C G C G C G
C G C G C G
Not a trace, of doubt in my mind.
C G C G
Then I'm a believer yeah yeah yeah yeah yeah I'm a believer.
C G C-C G
Said I'm a believer yeah.
(The Monkees) (Artist Index) - (Main Index) - (Song Index) (This Song)
I'M GONNA BE (500 MILES) - The Proclaimers
(Reid/Reid)
https://www.youtube.com/watch?v=tbNlMtqrYS0 (Capo 2)
TIP: The intro is a stacato of single bass strums of |D|. Three steady beats, 7 rapid
beats, 4 alternating beats, and 5 rapid beats.
TIP: Cover the top string with your thumb on the (D). Note the (Bm) in the final verse.
INTRO: |D| |D| |D|, |D|-|D|-|D|-|D|-|D|-|D|-|D|, |D| |D| |D| |D|, |D|-|D|-|D|-|D|-|D|
When I wake up,

G A D
Well I know I'm gonna be I'm gonna be the man who wakes up next to you.
When I go out,
G A D
Yeah I know I'm gonna be I'm gonna be the man who goes along with you.
If I get drunk,
G A D
Well I know I'm gonna be I'm gonna be the man who gets drunk next to you.
And if I haver,
G A D
Yeah I know I'm gonna be I'm gonna be the man who's haverin' to you.
G A
But I would walk five hundred miles and I would walk five hundred more,
D G A
Just to be the man who walks a thousand miles to fall down at your door.
D
When I'm workin',
G A D
Yes I know I'm gonna be I'm gonna be the man who's workin' hard for you.
And when the money,

G A D
Comes in for the work I'll do, I'll pass almost every penny on to you.
When I come home,

G A D
Oh I know I'm gonna be I'm gonna be the man who comes back home to you.
And if I grow old,

G A D
Well I know I'm gonna be I'm gonna be the man who's growing old with you.
G A
D G A
D G A D
Ta da la la, ta da la la. Ta da lun dunna lun dunna lun dunna lun la la.
G A D
|D| |D| |D|, |D|-|D|-|D|-|D|-|D|
When I'm lonely,

G A D
Well I know I'm gonna be I'm gonna be the man whose lonely without you.
And when I'm dreaming,

G A D
Well I know I'm gonna dream I'm gonna dream about the time when I'm with you.
When I go out,
G A D
Yeah I know I'm gonna be I'm gonna be the man who goes along with you.
And when I come home,

G A D
Yes I know I'm gonna be I'm gonna be the man who comes back home with you.
|G| |A| D
I'm gonna be the man who coming home . . . to you.
G A
D G A
D G A D
G A D
G A D
G A D
G A
D G A D
Just to be the man who walks a thousand miles to fall down at your door-or.
I’M HAPPY JUST TO DANCE WITH YOU - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=B7X1oUfa8uE (Capo 4)
INTRO: Am Dm E7, Am Dm E7
Am Dm E
Before this dance is through, I think I'll love you too.
F G C G
I'm so happy when you dance with me.
C Em G
I don’t want to kiss or hold your hand.
C Em G G7
If it's funny try and understand.
F C Am
There is really nothing else I'd rather do.
Dm G C G
'Cause I'm happy just to dance with you.
C Em G
I don't need to hug or hold you hold you tight.
C Em G G7
I just wanna dance with you all night.
F C Am
In this world there's nothing I would rather do.
Dm G C
'Cause I'm happy just to dance with you.
Am Dm E7 Am Dm E
Just to dance with you. Oh - oh. Is everything I nee-eed.
Am Dm E7
Before this dance is through I think I'll love you too.
F G C G
C Em G
If somebody tries to take my place.
C Em G G7
Let's pretend we just can't see his face.
F C Am
Dm G C
Cause I'm happy just to dance with you.
Am Dm E7 Am Dm E
Just to dance with you. Oh - oh. Is everything I nee-eed.
Am Dm E7
Before this dance is through I think I'll love you too.
F G C G
C Em G
If somebody tries to take my place.
C Em G G7
Let's pretend we just can't see his face.
F C Am
Dm G Am Dm E7
I’ve discovered I’m in love with you. Oh oh.
F G Am Dm Em F G C
Cause I'm happy just to dance with you. Oh- oh, oh- oh, oh!
I'M ON MY WAY - The Proclaimers
(Reid/Reid)
https://www.youtube.com/watch?v=TJ69svOtmAM (Capo 1)
INTRO: G, G, G
I'm on my way, from misery to happiness today. Uh-huh, uh-huh, uh-huh, uh-huh.
D7
G C
I'm on my way, to what I want from this world.
G C
And years from now, you'll make it to the next world.
G C
And everything, that you receive up yon-der.
G C D
Is what you gave, to me the day I wandered.
G
I took a right, I took a right turning yesterday. Uh-huh, uh-huh, uh-huh, uh-huh.
D7
Yeah I took a right, I took a right turning yesterday. Yay, yay, yay, yah.
G C
I took the road, that brought me to your hometown.
G C
I took the bus, to streets that I could walk down.
G C
I walked the streets, to find the one I'd looked for.
G C D
I climbed the stair, that led me to your front door.
C D G
And now, that I don't want, for anything.
C D G D
I'd have Al Jolson sing "I'm sitting on top of the 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.
D7
Yeah I'll do my best, I'll do my best to do the best I ca-a-a-an.
G C
To keep my feet, from jumpin' from the ground dear.
G C
To keep my heart, from jumping through my mouth dear.
G C
To keep the past, the past and not the present.
G C D
To try and learn, when you teach me a lesson.
C D G
And now, that I don't want, for anything.
C D G D
I'd have Al Jolson sing "I'm sitting on top of the world."
G
D7
Yeah I'm on my way, from misery to happiness today. Yay, yay, yay, yeah.
G C
G C
G C
G C
Is what you gave, to me the day I wan-dered.
G C
G C
G C
G C D
Is what you gave, to me the day I wandered.
G
I'm on my way. I'm on my way. I'm on my way. I'm on my way.
|G|
I'm on my way. I'm on my way. I'm on my way.
I’M SO LONESOME I COULD CRY
Hank Williams
https://www.youtube.com/watch?v=4WXYjm74WFI (Capo 2)
[Also presented afterwards in (G) which is easier to fingerpick.]
INTRO: D A D
Hear that lonesome whippoorwill. He sounds too blue to fly.

G D A D
The midnight train is whining low. I'm so lonesome I could cry.
I've never seen a night so long, when time goes crawlin' by.
G D A D
The moon just went, behind a cloud, to hide its face and cry.
D, G D, D A D
Did you ever see a robin weep, when leaves began to die?
G D A D
That means he's lost, the will to live. I'm so lonesome I could cry.
D, G D, D A D
The silence of a falling star, lights up a purple sky.

G D A D |D|
And as I won, der where you are, I'm so lonesome I could cry.
I’M SO LONESOME I COULD CRY
Hank Williams
TIP: Here in (G) mainly to fingerpick without a capo for a fuller bottom end. To sing
this version with Hank you'd have to capo 9 which is awkwardly confining in any case and
impossible on a 12-fret.
INTRO: G D G
Hear that lonesome whippoorwill. He sounds too blue to fly.

C G Gadd G D G
The midnight train is whining low. I'm so lone some I could cry.
I've never seen a night so long, when time goes crawlin' by.
C G Gadd G D G
The moon just went, behind a cloud, to hide its face and cry.
G, C G, G D G
Did you ever see a robin weep, when leaves began to die?
C G Gadd G D G
That means he's lost, the will to live. I'm so lone some I could cry.
G, C G, G D G
The silence of a falling star, lights up a purple sky.

C G D G |G|
And as I won, der where you are, I'm so lonesome I could cry.
I'M THAT KIND OF GIRL - Patty Loveless
(Berg/Samoset)
https://www.youtube.com/watch?v=m-HVP01goE4 (Capo 1)
INTRO: A D G D, A D G D, A D G D, A D G D
A D G D
There's a man in a Stetson hat, howlin' like an alley cat,
A D G D
Outside my window tonight.
A D G D
Sayin' "Baby put on somethin' hot, meet me in the parkin' lot,
A D G D
About a quarter to nine."
E G
I get the feelin' that he's never read, Romeo and Juliet.
E |G| G
I'm gettin' tired of these one night stands but if you want to make a real romance
A D G D A D G D
I'm that kind of girl, I'm that kind of girl.
A D G D
I ain't the woman in red I ain't the girl next door
A D G D
But if somewhere in the middle's what you're lookin' for
A D G D A D G D
I'm that kind of girl, yes I'm that kind of girl.
A D G D
Let me tell you that I like my lovin' just as much as any woman,
A D G D
But I'm drawin' the line.
A D G D A G D
A little sensitivity always seems to get to me, every time.
E G
I'm a sucker for a love sick fool, the kind that carries all your books in school.
E |G| G
I'm gettin' tired of these one night stands, but if you're lookin' for a real romance
A D G D A D G D
A D G D
A D G D
A D G D A D G D
E E7 E7 E, E E7 E7 E, E E7 E7 E E
A D G D A D G D
A D G D
A D G D
A D G D A D G D
A D G D A D G D
I'm thaaaat kind of girl. Oh-oh-oh.
A D G D A D G D
Oh I'm thaaaat kind of girl. Oh-oh-oh.
A D G D, A D G D, <softer> A D G D, A D G D, A D G D, |A|
I'VE BEEN WORKING ON THE RAILROAD
(Traditional)
TIP: This old standard has many versions. The "childrens" version usually ends with the
first "Fi, fie, fiddly-i-o" verse. The ballad version continues with the verses that
follow.
G C G
I've been working on the railroad. All the live-long day.
A D
I've been working on the railroad just to pass the time away.
G C B7
Don't you hear the whistle blowin', rise up so early in the morn.
C G D G
Don't you hear the captain shouting, "Dinah blow your horn."
C Am D7 G
Dinah won't you blow, Dinah won't you blow, Dinah won't you blow your horn?
C Am D7 G
D
Someone's in the kitchen with Dinah. Someone's in the kitchen I know.
G C G C D7 G
Someone's in the kitchen with Dinah, strummin' on the old banjo.
D
Singin' fi fie fiddly-i-o. Fi fie fiddly-i-o-o-o-o.
G C G C D7 G
Fi fie fiddly-i-o. Strummin' on the old banjo.
C G
I've been working on the trestle, driving spikes that grip.
A D
I've been working on the trestle to be sure the ties won't slip.
G C B7
Can't you hear the engine coming? Run to the stanchion of the bridge.
C G D G
Can't you see the big black smokestack, coming down the ridge?
C Am D7 G
C Am D7 G
D
G C G C D7 G
D
G C G C D7 G
C G
I've been living in the boxcars. I'm a hobo now.
A D
I've been living in the boxcars which the yard bulls won't allow.
G C B7
Brother can you spare a quarter? Buy me something good to eat?
C G D G
Brother can you spare a nickel, til I'm on my feet?
C Am D7 G
C Am D7 G
D
G C G C D7 G
D
G C G C D7 G
C G
I'll be owner of this railroad, one of these here days.
A D
I'll be owner of this railroad and I swear your pay I'll raise.
G C B7
I'll invite you to my mansion, feed you on goose and terrapin.
C G D G
I'll invite you to the racetrack, when my ship comes in.
C Am D7 G
C Am D7 G
D
G C G C D7 G
D
G C G C D7 G
(Traditional) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
I'VE GOT A NAME
Jim Croce
https://www.youtube.com/watch?v=wmKd_P1qGIA (Capo 4)
INTRO: C G Em G, C G Em G
C G Am
Like the pine trees lining the winding road.
F G G
I’ve got a name, I’ve got a name.
C G Am
Like the singing bird and the croaking toad,
D7 G
I’ve got a name, I’ve got a name.
Em F C
And I carry it with me like my daddy did,
E Am E7 G
But I'm living the dream, that he kept hid.
Em F Em A
Moving me down the highway. Moving me down the highway.
F G C
Moving ahead so life won't pass me by.
C G Am
Like the north wind whistling down the sky,
F G C G
I've got a song, I've got a song.
C G Am
Like the whippoorwhill and the baby's cry.
D7 G
I've got a song, I've got a song.
Em F C
And I carry it with me and I sing it loud.
E Am D7 G
If it gets me nowhere, I'll go there proud.
Em F Em A
F G C
C G Am, Am F G C G, C G Am, Am D7 D7 G
C G C
And I'm gonna go there free . . .
G Am
Like the fool I am and I'll always be,
F G C G
I've got a dream, I've got a dream.
C G Am
They can change their minds but they can't change me.
D G
I've got a dream, I've got a dream.
Em F C
I know I could share it if you want me to.
E Am D7 G
If you're going my way, I'll go with you.
Em F Em A
F G C
Em F Em A
F G C
Moving ahead so life won't . . . pass me by.
(Jim Croce) (Artist Index) - (Main Index) - (Song Index) (This Song)
I’VE JUST SEEN A FACE – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=m8LbJfC0SYM (Capo 2)
INTRO: Em, C, D C
G Em
I've just seen a face I can't forget the time or place where we just met
C
She's just the girl for me and I want all the world to see we've met.
D G
Mmm hmm hmm hmm hmm hmm.
Had it been another day I might have looked the other way
Em G
And I’d of never been aware but as it is I’ll dream of her tonight.
D G
La da da la da da.
D C G C G D
Falling, yes I am falling, and she keeps calling, me back again.
G Em
I have never known the like of this I've been alone and I have missed things
C
And kept out of sight but other girls were never quite like this.
D G
La da da la da da.
D C G C G
G Em C D G
D C G C G
G Em
I've just seen a face I can't forget the time or place where we just met
C
She's just the girl for me and I want all the world to see we've met.
D G
Mmm hmm hmm lad da da.
D C G C G
D C G C G
D C G C G
<one strum each> |C| |G| |D| |G|-|D|-|G| <pluck bottom two strings of G once to end>
IF - Bread
(Gates)
https://www.youtube.com/watch?v=LYFJRomR12k (Capo 0)
TIP: Note there is both an (F#m) and an (F#). It helps if you can cover the 4th string
on the (F#m).
TIP: (Bm4) is just (Bm) played on the 4th fret but you kind of need to cover that 4th
string.
TIP: Concerning the (Dm6), you'll be coming off an (A) so hold fast with the middle
finger and pivot the index finger over to cover the bottom string/1st fret.
( )( )
INTRO: A, A7, D, A, Dm, A, Dm, E
A A7 A A7 D
If a picture paints a thousand words then why can't I paint you?
Dm A Dm E
The words will never show, the you I've come to know.
A A7 A A7 D
If a face could launch a thousand ships then where am I to go?
Dm A Dm E
There's no one home but you. You're all that's left me too.
F#m Bm4 A Dm6

And when my love for life is running dry,
A7 F# Bm E7
You come and pour yourself on me.
A A7 A A7 D
If a man could be two places at one time I'd be with you.
Dm A Dm E
Tomorrow and today, beside you all the way.
A A7 A A7 D
If the world should stop revolving spinning slowly down to die.
Dm A Dm E
I'd spend the end with you, and when the world was through.
F#m Bm4 A Dm6

Then one, by one, the stars would all go out.
A7 F# Bm E7 A D Dm A
Then you, and I, would sim, ply fly, away.
(Bread) (Artist Index) - (Main Index) - (Song Index) (This Song)

IF DRINKING DON’T KILL ME – George Jones
(Sanders/Beresford)
https://www.youtube.com/watch?v=vY-epx63Dd8 (Capo 4)
NC D G D
The bars are all closed, it’s four in the morning.
A
I must have shut’em all down, by the shape that I’m in.
D G D
I lay my head on the wheel, and the horn begins honkin'.
A D
The whole neighborhood knows, that I’m home drunk again.
G D A
If drinking don’t kill me, her memory will.
G A D
I can’t hold out much longer, the way that I feel.
G D G
With the blood from my body, I could start my own still.
D A D G D A D
But if drinking don’t kill me, her memory will.
NC D G D
These old bones they move slow, but so sure of their footsteps.
A
As I trip on the floor, and I lightly touch down.
D G D
Lord it’s been, ten bottles, since I tried to forget her,
A D
But the memory still lingers lying here on the ground.
G D A
And if drinking don’t kill me, her memory will.
G A D
I can’t hold out much longer, the way that I feel.
G D G
With the blood from my body, I could start my own still.
D A D |G|-|D|-|Em|-|D|
But if drinking don’t kill me, her memory will.
IF I FELL - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=F_80s6S_7Vw (Capo 2)
TIP: This is my favorite Beatle tune and quite possibly, I think, the prettiest song
ever written. But those awesome harmonies also make it one of the more difficult songs
to play, especially if you're not comfortable with barre chords. It does get a little
easier after you get past the intro.
TIP: The first chord is actually (C#m) but we're calling it (Bm4) because it looks like
(Bm) played on the 4th fret. And since it's also the first chord you play, try setting
it up as a full barre on the 2nd fret. When it comes around again in the second line you
can ignore the top two strings (don't strike them) but try to include the 4th string if
possible.
TIP: Notice that the (Fm),(Gm), and (G#m) chords are all the same formation just played
on a different fret: (Fm) on the 1st, (Gm) on the 3rd, and (G#m) on the 4th. The (G#m)
only appears once, in the intro and it follows the (B). Your three fingers of the (B)
will be on the 4th fret so that's your cue for where to play the (G#m). The (Gm) will
appear in the lyrics as (Fm3/Gm) to remind you that you play it on the 3rd fret. And in
each case you want to try and cover the 4th and/or 5th strings if you can.
TIP: The opening note to begin singing is the covered 3rd string/6th feet <c#> walking
up to the coverd 2nd string/5th fret note <e> on "fell".
/ ( ) ( )
( )
NC Bm4 C B G#m
INTRO: If I fell in love with you, would you promise to be true, and help me understand.
Bm4 C
'Cause I've been in love before, and I found that love was more,
Dm G
Than just holding hands.
C Dm Em Dm7 G Dm7 C Dm Em
If I give, my, heart, to you, I must be sure from the ver-ry start,
Dm7 G F C Fm G7
That you, would love me more than her.
C Dm Em Dm7 G Dm7 C Dm Em
If I trust, in, you, oh please, don't run and hide if I love, you, too,
Dm7 G F Fm3/Gm F
Oh please, don't hurt my pride like her. 'Cause I couldn't stand the pain.
Fm C G7
And I, would be sad if our new love, was in vain.
C Dm Em Dm7 G Dm7 C Dm Em Dm7
So I hope, you, see, that I, would love to love you and, that, she, will cry,
G F Fm3/Gm F
When she learns we are two. 'Cause I couldn't stand the pain.
Fm C G7
And I would be sad if our new love was in vain.
C Dm Em Dm7 G Dm7 C Dm Em Dm7

So I hope, you, see, that I, would love to love you and, that, she, will cry,
G F C Fm C |Fm|-|Fm|-|Fm|-|Fm|-|Fm|-|C|
When she learns we are two. If I fell in love with you.
IF I HAD A BOAT
Lyle Lovett
https://www.youtube.com/watch?v=hpM8FjO4Vko (Capo 2)
INTRO: D, D, D, G–A-D
G D G D
And if I had a boat, I'd go out on the ocean.
Bm A
And if I had a pony, I'd ride him on my boat.
G D G D
And we could all together, go out on the ocean.
A D
I’d-sit me upon my pony on my boat.
G D
And if I were Roy Rogers, I'd sure enough be single.
A
I couldn't bring myself to marryin’ o-old Dale.
D G D
Well it'd just be me and Trigger. We'd go riding through them movies.
A D
And we'd buy a boat and on the sea we'd sail.
G D G D
Bm A
G D G D
A D
G D
Now the mystery masked man was smart, he got him self a Tonto.
A
'Cause Tonto did the dirty work for free.
D G D
But Tonto he was smarter, and one day said Kemo Sabe:
A D
“Kiss my ass I bought a boat and I'm going out to sea.”
G D G D
Bm A
G D G D
A D
D A D, G A D, G D A A
D G D
And if I were like lightnin’, I wouldn't need no sneakers.
A
I'd come and go wherever I would please.
D G D
And I'd scare 'em by the shade tree, and scare 'em by the light pole.
A D
But I would not scare my pony on my boat out on the sea.
G D G D
Bm A
G D G D
A D
A D A |D|
IF I HAD A HAMMER - Trini Lopez
(Seger/Hays)
https://www.youtube.com/watch?v=hms_GdvOKZY (Capo 2)
TIP: Pete Seger and Lee Hays wrote this old folk/protest song way back in 1949 and,
politics aside, it's been covered by many artists since then including Peter, Paul, and
Mary. But I like Trini Lopez's jumpy version from 1963.
INTRO: C F-G, C F-G, C F-G, C F-G
C F G C F G C F
Oooh ooh oooh ooh, oooh ooh oooh ooh, oooh ooh ooh
C F C
If I had a hammer, I'd hammer in the morning.
G C F G G
I'd hammer in the evening, all over this land.
C Am
I'd hammer out danger. I'd hammer out a warning.
F C F C F G
I'd hammer out love between, my brothers and my sisters, ah ah,
C
All over this land.
C F G C F G C F
C F C
If I had a bell, I'd ring it in the morning.
G C F G G
I'd ring it in the evening, all over this land.
C Am
I'd ring out danger. I'd ring out a warning yeah.
F C F C F G
I'd ring out love between, my brothers and my sisters, ah ah,
C
All over this land.
C F G C F G C F
C F C
If I had a song, I'd sing it in the morning.
G C F G G
I'd sing it in the evening, all over this world.
C Am
I'd sing out danger, I'd sing out a warning yeah.
F C F C F G
I'd sing out love between, my brothers and my sisters, ah ah,
C
All over this land.
C F G C F G C F
C F C
I got a hammer, and I've got a bell.
G C Am F G G
And I've got a song to sing, all over this land.
C Am
It's the hammer of justice, it's the bell of freedom.
F C F C F G
It's the song about love between, my brothers and sisters, ah ah,
C F-G, C F
All over this land.
G C F C
All over this land. All over this land.
G C F
All over this land. All over this land.
G C F G C C
All over this laaaa - - aaaand.
(Trini Lopez) (Folk) (Artist Index) - (Main Index) - (Song Index) (This Song)
IF I HAD YOU – Alan Jackson
(McBride/Jackson)
https://www.youtube.com/watch?v=2LuPg9U3yzo (Capo 0)
TIP: For the (D4) you're already playing (D) so just add your pinky to the bottom
string/3rd fret.
TIP: If need be you can “cheat” with the (Bm) as you’ll already be playing the (D). Add
the pinky to complete the chord but try to strike only the bottom three strings.
INTRO: G A; A; A D D4 D
NC D A
If I could have you, I know what I would do.
G A D A
This time I'd be true. If I had you.
D A
If you could be mine, I'd walk that straight line.
G A D A D
There'd be no bad times. If I had you.
G A D
I made the worst mistake, one fool could ever make.
Bm E A
Tell me it's not too late. What can I do?
NC D A
If I could hold you tight, I'd have the world tonight.
G A D A
Everything would be alright. If I had you.
D-A-D, D-D4 A, A G A D A, D-A-D, D-D4 A, A G A D
G A D
Well-I made the worst mistake, one fool could ever make.
Bm E A
Tell me it's not too late. What can I do?
NC D A
If I could hold you tight, I'd have the world tonight.
G A D
A G NC D A D
IF I NEEDED YOU
Lyle Lovett/Emmylou Harris & Don Williams
(Van Zandt)
https://www.youtube.com/watch?v=_7_B0Svzgwg (Lyle) (Capo 0)
https://www.youtube.com/watch?v=ILfCEPL-9Oo (Emmylou & Don)(Capo 0)
TIP: Play the intro like the chords in the first two lines but play just (C) through the
first line (no (F).
TIP: Also pretty using the chords (D)(G) and (A), and easiest to fingerpick in (G),(C),
and (D).
INTRO: C C C, C F G C
F C C
If I needed you, would you come to me?
F G C
Would you come to me for to ease my pain?
C
If you needed me, I would come to you.
F G C
I would swim the sea for to ease your pain.
C
Well the night's forlorn, and the morning's born.
F G C
And the morning shines with the lights of love.
C
And you'll miss sunrise, if you close your eyes.
F G C
And that would break my heart in two.
C C
F G C
C
F G C
C C C, C F G C; C C C, C F G C
C
Baby's with me now, since I showed her how,
F G C
To lay, her lilly hand in mine.
C
Who would ill agree, she's a sight to see?
F G C
A treasure for the poor to find.
F C C
F G C
C
F G C C C C, C F G C
(Lyle Lovett) (Emmylou Harris) (Don Williams)(Artist Index)

IF I ONLY HAD A BRAIN – Ray Bolger
(Harburg/Arlen)
https://www.youtube.com/watch?v=nauLgZISozs (Capo 7)
TIP: (Cmaj7) is just (C) without the (index finger).
D7 G Cmaj7 C G
I could wile away the hours, conferrin' with the flowers, consultin’ with the rain.
G C D7 G C G
And my head I'd be scratchin' while my thoughts were busy hatchin' if I only had a brain.
D7 G Cmaj7 C G
I'd unravel any riddle, for any individ'le, in trouble or in pain.
G C D7 G C G
With the thoughts you'd be thinkin' you could be another Lincoln if you only had a brain.
C Bm Am7 G
Oh I, would tell you why, the ocean's near the shore.
D D7 Em
I could think of things I never thunk before.
A7 D D7
And then I'd sit, and think some more.
G Cmaj7 C G
I would not be just a nuffin', my head all full of stuffin', my heart all full of pain.
G C D7 G C G
I would dance and be merry life would be a ding-a-derry if I only had a brain.
(Ray Bolger) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
IF I ONLY HAD A HEART – Jack Haley
(Harburg/Arlen)
https://www.youtube.com/watch?v=6aE-nMS9Mnk (Capo 7)
D7 G Cmaj7 C G
When a man's an empty kettle, he should be on his mettle, and yet I'm torn apart.
G C D7 G C G
Just because I'm presumin', that I could be kind of human if I only had heart.
D7 G Cmaj7 C G
I'd be tender, I'd be gentle, and awful sentimental, regarding love and art.
G C D7
I'd be friends with the sparrows and the boys who shoots the arrows
G C G
If I only had a heart.
C Bm Am7 G D Em
Picture me, a balcony, above a voice sings low. Wherefore art thou Romeo?
A7 D D7
I hear a beat, how sweet.
G Cmaj7 C G
Just to register emotion: jealousy, devotion, and really feel the part.
G C D7 G C G
I could stay young and chipper and I'd lock it with a zipper if I only had a heart.
(Jack Haley) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index)(This Song)
IF I ONLY HAD THE NERVE/WE’RE OFF TO SEE THE WIZARD
Bert Lahr
(with Ray Bolger, Jack Haley, and Judy Garland)
(Harburg/Arlen)
https://www.youtube.com/watch?v=Pdh9JhwZ8nc (Capo 7)
D7 G Cmaj7 C
Yeah it's sad believe me Missy, when you're born to be a sissy,
G
Without the vim and verve.
G C D7 G C G D7
But I could show my prowess be a lion not a mou-ess if I only had the nerve.
G Cmaj7 C G
I'm afraid there's no denyin', I'm just a dandelion, a fate I don't deserve.
G C D7
I'd be brave as a blizzard I'd be gentle as a lizard,
C D7 C G
I'd be clever as a gizzard, if the Wizard is a Wizard who will serve.
Cmaj7 G Cmaj7 G Cmaj7 G Cmaj7 G

Then I'm sure to get a brain, a heart, a home, the nerve.
D7 G Em D7 G
We're . . . off to see the wizard, the wonderful Wizard of Oz.
Em D A7 D7 D
We hear he is a whiz of a wiz if ever a wiz there was.
C G C Em G
If ever oh ever a wiz there was the Wizard of Oz is one because.
D C D7 A7 D7
Because because because because because. Because of the wonderful things he does.
G Em D7 G
We're off to see the wizard, the wonderful Wizard of Oz.
(Bert Lahr)(Judy Garland) (Kid Friendly) (Artist Index)

IF LOVE WAS A RIVER - Alan Jackson
(A. Wright/S. Wright)
https://www.youtube.com/watch?v=LQ2EH7KjKsg (Capo 2)
TIP: The (Bm) will follow (D) so you can just add your pinky to the 3rd string/3rd fret if
you want.
INTRO: D D A A D-A-D D |D|
NC D A A
If love was a river, and I was a drownin’ man,
D G G
Would you get in the water, would you lend me a hand?
D A D D |D|
If love was a river, would you sit on the land?
NC D A A
If love was a mountain, high above this town,
D G G
Would you climb to the top, would you never look down?
D A D D
If love was a mountain, would you go around?
G D A D
Love may only knock so many times upon your door.
G D Bm Bm A |A|
And heaven only knows if it will come back, anymore.
NC D A A
If love was a firefly, sittin’ in your hand,
D G G
Would you laugh when it twinkled, let it go again?
D A D D
If love was a firefly, would you understand?
<mandolin> D D A A D D G G D A D D |D|
NC D A A
If love was a party, with everyone you know,
D G G
Would you dance if I asked you, would you smile and say “No”?
D A D D
If love was a party, would you even go?
G D A D
Love may only knock so many times upon your door.
G D Bm Bm A |A|
And heaven only knows if it will come back, anymore.
NC D A A
If love was a fast train, on a one-way track,
D G G
Would you turn in your ticket, would you never look back?
D A D D
If love was a fast train, would you even pack?
<mandolin> D D A A D D G G D A D D
<steel> D D A A D D G G D A D D
<electric> D D A A D D G G D A D |D|
IF NOT FOR YOU - George Harrison
(Dylan)
https://www.youtube.com/watch?v=BU-RNjPxsXI (Capo 0)
TIP: Of course this is a Bob Dylan tune, and it's great poetry, but Bob was all over the
map with his version and I much prefer George's version. Neither recording charted, in
fact the only version that did was the syrupy Olivia Newton-John cover in 1971.
INTRO: G C, G C, G C, C Am Am, G C
G C G
If not for you, babe-I-couldn't-even find the door.
G Am G
I couldn't even see the floor. I’d be sad and blue, if not for you.
C G G
If not for you, babe the night-would-see-me wide awake.
C G C Am G
The day would surely have to break. It would not be new, if not for you.
G D G
If not for you my sky would fall. Rain would gather too.
C G A7 D
Without your love I'd be nowhere at all I'd be lost if not for you.
NC G C G
If not for you, the winter would hold no spring.
G C Am G
Couldn't hear a robin sing. I just wouldn't have a clue, if not for you.
G D G
C G A7 D
NC G C G
G C Am G
G C, C Am Am, G C, G C; G C, C Am Am, G C, G C
G D G
C G A7 D
NC G C G
G C Am G
G G C, |G|
If not for you-ou.
(George Harrison) (Artist Index) - (Main Index) - (Song Index) (This Song)
IF YOU COULD READ MY MIND
Gordon Lightfoot
https://www.youtube.com/watch?v=v5tr_L31StI (Capo 0)
TIP: For the (A) to (Asus2) just lift off the bottom finger.
INTRO: A, A-Asus2; A, A-Asus2; A
G D A
If you could read my mind love, what a tale my thoughts could tell.
G D A
Just like an old time movie, 'bout a ghost from a wish-ing well.
Em D E F#m
In a castle dark, or a fortress strong, with chains upon my feet.
D A
You know that ghost is me.
D F#m D E A A Asus2 A
And I will never be set free, as long as I'm a ghost that you can't see.
G D A
If I could read your mind love, what a tale your thoughts could tell.
G D A
Just like a paperback novel, the kind the drug stores sell.
Em D E F#m
When you reach the part, where the heartaches come, the hero would be me.
D A
The hero, often fails.
D F#m D E A
You won't read that book again because the ending's just too hard to take.
A, Asus2 A, G D D D-A; A, Asus2 A, G D D D-A
A7 D E F#m
I'd walk away, like a movie star, who gets burned in a three way script.
D A
Enter, number two.
D F#m D E F#m
A movie queen to play the scene of bringing all the good things out in me.
D A
But for now love let's be real.
D F#m D E
I never thought I could act this way and I've got to say that I just don't get it.
D F#m D E A
I don't know where we went wrong but the feeling's gone and I just can't get it back.
A, A-Asus2; A, A-Asus2; A
G D A
If you could read my mind love, what a tale my thoughts could tell.
G D A
Just like an old time movie, 'bout a ghost from a wish-ing well.
Em D E F#m
In a castle dark, or a fortress strong, with chains upon my feet.
D A
The story, always end.
D F#m D E F#m
If you read between the lines you'd know that I'm just tryin' to understand,
D A
The feeling, that you lack.
D F#m D E
I never thought I could feel this way and I've got to say that I just don't get it.
D F#m D E A
I don't know where we went wrong but the feeling's gone and I just can't get it back.
A, Asus2 A, G D D D-A Asus2-A
IF YOU WANT TO SING OUT
Cat Stevens
https://www.youtube.com/watch?v=NDq36YD1ESM (Capo 0)
TIP: In the intro and outro, to transition from the (C) to (CaddD) just add your pinky
to the /2nd string/3rd fret.
INTRO: C CaddD Am, C CaddD Am
G C G F C G Am
Well if you want to sing out sing out, and if you want to be free be free.
Dm Am G C G
'Cause there's a million things to be. You know that there are.
C G F C G Am
And if you want to live high live high, and if you want to live low live low.
Dm Am G C G
'Cause there's a million ways to go. You know that there are.
C F G C
You can do what you want. The opportunity’s on.
C F G C
And if you find a new way, you can do it today.
C Am C Am Em
You can make it all true. And you can make it undo, you see? <pause>
Am Em Am Em G
A hah hah, it's easy. A hah hah, you only, need to know.
C G F C G Am
Well if you want to say yes say yes, and if you want to say no say no.
Dm Am G C G
'Cause there's a million ways to go. You know that there are.
G C G F C G Am
And if you want to be me be me, and if you want to be you be you.
Am Dm Am G C G
'Cause there's a million things to do. You know that there are.
C F G C
You can do what you want. The opportunity’s on.
C F G C
And if you find a new way, you can do it today.
C Am C Am Em
You can make it all true. And you can make it undo, you see? <pause>
Am Em Am Em G
A hah hah, it's easy. A hah hah, you only, need to know.
G C G F C G Am
Well if you want to sing out sing out, and if you want to be free be free.
Am Dm Am G C G C G
'Cause there's a million things to be. You know that there are, you know that there are,
C G C G C G F
You know that there are, you know that there are.
G C G F, C CaddD Am, |C|
You know that there are.
(Cat Stevens) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
IF YOU WERE TO WAKE UP (In D)
Lyle Lovett
https://www.youtube.com/watch?v=ITgB8vcuIlE (Capo 3)
TIP: Afterwards is another version in (G).
TIP: It's the middle <g>, open 3rd string, to begin singing on the first (G) at "you".
Rise up and then descend to the first (D). This is quite a slow song; play it as such.
G D G D
If you were to wake up, and I were beside you.
G D A
Would you gently smile, dear, and whisper my name?
G D G D
And would you remember, the way that I held you?
G D A D G D
And would you want me, to hold you again?
G D G D
Time reaches to you, just like a willow,
G D G A
That bends to the water, and clings to the shore.
G D G D
And there was a time dear, that once you did love me.
G D A D G D
And there was a time, you loved me no more.
G D G D
Rain on your window, light on your pillow.
G D A
The way you lie sleeping, is it like before?
G D G D
For there was a time dear, that once you did love me.
G D A D G D
<violin> D G D, G D D A, A D G D, G D A D G D
G D G D
G D A
G D G D
G D A D G G |D|
IF YOU WERE TO WAKE UP (In G)
Lyle Lovett
[Here in G, mainly for fingerpicking. You'd have to capo 10 to sing with Lyle so try the
version in (D) above if you're playing to the recording.]
TIP: It's lower <c>, 2nd string/1st fret, to begin singing on the first (C) at "you".
Rise up and then descend to the first (G). This is quite a slow song; play it as such.
C G C G
If you were to wake up, and I were beside you.
C G D
Would you gently smile, dear, and whisper my name?
C G C G
And would you remember, the way that I held you?
C G D G C G
And would you want me, to hold you again?
C G C G
Time reaches to you, just like a willow,
C G G D
That bends to the water, and clings to the shore.
C G C G
And there was a time dear, that once you did love me.
C G D G C G
C G C G
C G D
C G C G
C G D G C G
<violin> G C G, C G G D, D G C G, C G D G C G
C G C G
C G D
C G C G
C G D G C C |G|
IF YOU’RE GONNA PLAY IN TEXAS – Alabama
(Mitchell/Kellum)
https://www.youtube.com/watch?v=w6r4E514nJg (Capo 0)
INTRO: <single strum of> |A|
A E D A
If you're gonna play in Texas, you gotta have a fiddle in the band.
E D E
That lead guitar is hot but not for "Lousiana Man."
F#m E D A
So rosin up that bow for "Faded Love" and let's all dance.
E D F#m D A
E D A
I remember down in Houston, we were puttin' on a show.
E D E
When a cowboy in the back stood up and yelled, "Cotton-Eyed Joe"!
A E D A
He said "We love what you're doin', boys don't get us wrong.
E A
There's just somethin' missin' in your song."
A E D A
E D E
F#m E D A
E D F#m D A, E D A
E D A
So we dusted off our boots and put our cowboy hats on straight.
E D E
Them Texans raised the roof when Jeff opened up his case.
A E D A
You say y'all all wanna two-step. You say ya wanna doe-si-doe.
E D A
Well here's your fiddlin' song before we go.
A E D A
E D E
F#m E D A
E D A
A E D A, A E D E, F#m E D A, A E D A
A E D A
E D E
F#m E D A
E D A
A E D A, A E D E, F#m E D A, A E D A
(Alabama) (Artist Index) - (Main Index) - (Song Index) (This Song)

IMAGINE
John Lennon
https://www.youtube.com/watch?v=VOgFZfRVaww (Capo 3)
[The problem here is John wrote Imagine for the piano, not the guitar, and it's in [B]
which presents a capo'ing nightmare to find easy chords to play and still be able to sing
along. It took me three frickin' hours to transpose this but here it is in [A] with capo
3, which is the easiest transposition I could find without going way up the neck. The
chords aren't really friendly but they're do'able. Do yourself a favor and play the
version which follows afterwards. It's in [C] with much easier chords. You won't be
able to sing along but at least you'll be able to play it.]
TIP: The whole (A)(Amaj7)(D) sequence is all about the index finger. Stay with me here,
start that first (A) with your index finger on the 3rd string tucked behind your middle
finger on the 4th string and your ring finger on the 2nd string. You'll want to play the
(A) this way. Now for the (Amaj7) just slide your index finger back to the 1st fret.
That's (Amaj7). Now play the (D) and notice where your index finger is, 3rd string/2nd
fret. Most of the time you'll come off the (D) to play the (A) so keep that index finger
planted on that 3rd string and reach over that finger with your other two fingers back to
the 2nd fret so they're in the same position to play the (A) as when you started, with
the index finger tucked in behind the other two. See how that works? If it's too
cumbersome to play the (A) that way then mentally think (D7) but up one string.
TIP: The (Db) is just (D) slid back into the 1st fret. Cover the 4th string/4th fret
with your pinky if you can.
TIP: If all of this is too much you can always forget the (Amaj7) just play the majors.
Or better yet, just play the arrangement in (C) that comes after this one.
( )
INTRO: A Amaj7 D, A Amaj7 D
A Amaj7 D A Amaj7 D
Imagine there's no Heaven. It's easy if you try-y.
A Amaj7 D A Amaj7 D
No hell be low us. Above us only sky-y.
F#m Bm E A |E| NC
Imagine all the people. Living for to day. A-ha.
A Amaj7 D A Amaj7 D
Imagine there's no countries. It isn't hard to do-oo.
A Amaj7 D A Amaj7 D
Nothing to kill or die for. And no religion too-oo.
F#m Bm E A |E| NC
Imagine all the people. Living life in peace. You-hoo.
D E A D/A1 D E A DA/1 D
You may say that I'm a dreamer, but I'm not the only one.
E A D/A1 D E A
I hope someday you'll join us. And the world will be as one.
Amaj7 D A Amaj7 D
Imagine no po ssessions. I wonder if you can-an.
A Amaj7 D A Amaj7 D
No need for greed or hunger. A brotherhood of ma-an.
F#m Bm E A |E| NC
Imagine all the people. Sharing all the world. You-hoo.
D E A D/A1 D E A DA/1 D
E A D/A1 D E A
I hope someday you'll join us. And the world will live as one.
(John Lennon) (Artist Index) - (Main Index) - (Song Index) (This Song)
IMAGINE
John Lennon
TIP: (Cmaj7) will follow (C) so just lift off the index finger.
INTRO: C Cmaj7 F, C Cmaj7 F
C Cmaj7 F C Cmaj7 F
Imagine there's no Heaven. It's easy if you try-y.
C Cmaj7 F C Cmaj7 F
No hell be low us. Above us only sky-y.
Am Dm G C |G7| NC
Imagine all the people. Living for to day. A-ha.
C Cmaj7 F C Cmaj7 F
Imagine there's no countries. It isn't hard to do-oo.
C Cmaj7 F C Cmaj7 F
Nothing to kill or die for. And no religion too-oo.
Am Dm G C |G7| NC
Imagine all the people. Living life in peace. You-hoo.
F G C E F G C E F
G C E F G C
Cmaj7 F C Cmaj7 F
Imagine no po ssessions. I wonder if you can-an.
C Cmaj7 F C Cmaj7 F
No need for greed or hunger. A brotherhood of ma-an.
Am Dm G C |G7| NC
Imagine all the people. Sharing all the world. You-hoo.
F G C E F G C E F
G C E F G C
(John Lennon) (Artist Index) - (Main Index) - (Song Index) (This Song)
IMITATION OF LIFE - R.E.M.
(Buck/Mills/Stipe)
https://www.youtube.com/watch?v=0vqgdSsfqPs (Capo 0)
TIP: (D4) will follow (D) so hold (D) and just add your pinky added to the bottom string
and then lift off to return to (D).
INTRO: Em Gadd Gadd, G Em Am C D D4 D
Em G Em D Em Am G D C
Charades pop skill, water hyacinth, named by a poet, imitation of life.
Em Am G D Em
Like a koi in a frozen pond. Like a goldfish in a bowl.
Am G D C
I don't want to hear you cry-y-y-y-y-y-y-y.
G Em C Am C D
That's sugarcane, that tasted good. That's cinnamon, that's Hollywood.
G Em Am C D D D4 D
C' mon, c' mon no one can see you try-y-y-y-y-y-y-y-y.
Em G Am G D
You want the greatest thing, the greatest thing since bread came sliced.
Em Am G D C
You've got it all you've got it sussed.
Em Am G D Em
Like a Friday fashion show teenager freezing in the corner,
Am G D C
Trying to look like you don't try-y-y-y-y-y-y-y.
G Em C Am C D
That's sugarcane, that tasted good. That's cinnamon, that's Hollywood.
G Em Am C D D D4 D
C, C C D, D4 D C, C C D, D4 D C, C C D, D
G Em C Am C D
That's sugarcane, that tasted good. That's freezing rain that’s, what you could.
G Em Am C D D D4 D
C' mon, c' mon no one can see you cry-y-y-y-y-y-y-y-y.
G Em Am C D
<softer> This sugarcane, this lemonade, this hurricane I'm, not afraid.
G Em Am C D
G Em Am C D
This lightning storm, this tidal wave, this avalanche I'm, not afraid.
G Em Am C D
G Em C Am C D
That sugar cane that tasted good. That's who you are that's, what you could.
G Em Am C D D D4 D |Em|

IN DREAMS
Roy Orbison
https://www.youtube.com/watch?v=MVRunwyoTMA (Capo 0)
TIP: Roy sings the opening verse with just a single strum where the chord appears in
brackets.
TIP: In the last verse (Cmaj7) will follow just (C) so just lift off the index finger.
(CaddG) is (C) with pinky added to the bottom string/3rd fret, and (Gadd) is (G) with
both ring and pinky on the bottom two strings of the 3rd fret.
|C| |Am| |Dm| |G7|

A candy-colored clown they call The Sandman, tiptoes to my room every night.
|C| |Am| |F| |G7| |C|
Just to sprinkle stardust and to whisper, "Go to sleep, everything, is all right."
NC C Dm G7 C
I close my eyes, then I drift away, into the magic night, I softly say,
Dm G7 C
A silent prayer, like dreamers do. Then I fall asleep to dream, my dreams of you.
G G7 F G7 C
In dreams, I walk, with you. In dreams, I talk, to you.
D7 C Dm G C Dm Emsu4
In dreams you're mine, all of the time we're togeth, er, in dreams in dreams.
C Fm C Fm C
But just, before, the dawn. I awake, and find, you gone.
NC |C|-|C|-|C| NC |C|-|C|-|C| Dm
I can't help it, I can't help it, if I cry.
NC |G|-|G|-|G| |G|-|G|-|G| C
I remember, that you said, goodbye.
CaddG Gadd CaddG Gadd

It's too bad, that all, these things. Can only happ,en in, my dreams.
C Cmaj7 D7 Dm7 G7 C
On - ly in dreams. In beau- ti- ful dreams.
IN LONESOME DOVE – Garth Brooks
(Limbaugh/Brooks)
https://www.youtube.com/watch?v=O0VZ4ns2Ts0 (Capo 0)
TIP: If you don’t like that one (Bm) in the chorus you can play a (D) instead.
INTRO: G, C C-G, C C-G, C C-G
G C G D G
She was a girl on a wagon train. Headed west across the plains.
Em C D Em C D
The train got lost in a summer storm. They couldn't move west and they couldn't go home.
G
Then she saw him ridin' through the rain.
C G D G
He took charge of the wagons and he saved the train.
Em C D
And she looked down and her heart was gone.
Em C D G
The train went west but she stayed on, in Lonesome Dove.
C G D G
A farmer's daughter with a gentle hand. A blooming rose in a bed of sand.

Em C D Em C D
She loved the man who wore a star. A Texas Ranger known near and far.
G C G D G
So they got married and they had a child. But times were tough and the West was wild.
Em C D
So it was no surprise the day she learned,
Em C D G
That her Texas man would not return, to Lonesome Dove.
Em G C G
Back to back with the Rio Grande, a Christian woman in the devil's land.
Em Bm
She learned the language and she learned to fight.
C Am D G D G
But she never learned how to beat the lonely nights, in Lonesome Dove. Lonesome Dove.
C G D G
She watched her boy grow into a man. He had an angel's heart and the devil's hand.
Em C D Em C D
He wore his star for all to see. He was a Texas lawman legacy.
G C G D G
Then one day word blew into town. It seemed the men that shot his father down,
Em C D Em C D G
Had robbed a bank in Cherico. The only thing 'tween them and Mexico, was Lonesome Dove.
C G D G
The shadows stretched across the land, as the shots rang out down the Rio Grande.
Em C D Em C D
And when the smoke had finally cleared the street, the men lay at the Ranger's feet.
G C G D G
But legend tells to this very day, that shots were comin' from an alley way.
Em C D Em C D
Though no one knows who held the gun, there ain't no doubt if you ask someone,
G
In Lonesome Dove.
Em G C G
Back to back with the Rio Grande, a Christian woman in the devil's land.
Em Bm
She learned the language and she learned to fight.
C Am D G D G
But she never learned how to beat the lonely nights, in Lonesome Dove. Lonesome Dove.
(Garth Brooks) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
IN THE GARDEN - Johnny Cash/John Prine & Mac Wiseman
(Miles)
https://www.youtube.com/watch?v=u29eXL75Zfk (Prine/Wiseman)(Capo 2)
https://www.youtube.com/watch?v=py-_VnHv3gg (Cash)(Capo 0)
[This old gospel hymn dates back to 1912 and has been recorded by many over the years. I
prefer the starker beauty of these two versions, one by Johnny Cash and the other by John
Prine and Mac Wiseman. Note Johnny includes one extra verse that the others do not.
Marked accordingly.]
TIP: For the intro form (C/G) which is just (C) with your pinky covering the bass <g> on
the top string/3rd fret. Then pick the 5th string and strum, then the 6th string and
strum, repeat.
TIP: The chorus has an (F) to (Fm) transition which isn't too bad. Instead of playing a
regular (F) play an (F/C) which is just (F) with your pinky covering the bass <c> 5th
string/3rd fret. Then from the (F/C) keep your ring and pinky where they are and lift
your middle finger while moving your index finger up one additional string to cover the
3rd string/1st fret.
TIP: In the little instrumental bridge for the Prine/Wiseman version you repeat the
chords from the verse.
INTRO: 5-C/G, 6-C/G, 5-C/G, 6-C/G
F C
I come to the garden alone, while the dew, is still on the rose-es.
G C D D7 G
And the voice I hear, falling on my ear, the Son of God disclos-es.
NC C G G7 C
And He walks with me, and He talks, with me, and He tells me I am His own.
E7 F Fm C G C
And the joy we share as we tarry there, none other has ever known.
F C
He speaks, and the sound of His voice, is so sweet, the birds hush their sing-ing.
G C D D7 G
And the mel-o-dy that He gave to me, with in my heart is ring-ing.
NC C G G7 C
E7 F Fm C G C
F C
<Cash only> I'll stay, in the garden, with Him, tho the night, around me be falling.
G C D D7 G
But He bids me go, through the voice of woe, His voice to me is calling.
<Prine/Wiseman> C, C F C; G C D D7 G
NC C G G7 C
E7 F Fm C G C |C|
(John Prine)(Mac Wiseman) (Johnny Cash) (Spiritual) (Artist Index)

(Main Index) - (Song Index) - (This Song)
IN THE GHETTO – Elvis Presley
(Davis)
https://www.youtube.com/watch?v=FJ-r0bilzhU (Capo 1)
TIP: Trill the (D) in when you see it in combination with a (D)(A) in the verse.
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. Think
(D7) moved up one string-set.
TIP: Regular (D) can be played in place of the (Bm) if you wish.
INTRO: A D A, D A
D A Amaj7
As the snow flies. On a cold and gray Chicago mornin'
Bm E A D A D/A A
A poor little baby child is born in the ghetto. And his mama cries.
Amaj7
'Cause if there's one thing that she don't need
Bm E A D A
It's another hungry mouth to feed in the ghetto.
E D A
People don't you understand? The child needs a helping hand,
D E A
Or he'll grow to be an angry young man someday.
E D A
Take a look at you and me, are we too blind to see?
D Amaj7 Bm E
Do we simply turn our heads and look the other way?
A D A Amaj7
Well the world turns. And a hungry little boy with a runny nose
Bm E A D A
Plays in the street as the cold wind blows in the ghetto.
D A
And his hunger burns.
Amaj7
So he starts to roam the streets at night
Bm E A D A
And he learns how to steal and he learns how to fight in the ghetto.
E D A D Amaj7
Then one night in desperation the young man breaks away. He buys a gun, steals a car,
Bm E A D A
Tries to run but he don't get far and his mama cries.
Amaj7
As a crowd gathers 'round an angry young man
Bm E A D A
Face down on the street with a gun in his hand in the ghetto.
D A
And as her young man dies.
Amaj7 Bm E A D A
On a cold and gray Chicago mornin' another little baby child is born in the ghetto.
D A
And his mama cries.
D A, D A, D A, D A, |D|
IN THE MIDNIGHT HOUR - Wilson Pickett
(Pickett/Cropper)
https://www.youtube.com/watch?v=FGVGFfj7POA (Capo 2)
TIP: The (F) is only played once, in the intro and most of the song is just (D) and (G).
TIP: All you really need to do is get the (D)(G)(D)(G) rhythm down and it'll carry you
through the whole song. Wilson's vocal presentation gets a little choppy toward the end
but just stick with the rhythm.
INTRO: C, A, G, F; D G D G
D G D G D G D G
I'm gonna wait 'til the midnight hour. That's when my love come tumblin' down.
D G D G D G D G
I'm gonna wait 'til the midnight hour, when there no one else around.
A G
I'm gonna take you, girl and hold you,
A G D G
And do all the things I told you in the midnight hour.
D G D D C A
Yes I am, ohhh yes I am. One-more-thing-I-just-wanna-say-right-here.
D G D G D G D G
I'm gonna wait 'til the stars come out, and see that twinkle, in your eyes.
D G D G D G D G
I'm gonna wait 'til the midnight hour. That's when my love begin to shine.
A G A G D G
You're the only, girl I know, that really love me so in the midnight hour.
D G D G C C A
Oh yeah, in the midnight hour. Yeah. Alright, play-it-for-me-one-time-now.
D G D G D C A, A D G D C D G A A
D G D G D G D G
I'm gonna wait 'til the midnight hour. That's when my love come tumblin' down.
D G D G D G D
I'm gonna wait 'til the midnight hour, that’s when my love, begins to shine,
G D G D G D G
Just you and I. Oh baby now, just you and I.
D G D G D
Nobody around baby just you and I, alright, you-know-what,
G D G D G D G D G D G
I'm gonna hold you, in my arms just you and I, ohhhhh yeah in, the midnight hour,
D G D G D G D G |D|
Oh baby in the midnight hour.
(Wilson Pickett) (Artist Index) - (Main Index) - (Song Index) (This Song)
IN THE JAILHOUSE NOW
Jimmie Rodgers/Tim Blake Nelson/Soggy Bottom Boys
(Traditional)
`
https://www.youtube.com/watch?v=GL7ZjFp1Z5s (Capo 2)
[An easier version without the (B) chords follows.]
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?”
INTRO: A, A D, E, E-E7, E7 E-A
I had a friend named Ramblin' Bob. He used to steal gamble and rob.
A7 D
He thought he was the smartest guy around.
But I found out last Monday, that Bob got locked up Sunday.
B B7 E
They've got him in the jailhouse way downtown.
NC A A7 D
He's in the jailhouse now. He's in the jailhouse now.
E E7
Well I told him once or twice, to stop playin' cards and a shootin' dice.
E A
He's in the jailhouse now.
D A
I dee oh-dee-lay-he-hee de-oh-teeee . . . Lah dee oh-dee-lay-ee-ohh dee-loh-tee.
E A
Dee-oh-dee-lay-he-hee, dee-oh-dee-lay-he-tee, dee-oh-dee-lay-heee.
Bob liked to play his poker, pinoccle wist and euochre.

A7 D
But shooting dice was his favorite game.
Well he got throwed in jail, with nobody to go his bail.

B B7 E
The judge done said that he refused a fine.
NC A A7 D
E E7
E A
D A
I dee oh-dee-lay-he-hee . . . I dee oh-dee-lay-he-hee heeee.
E A
Well I went out last Tuesday. I met a girl named Susie.

A7 D
I said I was the swellest guy around.
Well we started to spendin’ my money, and she started to callin’ me honey.

B B7 E
We took in every cabaret in town.
NC A A7 D
We’re in the jailhouse now. We’re in the jailhouse now.
E E7
Well I told that judge right to his face, I don’t like to see this place.
E A
We’re in the jailhouse now.
D A
I dee oh-dee-lay-he-hee oh-eee . . . I dee oh-dee-lay-he-hee heeee.
E A
(Jimmie Rodgers) (Tim Blake Nelson) (Soggy Bottom Boys) (Artist Index)
IN THE JAILHOUSE NOW
Jimmie Rodgers/Soggy Bottom Boys
(Traditional)
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?”
INTRO: G C, C F, G, G G7, G7 C
C
I had a friend named Ramblin' Bob. He used to steal gamble and rob.
F
He thought he was the smartest guy around.
But I found out last Monday, that Bob got locked up Sunday.
D D7 G
They've got him in the jailhouse way downtown.
NC C F
G G7
C
F C
I dee oh-dee-lay-he-hee de-oh-teeee . . . Lah dee oh-dee-lay-ee-ohh dee-loh-tee.
G C
Bob liked to play his poker, pinoccle wist and euochre.

F
But shooting dice was his favorite game.
Well he got throwed in jail, with nobody to go his bail.

D D7 G
The judge done said that he refused a fine.
NC C F
G G7
C
F C
I dee oh-dee-lay-he-hee . . . I dee oh-dee-lay-he-hee heeee.
G C
Well I went out last Tuesday. I met a girl named Susie.
F
I said I was the swellest guy around.
Well we started to spendin’ my money, and she started to callin’ me honey.

D D7 G
We took in every cabaret in town.
NC C F
We’re in the jailhouse now. We’re in the jailhouse now.
G G7
Well I told that judge right to his face, I don’t like to see this place.
C
We’re in the jailhouse now.
F C
I dee oh-dee-lay-he-hee oh-eee . . . I dee oh-dee-lay-he-hee heeee.
G C
(Jimmie Rodgers) (Tim Blake Nelson) (Soggy Bottom Boys) (Artist Index)
IN THE MOOD – Glenn Miller
(Razaf/Garland)
https://www.youtube.com/watch?v=_CI-0E_jses (Capo 1)
[This is an instrumental. The Andrews Sisters version follows.]
TIP: It's nearly impossible to properly translate horns into guitar but here goes. This
is all based on the Glenn Miller orchestra without singing (so no lyrics).
TIP: Where you see a (G!) or (CaddG!) it means to emphasize the treble <g> with a sharp
upstroke on the bottom string to emulate a trumpet.
TIP: (CaddG) will always follow (C) so just add your pinky to the bottom string/3rd
fret.
TIP: There are timing cues if you're following along with the recording as to where you
should be.
TIP: The outro is the escalating trumpet. Strum the chords repeatedly, moving to a
crescendo with a final single stroke of (Gadd).
INTRO: G . . . A A, A D7 G
G...G! G... C...CaddG! G...G! D7... G C D-G
G...G! G... C...CaddG! G...G! D7... G C D-G
<0:47> G Am7 D7, G Am7 D, G Am7 D, Gadd D-G
<1:00> G Am7 D7, G Am7 D, G Am7 D, Gadd D-G
G.....Gadd D-G
<1:23> G..... G..... C..... Gadd D-G, G-G-G-G-G-G, Am7-Am7 |D|, D
<1:40> G..... G..... Am7..... G..... G-G-G-G-G-|G|, <pause> |D|
<2:07> G..... G..... C..... G..... D7..... <quickly> D-D-D-D-D-D-D <pause>
<softer> G..... G..... C..... G..... D7..... <quickly> D-D-D-D-D-D-D <pause>
<2:45> <slightly softer still> G..... G..... C..... G..... D7.....
<quickly> D-D-D-D-D-D-D
<3:05> <with gusto> G!...G! G...G! G...G! G...G! D7 D7 G..... |Gadd|
(Glenn Miller) (Artist Index) - (Main Index) - (Song Index) (This Song)
IN THE MOOD – The Andrews Sisters
(Razaf/Garland)
https://www.youtube.com/watch?v=cfAsVU45b5k (Capo 1)
TIP: At the end there's a (D)(D/A3)(D/A) sequence that'll catch you out if you're not
expecting it. From the (D) just slide up one fret and add your pinky to the 4th
string/5th fret and then keep the same form and slide back down one fret for the (D/A)
that follow -- or play a regular (D).
INTRO: G . . . , A A, A D7 G
Mr. Whatcha call-em what youcha doin' tonight?
Hope you're in the mood because I'm feeling just right.

C
How's about a corner with a table for two,
G
Where the music's mellow in some gay rendezvous.
D7
There's no chance romancin' with a blue attitude.
G C G
You got to do some dancin' to get in the mood.
Sister whatcha call-em that's a kindly idea.
Something swing-a-dilla would be good to my ear.

C
Everybody must agree the dancin' has charm.
G
When you have the certain one you love in your arms.
D7
Steppin' out with you will be a sweet interlude.
G C G
A builder up with that will put me in the mood.
Am7 D7 G Am7 D
In the mood, that's it I got it. In the mood, your ear will spot it.
G Am7 D G D G
In the mood, oh what a hot hit. Be alive and get the jive you've got to learn how.
Am7 D7 G Am7 D7
Hep hep hep, hep like a hepper. Pep pep pep, hot as a pepper.
G Am7 D G D G
Step step step, step like a stepper. We're muggin' and huggin' we're in the mood now.
G . . . .
Mr. Whatcha call-em all you needed was fun.
You can see the wonders that this evenin' has done.
C
Your feet were so heavy til they hardly could move.
G
Now they're light as feathers and you're right in the groove.
D7
You were only hungry for some musical food.
G C G
You're positively absolutely in the mood.
Sister Whatcha call-em I'm indebted to you.
It all goes to show what good influence can do.

C
Never felt so happy and so fully alive.
G
Seems that jammin' jumpin' is a powerful jive.
D7
Swingeroo is giving me a new attitude.
G C G
My heart if full of rhythm 'n and I'm in the mood.
Am7 D7 G
In the mood, that's it cause I got it and I'm in the mood,
Am7 D G Am7 D
Your ear will spot it when you're in the mood, bobbity bop a diddly bop a bop a
G D G
Be alive and get the jive you've got to learn how.
Am7 D7 G
Hep hep hep, hep like a hepper full of pep pep pep,
Am7 D G Am7 D
You're hot as a pepper and you step step step, step like a stepper.
D/A3 D/A G
We're muggin', and now we're huggin', cause we're in the mood.
(The Andrews Sisters) (Artist Index) - (Main Index) - (Song Index) (This Song)
ISLE OF HOPE, ISLE OF TEARS – The Bow Triplets
(Graham)
https://www.youtube.com/watch?v=nEBS0YiVMPI (Capo 0)
TIP: You can play an (Em) instead of a (Bm) and it’ll still sound okay.
INTRO: G Bm C D, G Bm C |D|
G D Em
On the first day on January Eighteen Ninety Two,
C G C D
They opened Ellis Island and they let the people through.
G D Em
And the first to cross the treshold of that isle of hope and tears.
C Am C D
Was Annie Moore from Ireland, who was all of fifteen years.
C D G Em
Isle of hope, isle of tears, isle of freedom, isle of fears.
C Am D
But it's not the isle you left, behind.
C D G Em
That isle of hunger, isle of pain, isle you'll never see again.
C D G Bm C |D|
But the isle of home is always on your mind.
G D Em
In a little bag she carried, all her past and history,
C G C D
And her dreams for the future in the Land of Liberty.
G D Em
And courage is the passport when your old world, disappears,
C Am C D
But there's no future in the past when you're fifteen years.
C D G D Em
C Am D
C D G Em
C D G G G
For the isle of home is always on your mind.
<violin> C D G-D-Em, C D G G, C |D|

G D Em
When they closed down Ellis Island, in Nineteen Fourty Three,
C G C D
Seventeen million people had gone there for Sanctuary.
G D Em
And in the springtime when I came there I stepped onto its piers,
C Am C D
And I thought of how it must have been, when you're fifteen years.
C D G D Em
C Am D
C D G Em
C D C G
C D G D Em
C Am D
C D G Em
C D Em Em
C D G Bm C D |G|
Yes the isle of home is always on your mind.
(The Bow Triplets) (Artist Index) - (Main Index) - (Song Index) (This Song)
IT DOESN’T MATTER ANYMORE – Buddy Holly/Linda Ronstadt
(Anka)
https://www.youtube.com/watch?v=kNf2hSNlhqg (Buddy)(Capo 0)
https://www.youtube.com/watch?v=DTOk1hn0euo (Linda)(Capo 5)
TIP: There are slight differences in lyrics and cadence between Buddy and Linda's
versions. This is Buddy's take which is more upbeat and jumpy. Linda's is slower and
more melodic.
TIP: To play the (D6) you’ll already be playing a (D7) so just lift the middle finger.
INTRO: G D7 G, G D7 G
D7
There you go and baby, here am I well you, left me here so I could, sit and cry well,
G D7 G
Golly gee what have you, done to me well I guess it doesn't matter anymore.
D7
Do you remember baby, last September how you, held me tight each and, every night well,
G D7 G
Oopsy-daisy how you, drove me crazy but I guess it doesn't matter anymore.
Em G
There's no use in me a, cryin' I've done everything and now I'm, sick of tryin'.
A A7 D D7 D6 D
I've thrown away my nights, and wasted all my days over you -ou -ou -ou.
G D7
Well you go your way and, I'll go mine. Now and forever till the, end of time
G D7 G
I'll find, somebody new and baby, we'll say we're through and you won't matter anymore.
G D G, G C G B7
Em G
There's no use in me a, cryin' I've done everything and now I'm, sick of tryin'.
A A7 D D7 D6 D
I've thrown away my nights, and wasted all my days over you -ou -ou -ou.
G D7
Well you go your way and, I'll go mine. Now and forever till the, end of time
G D7 G
I'll find, somebody new and baby, we'll say we're through and you won't matter anymore.
D7 G G D7, G D7-G
You won't matter anymore.
(Buddy Holly)(Linda Ronstadt) (Artist Index) - (Main Index) - (Song Index) (This Song)
IT DON'T COME EASY
Ringo Starr
https://www.youtube.com/watch?v=anpjEN9KeJ0 (Capo 0)
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 completed 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.
TIP: For the intro/outro you move from (D) to (Dsus2) in which you just lift off the
middle finger, and from (D) to (D4) in which you just add your pinky to the bottom
string/3rd fret. Easy peasy.
INTRO: D Dsus-D, Am Am, C-G D D4-D; D Dsus-D, Am Am, C-G D D4-D
Am C D
It don't come easy. You know it don't come easy.
Am C D
It don't come easy. You know it don't come easy. <drums>
Am C D
Got to pay your dues if you wanna sing the blues and you know it don't come easy.
Am C D
You don't have to shout or leap about you can even play them easy.
F G G
Forget about the past, and all your sorrows.
F A A7
The fu - ture won't last, it will soon be your tomorrow.
D Am C D
I don't ask for much I only want your trust and you know it don't come easy.
Am C D
And this love of mine keeps growing all the time and you know it just ain't easy.
F G G
Open up your heart let's come together.
F A A7
Use, a little love, and we will make it work out better.
D Am C D |D|-|D| Am C D
Ah . . . . . . . . . Ooooh . . . . . . . . .
Am C D
Got to pay your dues if you wanna sing the blues and you know it don't come easy.
Am C D
You don't have to shout or leap about you can even play them easy.
F G G
Please remember peace is how we make it.
F A A7
Here within your reach, if you're big enough to take it.
D Am C D
I don't ask for much I only want your trust and you know it don't come easy.
Am C D
And this love of mine keeps growing all the time and you know it just ain't easy.
D Dsus-D, Am Am, C-G D D4-D; D Dsus-D, Am Am, C-G D D4-D
(Ringo Starr) (Artist Index) - (Main Index) - (Song Index) (This Song)
IT MUST BE LOVE - Don Williams/Alan Jackson
(McDill)
https://www.youtube.com/watch?v=lLahdT6wn40 (Alan) (Capo 4)
https://www.youtube.com/watch?v=7TKRYyA05o4 (Don) (Capo 3)
[Also in [G] which follows.]
TIP: Don and Alan sing in different pitch. And there are some minor variations in the
intro and Don doesn't do another verse after the instrumental but these are all minor.
INTRO: D G, D A7; D G, D A D
G
First I get cold and hot, think I'm on fire but I'm not.
D A7 D
Oh what a pain I've got. It must be love.
G
There's nothing I can do. All that I want is you.
D A7 D
Look what I'm going through. It must be love.
G D G D A D
It must be love, it must be love. I fall like a sparrow and fly like a dove.
G D G D A7 D
You must be the dream I've been dreaming of. Oh what a feeling it must be love.
G
Something is wrong alright, I think of you all night.
D A7 D
Can't sleep 'til morning light, it must be love.
G
Seeing you in my dreams holding you close to me.
D A7 D
Oh what else can it be? It must be love.
G D G D A D
G D G D A7 D
D G, D A7; D G, D A D
G D G D A D
G D G D A7 D
G D G D A D
G D G D A7 D
G D G D A D
G D G D A7 D
(Don Williams)(Alan Jackson) (Artist Index) - (Main Index) - (Song Index) (This Song)
IT MUST BE LOVE - Don Williams/Alan Jackson
(McDill)
INTRO: G C, G D7; G C, G D G
C
First I get cold and hot, think I'm on fire but I'm not.
G D7 D
Oh what a pain I've got. It must be love.
C
There's nothing I can do. All that I want is you.
G D7 G
Look what I'm going through. It must be love.
C G C G D G
C G C G D7 G
C
Something is wrong alright, I think of you all night.
G D7 G
Can't sleep 'til morning light, it must be love.
C
Seeing you in my dreams holding you close to me.
G D7 G
Oh what else can it be? It must be love.
C G C G D G
C G C G D7 G
G C, G D7; G C, G D G
C G C G D G
C G C G D7 G
C G C G D G
C G C G D7 G
C G C G D G
C G C G D7 G
(Don Williams)(Alan Jackson) (Artist Index) - (Main Index) - (Song Index) (This Song)
IT ONLY HURTS WHEN I CRY - Dwight Yoakam
(Yoakam/Miller)
https://www.youtube.com/watch?v=04UTFg4t8Ag (Capo 0)
TIP: In the intro there are three short pulls of a fiddle before the (D) chord so what
you do is form and hold (A) and then pick the 3rd, 2nd, and 1st (open) string and then
strum the (D).
INTRO <Form A>: 3 – 2 – 1 D E A
D E A
The only time I feel the pain, is in the sunshine or the rain.
D E A
And I don't feel no hurt at all, unless you count when teardrops fall.
D E A
I tell the truth 'cept when I lie. It only hurts me when I cry.
NC E A
You couldn't tell it by the smile, that my recovery took a while.
E A
I worked for days and nights on end. Just to walk and talk again.
D E
You can't believe the time it takes, to heal a heart once it breaks.
D E A
D E A
D E A <palm>
<Form A>: 2 – 1 D E A, A D E A
E A
Oh maybe every now and then, I have a small heartache again.
E A
You wouldn't know when you look at me, there's tiny scars that you can't see.
D E
It was a struggle to survive. I'm probably lucky I'm alive.
D E A
D E A
D E A
D E A A . . . E-A
IT WAS A VERY GOOD YEAR – Frank Sinatra
(Drake)
https://www.youtube.com/watch?v=ydcUaTpiHgQ (Capo 0)
TIP: This song is all strings and because of its slow tempo more of a fingerstyle song
than one for strumming. If you’re going to play just chords, play slowly and strum
sparingly.
TIP: The intro is repeated after each verse. If you want you can just play a double
measure of (Dm) and skip the (D4) and (Dsus2) before the (Am) and (A) but it's not hard.
To go from (Dm) to (D4) keep the (Dm) form and add your pinky to the bottom string/3rd
fret and then lift to get back to (Dm). From (Dm) to (Dsus2) just lift off your index
finger.
TIP: (D#) is (D) the 3rd fret but try to cover that middle <g> note at the 4th
string/5th fret with your pinky if you can. If not, then don't hit that 4th string on
the strum or it will sound awful. Also note that when a (D) follows the (D#) all you
have to do is slide down one fret, and if you're covering that note on the 4th string
bring the pinky along too.
INTRO: Dm, Dm D4-Dm-Dsus2, Am, |A|
NC Dm D#
When I was seventeen, it was a very good year.
Dm F D#
It was a very good year for small town girls, and soft summer nights.
D C D
We'd hide from the lights, on the village green, when I was seventeen.
Dm, Dm D4-Dm-Dsus2, Am, |A|
NC Dm D#
When I was twenty-one, it was a very good year.
Dm F D#
It was a very good year for city girls, who lived up the stair,
D C D
With all that perfumed hair. And it came undone, when I was twenty-one.
NC Dm D#
When I was thirty-five, it was a very good year.
Dm F D#
It was a very good year for blue blooded girls of independent means.
D C D
We'd ride in limousines, their chauffeurs would drive. When I was thirty-five.

NC Dm D#
But now the days are short. I'm in the autumn of the year.
Dm F D#
And now I think of my life, as vintage wine from fine old kegs.
D C D
From the brim to the dregs, it poured sweet and clear. It was a very good year.
(Frank Sinatra) (Artist Index) - (Main Index) - (Song Index) (This Song)
IT'S A BIG OLD GOOFY WORLD
John Prine
https://www.youtube.com/watch?v=clfb4UpwG74 (Capo 0)
TIP: At the end of the intro/bridge sequence strike the |D| and |C| once each.
INTRO: G, C, D, |D|-|C|-G
C
Up in the mornin', work like a dog,
D C G
Is better than sittin', like a bump on a log.
C
Mind all your manners, be quiet as a mouse.
D G
Someday you'll own a home, that's as big as a house.
C
I know a fella, he eats like a horse.
D C G
Knocks his old balls, round the old golf course.
C
You oughta see his wife, she's a cute little dish.
D G
She smokes like a chimney, and drinks like a fish.
C
There's a big old, goofy maaan dancin' with a, big old goofy girl.
D G
Oooh baby, it's a big ollld goofy world.
C
Now Elvis had a woman, with a head like a rock.
D C G
I wished I had a woman, that made my knees knock.
C
She'd sing like an angel, and eat like a bird.
D C G
And if I wrote a song, she'd know ever single word.
C
D G
Oooh baby, it's a big old goofy world.
G, C, D, |D|-|C|-G; G, C, D, |D|-|C|-G
C
Kiss a little baby, give the world a smile.
D C G
And if you take an inch, give 'em back a mile.
C
Cause if you lie like a rug, and you don't give a damn.
D G
You're never gonna be, as happy as a clam.
C
I'm sittin' in a hotel, tryin' to write a song.
D C G
My head is just as empty, as the day is long.
C
Why it's clear as a bell, I should have gone to school.
D C G
I'd be wise as an owl, instead of stubborn as a mule.
C
D G
Oooh baby, it's a big ollld goofy world.
D G
Oooh baby, it's a big old goofy world.
G, C, D, |D|-|C|-G; G, C, D, |D|-|C|-G
G, C, D, |D|-|C|-G; G, C, D, |D|-|C|-|G|
IT’S A HEARTACHE – Bonnie Tyler
(Scott/Wolfe)
https://www.youtube.com/watch?v=bEOl38y8Nj8 (Capo 0)
TIP: The intro is actually fingerpicked but we can easily fake it. You can play the (C)
and (F) chord as indicated, but here's an easier way. Form (Am). Now plant your pinky
on the 5th string/3rd fret to cover the <c> and lift off your ring finger. You're now
playing (C) but with your pinky on the top string instead of the ring finger. Now strum
(C) four times and then drop your middle finger down on the 3rd string/2nd fret. Strum
once and lift off. Bingo. Repeat this sequence 4 times with the final (C) starting the
song. After that play (C) as normal.
TIP: The last two lines ("It's a fool's game." and "It's a heartache.") are sung up-
inflection on "fool's" and "heartache", unlike the previous verses. It'll catch you out
if you're not ready.
INTRO: C-C-C-C-F-C or C-C-C-C-C/Am-C
C-C-C-C-F-C or C-C-C-C-C/Am-C
Em
It's a heartache, nothin' but a heartache.
F C G
Hits you when it’s too late. Hits you when you're dow-own.
C Em
It's a fool's game, nothin' but a fool's game.
F C G
Standing in the cold rain. Feeling like a clow-own.
C Em
F C G
Love him till your arms break, then he lets you dow-own.
F G Em Am G F Em G
It ain't right with love to share, when you find he doesn't care, for you.
F G Em Am G F Em G
It ain't wise to need someone, as much as I depended on, you.
C Em
F C G
Hits you when it’s too late. Hits you when you're dow-own.
C Em
It's a fool's game, nothin' but a fool's game.
F C G
Standing in the cold rain. Feeling like a clow-own.
C Em, Em F, F C G
F G Em Am G F Em G
It ain't right with love to share, when you find he doesn't care, for you.
F G Em Am G F Em G
It ain't wise to need someone, as much as I depended on, you.
C Em
Oh it's a heartache, nothin' but a heartache.
F C G
Love him till your arms break, then he lets you dow-own.
CaddG . . . Em
It's a fool's game. Standing in the cold rain.
F . . . C G
Feelin' like a clow-ownn.
C Em F
It's a hearrrrrrrtache. Love him til your arms break,
C G C |C|
Then he lets you dow-own. Oh yeah down.
(Bonnie Tyler) (Artist Index) - (Main Index) - (Song Index) (This Song)
IT'S FIVE O'CLOCK SOMEWHERE (In C)
Alan Jackson & Jimmy Buffett
(Rollins/Brown)
https://www.youtube.com/watch?v=7wdOqAxYGis (Capo 2)
The original version in D comes afterwards if you'd rather not capo. I find this version
more comfortable to sing (but only because of my vocal range). This version might also
be a tad easier to play as it doesn't have the (Bm) that one does.
TIP: As noted, the (C)(F)(G)(C) sequence repeats over the spoken outro. Jimmy enters in
after the first (G) in the final It's five o'clock somewhere of the song. Also note the
sequence begins and ends on a (C) so it amounts to an extra measure of (C).
INTRO: C F G C, C
G C G
The sun is hot and that old clock is movin' slow, and so am I.
C G Am G
Workday passes like molasses in wintertime, but it's July.
F C
I'm gettin' paid by the hour, and older by the minute.
G C
My boss just pushed me over the limit.
F C |G| |G|-|G|-|G|-|G|
I'd like to call him somethin', I think I'll just call it a day.
C F G C
Pour me somethin' tall and strong make it a Hurricane before I go insane.
F G G |G|
It's only half past twelve, but I don't care.
NC C F G C, C
It's five o'clock somewhere.
G C G
Well this lunch break is gonna take all afternoon, half the night.
C G Am G
Tomorrow morning I know there'll be hell to pay, hey but that's alright.
F C
I ain't had a day off now, in over a year.
G C
My Jamaican vacation's gonna start right here.
F C |G| |G|-|G|-|G|-|G|
If the phone's for me you can tell 'em I just sailed away.
C F G C
And pour me somethin' tall and strong make it a Hurricane before I go insane.
F G G |G|
NC C F G C, C F G C
Am F Dm G C
I could pay off my tab pour myself in a cab and be back to work before two.
Am F |Dm| |G|
At a moment like this, I can't help but wonder, what would Jimmy Buffett do?
Funny you should ask Alan.
C F G C
I’d say pour me somethin' tall and strong make it a Hurricane before I go insane.
F G
C F G C
F G |G|
It's only half past twelve, but I don't care. He don’t care. I don’t care.
NC C F G C, C F G C . . .
< . . . C F G C, C F G C . . . repeats over the spoken outro >
What time zone am I on? What country am I in?

It doesn't matter it's five o'clock somewhere.
It's always on five in Margaritaville come to think of it.
I heard that.
You been there haven't you?
Yes sir.
I've seen your boat there.
I've been to Margaritaville a few times.
All right, that's good.
Stumbled my the way back.
Okay we just wanna make sure you can keep it between the navigational beacons.
Ha ha ha ha ha ha ha, between the buoys I got it.
All right, well it's five o'clock let's go somewhere.
I'm ready crank it up.
Let's get out of here.
I'm gone.
. . . C F G C, C F G C . . .
IT'S FIVE O'CLOCK SOMEWHERE (In D)
Alan Jackson & Jimmy Buffett
(Rollins/Brown)
https://www.youtube.com/watch?v=7wdOqAxYGis (Capo 0)
TIP: As noted, the (D)(A)(G)(D) sequence repeats over the spoken outro. Jimmy enters in
after the first (A) in the final It's five o'clock somewhere of the song. Also note the
sequence begins and ends on a (D) so it amounts to an extra measure of (D).
INTRO: D G A D, D
A D A
The sun is hot and that old clock is movin' slow, and so am I.
D A Bm A
Workday passes like molasses in wintertime, but it's July.
G D
I'm gettin' paid by the hour, and older by the minute.
A D
My boss just pushed me over the limit.
G D |A| |A|-|A|-|A|-|A|
I'd like to call him somethin', I think I'll just call it a day.
D G A D
G A A |A|
NC D G A D, D
A D A
Well this lunch break is gonna take all afternoon, half the night.
D A Bm A
Tomorrow morning I know there'll be hell to pay, hey but that's alright.
G D
I ain't had a day off now, in over a year.
A D
My Jamaican vacation's gonna start right here.
G D |A| |A|-|A|-|A|-|A|
If the phone's for me you can tell 'em I just sailed away.
D G A D
And pour me somethin' tall and strong make it a Hurricane before I go insane.
G A A |A|
NC D G A D, D G A D
Bm G Em A D
I could pay off my tab pour myself in a cab and be back to work before two.
Bm G |Em| |A|
At a moment like this, I can't help but wonder, what would Jimmy Buffett do?
Funny you should ask Alan.
D G A D
I’d say pour me somethin' tall and strong make it a Hurricane before I go insane.
G A
D G A D
G A |A|
It's only half past twelve, but I don't care. He don’t care. I don’t care.
NC D G A D, D G A D . . .
< . . . D G A D, D G A D . . . repeats over the spoken outro >
What time zone am I on? What country am I in?

It doesn't matter it's five o'clock somewhere.
It's always on five in Margaritaville come to think of it.
I heard that.
You been there haven't you?
Yes sir.
I've seen your boat there.
I've been to Margaritaville a few times.
All right, that's good.
Stumbled my the way back.
Okay we just wanna make sure you can keep it between the navigational beacons.
Ha ha ha ha ha ha ha, between the buoys I got it.
All right, well it's five o'clock let's go somewhere.
I'm ready crank it up.
Let's get out of here.
I'm gone.
. . . D G A D, D G A D . . .
IT'S JUST A MATTER OF TIME - Randy Travis
(Otis/Benton)
https://www.youtube.com/watch?v=SNKrBQCzQOI (Capo 1)
TIP: For the intro, place your index finger on the top string/2nd fret. Now pick the
top string, cover the top string next to it on the 3rd fret with your middle finger and
pick, lift off and pick the open 5th string on your way to forming the (D).
TIP: The (A)(A7)(A), (A)-(A)-(A)-(D) appears in the intro and at the end of the verse
and is kind of important, but is easy to play if you remember what you're trying to
achieve. It's a walk-down voicing with each chord emphasizing a particular string. The
first (A) and the (A7) is the 3rd string, but that third (A) is the 4th string that's the
one you need to hit. The next three (A)s are strummed together and emphasize the 5th
striing. Even the ending (D) focuses on the 4th string. So during the whole thing aim
for the middle strings and kind of "stab" your way from the 3rd to the 5th strings.
TIP: (Gm) isn't played too often but it's just like the (Fm) or (F#m) but played on the
3rd fret.
INTRO: g – g# - D, G, D; A A7 A, A-A-A-D
G D D7 G
Some day, some way, you'll realize that youuuu've, been blind.
Yes darlin', you're going to need me again.

E7 A A7 A A, A-A-A
It's just a matter of time.
D G D D7
Go on, go on, til you, reach the end of the line.
G
Cause I - I - I know, you'll pass my way again.
E7 A7 D
It's just a matter of time.
G Gm D
After I gave you, everything I had, you laughed and you called me a clown.
G Gm
Remember, in your search, for fortune and fame,
E7 A A7 A A, A-A-A
What goes up, must come down.
D G D D7
I know, I know, that one day you'll wake up and fiiiind,
G E7 A7 D
That my love, is a true love. It's just a matter of time.
G D
<Spoken with chords played>: Someday, and someway,
D7 G
Girl, you'll realize that you've been blind.
E7 A7 D
Yes darlin', I know, you're going to need me again. It's just a matter of time.
G Gm D
After I gave you, everything I had, you laughed and you called me a clown.
G Gm
But remember, in your search, for fortune and fame,
E7 A A7 A A, A-A-A
What goes up, must come down.
D G D D7
I know, I know, that one day you'll wake up and fiiiind,
G E7 A7 D D G D
That my love, is a true love. It's just a matter . . . uh-of ti - ime.
IT’S RAINING HERE THIS MORNING
Norman Blake & Tony Rice/Grandpa Jones
(Stanley)
https://www.youtube.com/watch?v=YXJHpgNymOA (Blake & Rice) (Capo 1)
https://www.youtube.com/watch?v=cagkGWlYL74 (Grandpa Jones) (Capo 5)
[There are minor differences in how each perform the song. Norman and Tony’s intro is
longer and they do a reprise while Grandpa Jones ends the song where indicated.]
INTRO (NB/TR): D D D, D D A, D D G, D A D, D
INTRO (GPJ): D A D
Oh it's rainin’ rainin’ rainin’ here this morning,

A
As I sit in jail and hang my head in shame.
D G
With a smile I try to greet each early dawnin’,
D A D
But they've given me a number for my name.
G D
Many a little raindrops are fallin’ close to me,
G D A
Makes all the streams and rivers as muddy as can be.
D G
It's rainin’ rainin’ rainin’ here this mornin’,
D A D
As the Mississippi flows on to the sea.
D D, D D A, D D G, D A D, D
How I wish-I could see my little darlin’,

A
And hold her in my arms as before.
D G
Well I used to tell her every day I loved her,
D A D
But now she doesn't love me anymore.
G D
She knew that I was guilty of this one crime,
A
And she said she'd be waiting there for me.
D G
But she has found somewhere else to wander,
D A D
Where the Mississippi flows on to the sea.
D D, D D A, D D G, D A D, D D
Oh it’s rainin’ rainin’ rainin’ here this mornin’,

A
And I’m just as weary as can be.
D G
How I wish I could follow all the raindrops,
D A D
Down the Mississippi toward the silver sea.
G D
But there's no way to prove I'm not guilty,
A
So I’ll will have to suffer all the shame.
D G
Go and tell her for me little raindrops,
D A D
That they've given me a number for my name. [End GP Jones version]
D D, D D A, D D G, D A D, D D
Oh it's rainin’ rainin’ rainin’ here this morning,

A
As I sit in jail and hang my head in shame.
D G
With a smile I try to greet each early dawnin’,
D A D
But they've given me a number for my name.
G D
Many a little raindrops are fallin’ close to me,
G D A
Makes all the streams and rivers as muddy as can be.
D G
It's rainin’ rainin’ rainin’ here this mornin’,
D A D |D|
As the Mississippi flows on to the sea.
(Norman Blake) (Tony Rice) (Grandpa Jones) (Artist Index)

IT’S SO EASY – Buddy Holly
(Holly/Petty)
https://www.youtube.com/watch?v=x2rU3W45wks (Capo 0)
[Linda Ronstadt also had a popular cover but she sings it with a different pace and in a
different key, so much so that there's a separate version of hers which follows.]
TIP: See those three notes at the opening? It's subtle but they're there. Fortunately
they're super easy to play. Form (A) with your middle, ring, and pinky. Now reach up
with your index finger and hover over the top string. Pick the open top string, drop
your index finger on the top string/2nd fret and pick once, lift off and pick the top
string again, strum (A). Easy. Play (A) anyway you want from then onward.
e – f# - a A E D E A D E A
It's so easy to fall in love. It's so easy to fall in love.
A E D E, A D E A
E D E A D E A
People tell me love's for fools, so here I go breaking all of the rules.
D
It seems so easy, (it's so easy it's so easy),
A
Ohhh-oh so doggone easy (doggone easy doggone easy),
Mmmm-hmm it seems so easy, (seems so easy seems so easy)

B7 E
Where you're concerned my heart has learned.
A E D E A D E A
A E D E, A D E A; D D A A D D B7 E
A E D E A D E A
E D E A D E A
Look into your heart and see, what your lovebook has set-apart for me.
D
It seems so easy, (it's so easy it's so easy),
A

B7 E
A E D E A D E A
A E D E, A D E A
D
Well-ell it seems so easy, (it's so easy it's so easy),
A

B7 E
A E D E A D E A |A|-|A|-|A|
(Buddy Holly) (Artist Index) - (Main Index) - (Song Index) (This Song)
IT’S SO EASY – Linda Ronstadt
(Holly/Petty)
https://www.youtube.com/watch?v=stq4-99-J74 (Capo 2)
INTRO: D A G A, D G A D
A G A D G A D
A G A D G A D
People tell me love's for fools, here I go breaking all of the rules.
G
It seems so easy, (it's so easy it's so)
D
Yeahhhh, so doggone easy (it’s so easy, it’s so)
Ohhhh, (it seems so easy, it’s so easy, it’s so)

E A
Yeahh, where you're concerned my heart has learned.
D A G A D G A D
Ohhh it's so easy to fall in love. It's so easy to fall in love.
D A G A, D G A D
A G A D G A D
Look into your heart and see, what your lovebook has set-apart for me.
G
D
Ohhhh, so doggone easy (it’s so easy, it’s so)
Yeahh, (it seems so easy, it’s so easy, it’s so)

E A
Ohhh, where you're concerned my heart has learned.
D A G A D G A D
D A G A, D G A D; D A G A, D G A D
G
D
Ohhhh, so doggone easy (it’s so easy, it’s so)
Yeahh, (it seems so easy, it’s so easy, it’s so)

E A
Ohhh, where you're concerned my heart has learned.
D A G A D G A D
A G A D G A D
NC D G A D
It's so easy to fall in love. Ohhh-ohh. It's so easy to fall in love.
IT'S WORTH BELIEVIN'
Gordon Lightfoot
https://www.youtube.com/watch?v=XeQJlV3EIEg (Capo 2)
TIP: You are pretty much strumming the same pattern without stopping the entire song.
And I’m sure Gordon meant to write the song like this but it’s an unusual lyric pattern
where the (grammatical) lead-in phrase hangs back on the previous line. An example of
this is “ . . . leavin’. Where she goes,” and again with “ . . . believin’. Should I
ask:”.
INTRO: C C C C C
G C
There's a warm wind tonight and the moon turns the tide.
Am G
When the stars take their ride she'll be leavin'. Where she goes,
C F C
I don’t know, she won't tell me what it is, that makes her act like this.
Am G Am G
But I've got a funny feelin' that it's me. It's worth believin'. Should I ask:
C F C G
"Do you like, to go walking on the sand, and listen to the sea?" Or could it be,
C F C
Someone kind could it be that I'm the fool? There’s somethin’ wrong with you.
Am G Am G G
I've got a funny feelin' that it's me. It's worth believin'.
C F C Am G |G|
La la la-la la la la, la-la la la la, La la la-la la-la la la la.
C G C
There's a breeze from the shore, and the waves overlap.
Am G
When I've called in the cat she'll go walkin'. And she cries,
C F C G
To herself, in the night when I'm asleep, she lies awake and weeps. Could it be,
C F C
Something new, some one old who has returned? Or is it just a game?
Am G Am G
But I've got a funny feelin' that it's me. It's worth believin'.
C F C Am G |G|
La la la, la la la la la-la la, la-la la la la, La la la-la la-la la la la.
C G C
There's a warm wind tonight and the moon turns the tide.
Am G
When the stars take their ride she'll be leavin'. Where she goes,
C F C G
I don’t know, she won't tell me what it is, that makes her act like this. Should I ask:
C F C G
"Do you like, to go walking on the shore, and listen to the sea?" Could it be,
C F C
Someone kind? Could it be that I'm the fool? There's somethin' wrong with you.
Am G Am G
I've got a funny feelin' that it's me. It's worth believin'.
C G C G C |C|
La la la, la la la, la la la, la la la, La la la.
(Gordon Lightfoot) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
ITSY BITSY TEENIE WEENIE YELLOW POLKA DOT BIKINI
Brian Hyland
(Pockriss/Vance)
https://www.youtube.com/watch?v=crz2K_P4rsU (Capo 0)
TIP: The last part of the song is sharp'd so a capo movement is needed where indicated.
TIP: For the |D| to |D/A| just hold form and add your pinky to the 4th string/4th fret.
|D| |D/A| |D| |D| A

INTRO: Bop bop bop bop ba dum bum bum bop bop.
D A7 A D
She was afraid to come out of the locker. She was as nervous as she-ee could be.
G D A7 |D|
She was afraid to come out of the locker. She was afraid that somebody would see.
NC
Two, three, four, tell the people what she wore.
|D| A A7 D
It was an itsy bitsy teenie weenie yellow polka-dot bikini,
A D
That she wore for the first time today.
A A7 D
An itsy bitsy teenie weenie yellow polka-dot bikini,
A A7 |D| NC
So in the locker she wanted to stay. Two, three, four, stick around we'll tell you more!
|D| |D/A| |D| |D| A

Bop bop bop bop ba dum bum bum bop bop.
D A7 A D
She was afraid to come out in the open, and so a blanket around her she wore.
G D A7 |D|
She was afraid to come out in the open, and so she sat bundled up on the shore.
NC
|D| A A7 D
A D
A A7 D
A A7 |D| NC
So in the blanket she wanted to stay. Two, three, four, stick around we'll tell you
more!
<capo +1>
|D| |D/A| |D| |D| A

Bop bop bop bop ba dum bum bum bop bop.
D A7 A D
Now she is afraid to come out of the water, and I wonder what she's gonna do.
G D A7 |D|
'Cause she's afraid to come out of the water, and the poor little girl's turning blue.
NC
|D| A A7 D
A D
A A7 D
A A7 |D|
So in the water she wanted to stay.
A7 D
From the locker to the blank-et. From the blanket to the shore.
A7 A A7 D |D|
From the shore to the wa-ter. Guess there isn't any more.
(Brian Hyland) (Oldies) (Artist Index) - (Main Index) - (Song Index) (This Song)
IT WAS ALMOST LIKE A SONG – Ronnie Milsap
(Jordan/David)
https://www.youtube.com/watch?v=KbeQa2hmznk (Capo 0)
TIP: At the end of certain sections there’s a (Dm7)-(G) series or a (G)-(Am). The (Dm7)
and (G) are transition chords - strike once and move on to the (G) and (Am).
TIP: (Fm) follows an (F) so just hold position on the ring finger and lift up the middle
finger while sneaking the index finger up to cover the 3rd string on the 1st fret and
you've got the full (Fm) chord. Easy. The (Fmaj7) chord will follow a (C) so keep your
index finger in place and drop your middle and ring fingers down one string-set.
TIP: In this song, as with a lot of piano transcriptions, chords often appear 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. In the outro (F8) - which is actually
just (C) played at a different octave - is just (F) played at the 8th fret.
( )
INTRO: C F, Fm; Fm C G-Am; Am Dm, G7; G7 C
C F Fm C G-Am
Once in every life. Someone comes along.
Dm Dm7-G C
And you came to me. It was almost like a song.
F Fm C G-Am
You were in my arms, right where you belong.
Dm Dm-G C
We were so in love. It was almost like a song.
Fmaj7 Em Dm7 G7 C E Am
January through, December, we had such a perfect year.
Em Dm7 G7 G C
Then the flame became a dying ember. All at once, you weren't there.
F Fm C G Am
Now my broken heart, cries for you each night.
Dm Dm7-G C
And it's almost like a song, but it’s much too sad to write.
C F, Fm; Fm C G-Am; Am Dm, G7; G7 C

Dm Fm C G Am
Now my broken heart, cries for you each night.
Dm Dm7-G Am F D7 Dm7
And it's almost like a song, but it’s much too sad to write.
C F C F C . . . C F, Fm; <slowly> Fm C . . . F8
It's too sad to write.
(Ronnie Milsap) (Artist Index) - (Main Index) - (Song Index) (This Song)
I’VE BEEN EVERYWHERE – Johnny Cash
(Mack)
https://www.youtube.com/watch?v=ov4epAJRPMw (Capo 2)
[Hank Snow had a number one hit with this in 1962, and I do like that version as well,
but Hank plays in an ascending key so we’ll stick with Johnny’s popular version. However
the original was written by Australian songwriter Geoff Mack and first recorded by
fellow Aussie Lucky Starr, also in 1962. If you think Hank/Johnny’s version is a
mouthful have a listen to the original which appears at the end!]
TIP: Invert your capo so the bottom 5 strings are covered and the top string is open.
This will allow you to bring the low <e> string into play with will match the <e> in the
middle and high register. It’s necessary for the opening strum and will not affect the
rest of the song.
TIP: “Rake” means slowly pick strings 6 through 2, and single strums through the
opening.
INTRO: <rake> |D|
|D| |D|
I was totin' my pack along the dusty Winnemucca road.
|D| |D|
When along came a semi with a high and canvas covered load.
|G| |G|
"If you're goin' to Winnemucca Mack with me you can ride."
|D| |D|
And so I climbed into the cab and then I settled down inside.
|A| |A|
He asked me if I'd seen a road with so much dust and sand.
|D| |D|
And I said, "Listen, I've traveled every road in this here land."
D
I've been everywhere man. I've been everywhere man.
G D
Crossed the deserts bare man. I've breathed the mountain air man.
A D
Of travel I've had my share man. I've been everywhere.
I've been to Reno, Chicago, Fargo, Minnesota,
Buffalo, Toronto, Winslow, Sarasota,

G
Wichita, Tulsa, Ottawa, Oklahoma,
D
Tampa, Panama, Mattawa, La Paloma,
A
Bangor, Baltimore, Salvador, Amarillo,
D
Tocapillo, Baranquilla, and Perdilla I'm a killer.
D
G D
A D D
I've been to Boston, Charleston, Dayton, Louisiana,
Washington, Houston, Kingston, Texarkana,

G
Monterey, Faraday, Santa Fe, Tallapoosa,
D
Glen Rock, Black Rock, Little Rock, Oskaloosa,
A
Tennessee to Tennesse, Chicopee, Spirit Lake,
D
Grand Lake, Devils Lake, Crater Lake, for Pete's sake.
D
G D
A D D
I've been to Louisville, Nashville, Knoxville, Ombabika,
Schefferville, Jacksonville, Waterville, Costa Rica,

G
Pittsfield, Springfield, Bakersfield, Shreveport,
D
Hackensack, Cadillac, Fond du Lac, Davenport,
A
Idaho, Jellico, Argentina, Diamantina,
D
Pasadena, Catalina, see what I mean.
D
G D
A D D
I've been to Pittsburgh, Parkersburg, Gravelburg, Colorado,
Ellensburg, Rexburg, Vicksburg, El Dorado,

G
Larimore, Atmore, Haverstraw, Chatanika,
D
Chaska, Nebraska, Alaska, Opelika,
A
Baraboo, Waterloo, Kalamazoo, Kansas City,
D
Sioux City, Cedar City, Dodge City, what a pity.
D
G D
A D D D
D D D D D . . . |D|
I've been everywhere.
=========================================================================================
I’VE BEEN EVERYWHERE – Lucky Starr

(Mack)
https://www.youtube.com/watch?v=1OZWi-mTkNU
Well, I was humpin' my bluey on the dusty Oodnadatta road,

When along came a semi with a high and canvas-covered load.
"If you're goin' to Oodnadatta, mate, um, with me you can ride."
So I climbed in the cabin and I settled down inside.
He asked me if I'd seen a road with so much dust and sand.
I said "Listen, mate, I've travelled ev'ry road in this here land."
Cos "I've been everywhere, man. I've been everywhere, man.

'Cross the deserts bare, man. I've breathed the mountain air, man.
Of travel I've had my share, man. I've been ev'rywhere.
Been to Tullamore, Seymour, Lismore, Mooloolaba,

Nambour, Maroochydore, Kilmore, Murwillumbah,
Birdsville, Emmaville, Wallaville, Cunnamulla,
Condamine, Strathpine, Proserpine, Ulladulla,
Darwin, Gin Gin, Deniliquin, Muckadilla,
Wallumbilla, Boggabilla, Kumbarilla, I'm a killer.
Yeah but listen here, mate, have you been to...
I've been to Moree, Taree, Jerilderie, Bambaroo,

Toowoomba, Gunnedah, Caringbah, Woolloomooloo,
Dalveen, Tamborine, Engadine, Jindabyne,
Lithgow, Casino, Brigalow and Narromine,
Megalong, Wyong, Tuggerawong, Wangarella,
Morella, Augathella, Brindabella, I'm the feller.
Yeah, I know that, but have you been to...
I've been to Wollongong, Geelong, Kurrajong, Mullumbimby,

Mittagong, Molong, Grong Grong, Goondiwindi,
Yarra Yarra, Boroondara, Wallangarra, Turramurra,
Boggabri, Gundagai, Narrabri, Tibooburra,
Gulgong, Adelong, Billabong, Cabramatta,
Parramatta, Wangaratta, Coolangatta, what's it matter?
Yeah, look that's fine, but how about...

I've been to Ettalong, Dandenong, Woodenbong, Ballarat,
Canberra, Milperra, Unanderra, Captain's Flat,
Cloncurry, River Murray, Kurri Kurri, Girraween,
Terrigal, Fingal, Stockinbingal, Collaroy and Narrabeen,
Bendigo, Dorrigo, Bangalow, Indooroopilly,
Kirribilli, Yeerongpilly, Wollondilly, don't be silly.
I've been here, there, ev'rywhere, I've been ev'rywhere.
"Okay, mate, you've been ev'ry place except one, and ya don't need my help t'get there."
JACKSON - Johnny Cash and June Carter Cash
(Wheeler/Rodgers)
https://www.youtube.com/watch?v=43qK1Lh2xH0 (Capo 0)
TIP: The intro is a strum of (C) and then a very quick hammer on/pull off of the (Am)
and back to (C). The (C7) will follow (C) so just drop your pinky on the 3rd string/3rd
fret.
INTRO: C C C |Am|-|C|, C C C |Am|-|C|, C C C |Am|-|C|
We got married in a fever, hotter than a pepper sprout.

C7 F
We've been talkin' 'bout, Jackson, ever since the fire went out I'm goin' to Jackson.
C F G7 C
I'm gonna mess around. Yeah I'm goin' to Jackson. Look out Jackson town.
Well go on down to Jackson. Go ahead and wreck your health.

C7
Go play your hand you big-talkin' man make a big fool of yourself.
C F C
You're goin' to Jackson? Go comb your hair.
F G7 C
Honey-I'm-gonna snowball Jackson. See if I care.
When I breeze into that city, people gonna stoop and bow.
C7
All them women gonna make me, teach 'em what they don't know how.
F C
I'm goin' to Jackson. You turn a loose of my coat.
F G7 C
'Cos I'm goin' to Jackson. "Goodbye" that's all she wrote.
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

C7 C F C
With your tail tucked between your legs. Yeah go to Jackson. You big-talkin' man.
F G7 C
And I'll be waitin' in Jackson, behind my Jaypan Fan.
Well now we got married in a fever, hotter than a pepper sprout.

C7 C F
We've been talkin' 'bout, Jackson, ever since the fire went out I'm goin' to Jackson.
C F G7 C
And that's a fact. Yeah we're goin' to Jackson. Ain't never comin' back.
JAMBALAYA
Hank Williams
https://www.youtube.com/watch?v=7-BQpRqmwM0 (Capo 0)
INTRO: G C
G
Goodbye Joe, me gotta go, me oh my oh.
C
Me gotta go pole the pirogue down the bayou.
G
My Yvonne, the sweetest one, me oh my oh.
C
Son of a gun we'll have big fun on the bayou.
G
Jambalaya and a crawfish pie and a filet gumbo.
G C
'Cause tonight I'm gonna see my ma cher a mio.
G
Pick guitar, fill fruit jar, and be gay-oh.
C
C G, G C, C G, G C
G
The Thibodeaux, the Fontaineau, the place is buzzin'.
C
Kinfolk come to see Yvonne by the dozen.
G
Dress in style, go hog wild, me oh my oh.
C
G
G C
G
C
C G, G C, C G, G C
G
G C
G
C |C|
JESUS LOVES ME - Traditional
(Warner/Bradbury)
C F C
Jesus loves me this I know. For the bible tells me so.
F C G7 C
Little ones to Him belong. They are weak but He is strong.
F C G7
Yes Jesus loves me. Yes Jesus loves me.
C F C G7 C
Yes Jesus loves me. The bible tells me so.
F C
Jesus loves me still today, walking with me on my way.
F C G7 C
Wanting as a friend to give, light and love to all who live.
F C G7
Yes Jesus loves me. Yes Jesus loves me.
C F C G7 C
Yes Jesus loves me. The bible tells me so.
JOHNNY B. GOODE
Chuck Berry
https://www.youtube.com/watch?v=Uf4rxCB4lys (Capo 1)
TIP: Johnny B. Goode acoustically? Heresy! But if Clapton can do Layla let's try.
TIP: The intro is a (poor) imitation of the legendary Chuck Berry guitar riff but it
gives a (slight) flavor of the original. Okay, so we start with four sets of three quick
strums each of (A) in a 1,2-3 1,2-3 1,2-3 pattern, followed a few more strums of the
(A). Then it's just a matter of strumming the chords shown. Wherever you see a chord in
|brackets| it means strum just once.
TIP: As for the bridge, begin by strumming (A) seven times very quickly, then four
times, then four times using downstrokes. 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 of these lilts ends on the major chord (D), (A), (E), (A). Then the whole
thing repeats except the first part with the (A)s are truncated a bit. I know it all
sounds complicated but it’s really not that difficult.
; ; ; ;
INTRO: |A|-|A|-|A|, |A|-|A|-|A|, |A|-|A|-|A|, |A|-|A|-|A|, A; D A E7 E A
Deep down Louisiana close to New Orleans,
Way back up in the woods among the evergreens,

D
There stood a log cabin made of earth and wood,
A
Where lived a country boy named Johnny B. Goode.
E E7
Who never ever learned to read or write so well
A
But he could play the guitar just like a ringing a bell.
|A|-|A|-|A|-|A|-|A| |A|-|A|-|A|-|A|-|A|
Go-go, go Johnny go, go.
D A |A|-|A|-|A|-|A|-|A|
Go Johnny go. Go. Go Johnny go, Go.
E E7 A
Go Johnny go, Go. Johnny B. Goode.
He used to carry his guitar in a gunny sack,
Go sit beneath the tree by the railroad track.

D
Oh the engineers would see him sitting in the shade,
A
Strumming with the rhythm that the drivers made.
E E7
People passing by they would stop and say,
A
“Oh my that little country boy could play."
|A|-|A|-|A|-|A|-|A| |A|-|A|-|A|-|A|-|A|
Go-go, go Johnny go, go.
D A |A|-|A|-|A|-|A|-|A|
Go Johnny go. Go. Go Johnny go, Go.
E E7 A
Go Johnny go, Go. Johnny B. Goode.
<rapidly> A x 7, A x 7; A x 4, A x 4; |A|-|A|-|A|-|A|
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 x 7, A x 7; A x 4, A x 4
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
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,
A
To hear you play your music when the sun go down.
E E7
Maybe someday your name will be in lights saying
A
'Johnny B. Goode tonight'."
|A|-|A|-|A|-|A|-|A|
Go-go, go Johnny go.
|A|-|A|-|A|-|A|-|A|
Go go go Johnny go.
D A |A|-|A|-|A|-|A|-|A|
Go go go Johnny go. Go go go Johnny go.
E E7 A |A|-|A|-|A|, |A|-|A|-|A|, |A|-|A|-|E7|-|A|
Go. Johnny B. Goode.
(Chuck Berry) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
JOIN TOGETHER - The Who
(Townshend)
https://www.youtube.com/watch?v=fRAA4lgwcVg (Capo 1)
TIP: The intro begins with downstrokes of (E) to emulate the mouth organ. This goes on
for a bit (32 times if you're following the music) and then the harmonica comes in. Then
it's six strums of (E) and a (Esus) in which you just add your pinky below your ring
finger on the 3rd string/2nd fret. Do this twice and begin the song.
INTRO: |E| x 32 . . . <harmonica> then |E| X 6 - |Esus|, |E| x 6 - |Esus|
E
When you hear this sound a-comin', hear the drummers drumming
D A E
I want you to join, together with the band.
E
We don't move in any 'ticular directions, and we don't make no collections
D A E
E . . .
E
Do you really think I care, what you read or what you wear?
D A E Ex6-Esus, Ex6-Esus
E
There's a million ways to laugh, and every one's a path.
D A E Ex6-Esus, Ex6-Esus
Come on and join, together with the band.
E . . .
E
Everybody join, together. I want you to join, together.
D A E
E
We need you to join, together. Come on and join, together.
D A E
<thrum bass note> E . . .
You don't have to play. You can follow or lead the way.
D A E
E
We don't know where we're goin', but the season's right for knowin'.
D A E
E . . .
E
It's the singer not the song, that makes the music move along.
D A E
E
This is the biggest band you'll find. It's as deep as it is wide.
D A E
E
Hey hey hey hey join, together. Oh ev'rybody come on come on join, together.
D A E
Come on and join together with the band.
E
We need you to join, together. Everybody come on join, together.
D A E E . . . . . . . . . |E|
Hey, hey, hey join together, join together with the band.
JOLENE
Dolly Parton
https://www.youtube.com/watch?v=Ixrje2rXLMA (Capo 4)
TIP: Start the intro with (Am), lift the index finger, put it back, and lift again. Do
this 4 times.
INTRO: Am Asus2 Am Asus2, Am Asus2 Am Asus2
Am Asus2 Am Asus2, Am Asus2 Am Asus2
Am C G Am G Am
Jolene, Jolene, Jolene Jolene. I'm begging of you please don't take my man.
C G Am G Am
Jolene, Jolene, Jolene Jolene. Please don't take him just because you can.
C G Am
Your beauty is beyond compare with flaming locks of auburn hair
G Em Am
With ivory skin and eyes of emerald green.
C G Am
Your smile is like a breath of spring your voice is soft like summer rain
G Em Am
And I cannot compete with you, Jolene.
C G Am G
He talks about you in his sleep there's nothing I can do to keep from crying,
Em Am
When he calls your name Jolene.
C G Am
And I can easily understand how you could easily take my man
G Em Am
But you don't know what he means to me Jolene.
Am C G Am G Am
C G Am G Am
C G Am
You could have your choice of men, but I could never love again.
G Em Am
He's the only one for me, Jolene.
C G Am
I had to have this talk with you my happiness depends on you
G Em Am
And whatever, you decide to do Jolene.
Am C G Am G Am
C G Am G Am
G Am
Jolene. Jole-ene.
(Dolly Parton) (Artist Index) - (Main Index) - (Song Index) (This Song)
JOY TO THE WORLD - Three Dog Night
(Axton)
https://www.youtube.com/watch?v=pMHZh5XlOVA (Capo 0)
TIP: This song has a nifty little |C#|-|C#|-(D) voicing going on which isn't hard to
play. (C#) is just (D) moved down to the 1st fret but try not to hit the 4th string. So
play (C#) like a (D) down a fret and just then slide up to play regular (D). Easy. You
first notice the sequence at the end of the intro after the (F)s. It ends the intro and
begins the song where you strike the |D| just once for the first and second lines. It
then repeats with a regular strum of the (D) throughout the song.
TIP: Toward the end there's a brief switch to the key to (E). It sounds a bit strange
but that's how Hoyt wrote it. The next stanza drops down/returns to the key of (D) for
the chorus repeat and fade.
INTRO: D C G Bb, |F|-|F|-|C#|-|C#|
|D| |C#|-|C#| |D| |C#|-|C#|

Jeremiah was a bullfrog. Was a good friend of mine.
D D7 G D A D
I never understood a single word he said, but I helped him ta drink his wine.
A D
And he always had some mighty fine wine.
A D
Singin' joy to the world. All the boys and girls now.
D7 G D A7 D |C#|-|C#|
Joy to the fishes in the deep blue sea. Joy to you and me.
D |C#|-|C#| |C#|-|C#|
If I were the king of the world, tell you what I'd do.
D D7 G D A D
I'd throw away the cars and the bars and the wars, and make sweet love to you. Sing now.
A D
Joy to the world. All the boys and girls now.
D7 G D A7 D
D D A D, D D7 G D A7 D
|C#|-|C#| |C#|-|C#| |C#|-|C#|

You know I love the ladies, love to have my fun.
D7 G D A7 D
I'm a high night flier and a rainbow rider, a straight-shootin' son of a gun.
A7 D
I said a straight-shootin' son of a gun.
A D
Joy to the world. All the boys and girls.
D7 G D A7 D
E A E A
Joy to the world. All the boys and girls.
E A E A
Joy to the world. Joy to you and me.
D A D
D7 G D A7 D
A7 D
Joy to the world. Joy to you and me.
A D
D7 G D A7 D
A D
D7 G D A7 D
A D
D7 G D A7 D
(Three Dog Night) (Artist Index) - (Main Index) - (Song Index) (This Song)
JUNIOR'S FARM - Paul McCartney and Wings
(P. McCartney/L. McCartney)
https://www.youtube.com/watch?v=5Jpc9oZynyw (Capo 0)
INTRO: G, F D-G; G, F D-G; <strum, emphasizing bass> G
Gadd C G Gadd C G
You should have seen me with the poker man. I had a honey and I bet a grand.
F Em Gadd C G
Just in the nick of time I looked at his hand. I was talking to an Eskimo.
Gadd C G F Em
Said he was hoping for a fall of snow, when up popped a sea lion ready to go.
Gadd F G
Let's go let's go let's go let's go. Down to junior's farm where I want to lay low.
Gadd F G
Low life high life oh let's go. Take me down to junior's farm. (Take me down Jimmy)
G G F G, G G F G
Gadd C G Gadd C G
At the Houses of Parliament, ev'rybody's talking 'bout the President.
F Em Gadd C G
We all chip in for a bag of cement. Ollie Hardy should have had more sense.
Gadd C G F Em
He bought a gee-gee and he jumped the fence, all for the sake of a couple of pence.
Gadd F G
Gadd F G
Low life high life oh let's go. Take me down to junior's farm.
Gadd F G
Gadd F G F G
Low life high life oh let's go. Take me down to junior's farm. Everybody tag along.
G, F D-G; G, F D-G; <strum, emphasizing bass> G
Gadd C G Gadd C G
I took my bag into a grocer's store. The price is higher than the time before.
F Em Gadd C G
Old man asked me "Why is it more?" I said you should have seen me with the poker man.
Gadd C G F Em
I had a honey and I bet a grand. Just in the nick of time I looked at his hand.
Gadd F G
Gadd F G
Low life high life oh let's go. Take me down to junior's farm. (Down to Junior’s Farm)
Gadd F G
Gadd F G
Low life high life oh let's go. Take me down to junior's farm. (Down to Junior’s farm)
F G F Em Em G, Em G
Everybody tag along. Take me down to junior's farm.
Em D Em D C Bm Am Am
Ahhh Ahhh Ahhh Ahhh Ahhh Ahhh
(Take me back)
Em D Em D C Bm Am C |G|
Ahhh Ahhh Ahhh Ahhh Ahhh Ahhh
JUST MY IMAGINATION – The Cranberrries
(O’Riordan/Hogan)
https://www.youtube.com/watch?v=ZHuPOVdkeKo (Capo 3)
TIP: It’ll help greatly if you can get the strumming pattern down. It goes: down,
down/up <very brief pause>, up/down/up and then the pattern repeats with the chord change
being on the downstroke.
INTRO: G, D, Am Am7-D
G D
There was a game we used to play.
Am Am7 D G
We would hit the town on Friday night, stay in bed un, til Sunday.
D
We used to be so-oh free.
Am Am7 D
We were-er living for the love we had, living not for reality.
G D Am7 D Em Am
Just my imagination. Just my imagination. Just my imagination. Ii-it was,
G D Am7 D Em Am
Just my imagination. Just my imagination. Just my imagination. Ii-it was.
G, D, Am Am7-D
G D
That was a time I used to pray.
Am Am7 D G
I have, always kept my faith in love it's the greatest thing from the man above.
D
The game I used to-oo play.
Am Am7 D
I've always put my cards upon the table never be said that I'd be unstable.
G D Am7 D Em Am
Just my imagination. Just my imagination. Just my imagination. Ii-it was
G D Am7 D Em Am
Just my imagination. Just my imagination. Just my imagination. Ii-it was.
G, D, Am Am7-D; G, D, Am Am7-D
G D
There is a game I like to play.
Am Am7 D G
I like to hit the town on Friday night, stay in bed un, til Sunday.
D
We’ll always be this free.
Am Am7 D
We will be living for the love we had, living not for reality.
G D Am7 D Em Am
It’s not my imagination. It’s not my imagination. It’s not my imagination. Ii-it was,
G D Am7 D
Not my imagination. Not my imagination. Not my imagination. It . . . <up> was
G D Am Am7 D
Not my not my not-my, not my not my not-my, not my not my.
G D Am Am7 D
Not my not my not-my, not my not my not-my, not my not my.
G D Am Am7 D
La la la la la la la la la la la la.
G D Am Am7 D
La la la la la la la la la la la la.
G . . . D Am Am7 D
My imagination, my imagination.
G . . . D Am Am7 D
G . . . D Am Am7 D |G|
(The Cranberries) (Artist Index) - (Main Index) - (Song Index) (This Song)
JUST MY IMAGINATION - The Temptations
(Whitfield/Strong)
https://www.youtube.com/watch?v=M5Z9-QCmZyw (Capo 0)
INTRO: C G C C, C G C C C F C Dm
Oooh ooooh ooooh
C Dm F C F
Each day through my window I watch her as she passes by.
C Dm F C F
I say to myself, "You're such a lucky guy."
C F C F
To have a girl like her, is truly a dream come true.
C F C F
Out of all of the fellas in the world, she belongs to you.
C F C F
But it was just my imagination, running away with me.
C F C F
It was just my imagination, running away with me.
C F C F
Oooh-oh-oh soon we'll be married, and raise a family oh yeah.
C F C F
A cozy, little home, out in the country, with two children maybe three.
C F C F
I tell you I . . . I . . . can visualize it all.
C F C F
This couldn't, be a dream, for too re-eal it all-all seems.
C F C F
But it was just my imagination once again, running away with me.
C F C F F
It was just my imagination, running away with me.
C
Every night, on my knees I pray: "Dear Lord, hear my plea.
F C Dm G7
Don't ever let another take her love from me or I will surely die-eye-eye.
C
Her love is, heavenly. When her arms enfold me. I hear a tender rhapsody.
But in reality, she doesn't even know me.
F C F
Just my imagination once again, running away with me.
C F C F
Oh . . . tell you it was just my imagination, running away with me.
C F C F
It was just my imagination, yeah yeah yeah running away with me.
C F |C|
Oooh, just my imagination . . .
(The Temptations) (Artist Index) - (Main Index) - (Song Index) (This Song)
KEEP ME IN YOUR HEART
Jinder
https://www.youtube.com/watch?v=wt29T53iJU8 (Capo 0)
[From the lovely little movie "Fisherman's Friends".]
TIP: In the intro strum (G) and then snap the bottom string with an upstroke to get the
high <g>.
INTRO: G G-G, G; G G-G, G G-G, G G-G, G G-G, G
D Em C G Am D
Keep me in your heart. Don't let me, slip away.
C D G Em
When the morning comes, and those tears won't stop.
C D G
Please keep me in, your heart.
D Em C G Am D
Keep me on your side. Well you know, sometimes I run.
C D G Em
And even when the tears, oh they fall from your eyes.
C D G
Please keep me on, your side.
Am G C G
And you know I'd wait for you, a thousand years.
Am G D
Oh would you do the same for me?
C D G Em
And I would swim across the loneliest sea,
C D Em A
If it meant you could be, free my love.
C D G
Oh you mean that much, to me.
D Em C G Am D
Keep me on your mind. Even when I am, far away.
C D G Em
And even though I know, you may tire of me someday.
C D C D G Em C D G G
Please keep me in, your heart.
Am G C G
And you know I'd wait for you, a thousand years.
Am G D
Oh would you do the same for me?
C D G Em
And I would swim across the loneliest sea,
C D Em A
If it meant you could be, free my love.
C D G
Oh you mean that much, to me.
D Em C G Am D
Keep me in your heart. Don't let me, get away.
C D G Em
When the morning comes, and those tears won't stop.
C D Em A
Please keep me in, your heart my love.
C D Em A
However far, apart we may be come,
C D G D Em
Please keep me in your hearrr-rrrt oh- oh.
C D G D G D |G|
Keep-me-in- your heart.
(Jinder) (Artist Index) - (Main Index) - (Song Index) (This Song)

KEEP ON THE SUNNY SIDE OF LIFE
Traditional/The Carter Family/The Whites
(Blenkhorn)
https://www.youtube.com/watch?v=ZbmQQ4RfzVE Carter Family (Capo 2)
https://www.youtube.com/watch?v=8VB5aBkRI7w The Whites (Capo 1)
[The Carter Family plays this song with quite a jumpy pace while The Whites' version,
which is also the version featured in the movie O' Brother Where Art Thou, is much, much
slower. There's also a version in [G] that follows.]
TIP: The intro is just the chords from the first verse.
INTRO: A D A, A E, E E7 E A, E A
D A
There's a dark and a troubled side of life.
E
But there's a bright and sunny side too.
E7 E A
Though we meet with the darkness and strife,
E A
The sunny side we also may view.
D A
Keep on the sunny side always on the sunny side.
E
Keep on the sunny side of life.
A D A
It will help us ev'ry day. It will brighten all the way
D A E A
If we'll keep on the sunny side of life.
A D A, A E, E E7 E A, E A
D A
The storm and its fury raged today,
E
Crushing hopes that we cherish so dear.
E7 E A
Clouds and storms will in time pass away.
E A
The sun-again will shine bright and clear.
D A
E
A D A
D A E A
D A
Let us greet with a song of hope each day.
E
Though the moment be cloudy or fair.
E7 E A
Let us trust in our Saviour always.
E A
He’ll keep us every one, in His care.
D A
E
A D A
D A E A
(Traditional) (Spiritual) (Folk) (Carter Family) (The Whites) (Artist Index)

(Main Index) (Song Index)(This Song)
KEEP ON THE SUNNY SIDE OF LIFE
Traditional/The Carter Family/The Whites
(Blenkhorn)
https://www.youtube.com/watch?v=ZbmQQ4RfzVE Carter Family (Capo 4)
https://www.youtube.com/watch?v=8VB5aBkRI7w The Whites (Capo 3)
[The Carter Family plays this song with quite a jumpy pace while The Whites' version,
which is also the version featured in the movie O' Brother Where Art Thou, is much, much
slower.]
TIP: The intro is just the chords from the first verse.
INTRO: G C G, G D, D D7 D G, D G
C G
There's a dark and a troubled side of life.
D
But there's a bright and sunny side too.
D7 D G
Though we meet with the darkness and strife,
D G
The sunny side we also may view.
C G
D
G C G
C G D G C G
G C G, G D, D D7 D G, D G
C G
The storm and its fury raged today,
D
Crushing hopes that we cherish so dear.
D7 D G
Clouds and storms will in time pass away.
D G
The sun-again will shine bright and clear.
C G
D
G C G
C G D G C G
C G
Let us greet with a song of hope each day.
D
Though the moment be cloudy or fair.
D7 D G
Let us trust in our Saviour always.
D G
He’ll keep us every one, in His care.
C G
D
G C G
C G D G C G
(Traditional) (Spiritual) (Folk) (Carter Family) (The Whites) (Artist Index)

KIDS OF THE BABY BOOM – The Bellamy Brothers
(Bellamy)
https://www.youtube.com/watch?v=xi5Lvr37bew (Capo 2)
TIP: Where you see <lift> hold the (C) form and simply lift off your middle finger and
then put it back down for the next word. Very easy.
INTRO: Em G, Em G, C
<lift> C
Our daddies won the war and came home to our moms.
<lift> C
They gave them so much love that all us kids were born.
F
We all grew up on Mickey Mouse and hula-hoops.
C <lift> C
Then we all bought BMW's and brand new pickup trucks.
Em G C C
And we watched John Kennedy die one afternoon. Kids of the baby boom.
<lift> C
It was a time of new prosperity in the U.S. A.
<lift> C
All the fortunate offsprings never had to pay.
F
We had Sympathy for the Devil and the Rolling Stones.
C <lift> C
Then we got a little older we found Haggard and Jones.
Em G C C
A generation screaming for more room. Kids of the baby boom.
F
Kids of the baby boom, we had freedom we had money.
C
Baby boom, here in the land of milk and honey.
Em G C C
Counting our chickens way too soon. Kids of the baby boom.
<lift> C
Now we all can run computers and we all can dance.
<lift> C
We all have Calvin Klein written on our under pants.
F
And at six-o'clock like robots we turn on the news.
C <lift> C
Watch those third world countries deal out more abuse.
Em G C C
Remember the first man on the moon. Kids of the baby boom.
F
C
Em G C C
<lift> C
As our lives become a capsule they send to the stars.
<lift> C
And our children look at us, like we came from Mars.
F
As the farms disappear, and the sky turns black.
C <lift> C
We're a nation full of takers, never giving back.
Em G C C
We never stop to think what we consume. Kids of the baby boom.
F
C
Em G C C
Em G C C |C|
Our optimism mingles with the doom. Kids of the baby boom.
(The Bellamy Brothers) (Artist Index) - (Main Index) - (Song Index) (This Song)
KILLING ME SOFTLY – Roberta Flack
(Lieberman/Fox & Gimbel)
https://www.youtube.com/watch?v=kgl-VRdXr7I (Capo 1)
TIP: Chords in [brackets] means strum once at that point. The intro is sung acapella
with a faint choir in the background so play the chords this way.
TIP: In the chorus there's a (C)(Cmaj7)|Asus2||E| sequence which is very easy to play.
From (C) just lift off the index finger to get to (Cmaj7), then bring the ring finger and
tuck it below the middle finger for the (Asus2), which is (Am) without the index finger,
and strum once. Then finish with a single strum of |E|.
|Em| |Am7| |D7| |G|

INTRO: Strumming my pain with his fingers. Singing my life with his words.
|Em| |A| |D| |C|
Killing me softly with his song. Killing me softly, with his song.
|G| |C| |F| |E|
Telling my whole life, with his words. Killing me softly, with his song.
Am D, Am D, Am D, Am D
Am7 Am D7 G C
I heard he sang a good song, I heard he had a style.
Am7 D Em
And so I came to see him and listen for a while.
Am7 D7 G B7
And there he was this young boy, a stranger to my eyes.
Em Am7 D7 G
Strumming my pain with his fingers. Singing my life with his words.
Em A7 A D C G
Killing me softly with his song. Killing me softly, with his song telling my whole life,
C Cmaj7 |Asus2| NC |E|
With his words killing me soft ly, with his song.
Am7 D7 G C
I felt all flushed with fever. Embarrassed by the crowd.
Am7 D Em
I felt he found my letters and read each one out loud.
Am7 D7 G B7
I prayed that he would finish, but he just kept right on.
Em Am7 D7 G
Em A7 A D C G
Am7 D7 G C
He sang as if he knew me, in all my dark despair.
Am7 D Em
And then he looked right through me as if I wasn't there.
Am7 D7 G B7
And he just kept on singing, singing clear and strong.
Em Am7 D7 G
Em A7 A D C G
Em Am7 D G
Oh oh oh oh oh oh oh oh oh,
Em Am7 D C G C
La la la la la la, oh oh oh oh oh oh, la la ah ah ahhhh.
E
La ah-ah, ah-ah-ah-ah-ah-ah.
Em Am7 D7 G
Em A7 A D C G
C Cmaj7 F |E|
With his words killing me soft ly . . .
NC Em Am7 D G
He was strumming my pain. Yeah he was singing my life.
Em A7 A D C G
Killing me softly with his song killing me softly, with his song telling my whole life,
With his words. Killing me soft ly, with his song.
(Roberta Flack) (Artist Index) - (Main Index) - (Song Index) (This Song)
KING OF THE ROAD
Roger Miller
https://www.youtube.com/watch?v=WrhAC0dFis0 (Capo 3)
TIP: Roger sharps the key leading into the chorus so you'll have to slide your capo up
one fret where indicated if you want to play along with the recording. Otherwise just
play what you see.
INTRO: <softly> G G C D, G G C D
G Am C D G
Trailers for sale or rent. Rooms to let, fifty cents.
Am C D D7
No phone no pool no pets. I ain't got no cigarettes ah but,
G Am C D G
Two hours of pushin' broom buys a, eight by twelve four-bit room I'm a,
C D G
Man of means by no means. King of the road.
Am C D G
Third boxcar midnight train. Destination Bangor Maine.
Am C D D7
Old worn out suits and shoes. I don't pay no union dues I smoke,
G Am C D G
Old stogies I have found. Short, but not too big around I'm a,
C D G
Man of means by no means. King of road.
<capo +1>
C D G
I know every engineer on every train. All of their children and all of their names.
C
And every handout in every town,
D D7 D D7
And every lock that ain't locked when no one's around I sing,
G Am C D G
Trailers for sale or rent. Rooms to let, fifty cents.
Am C D D7
No phone no pool no pets. I ain't got no cigarettes ah but,
G Am C D G
Two hours of pushin' broom buys a, eight by twelve four-bit room I'm a,
C D G
Man of means by no means. King of the road.
G Am C D G
<softly> Trailers for sale or rent. Rooms to let, fifty cents.
Am C D D7 |G|
No phone no pool no pets. I ain't got no cigarettes . . .
(Roger Miller) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
KISS AN ANGEL GOOD MORNING - Charley Pride
(Peters)
https://www.youtube.com/watch?v=y-pU-DHEVaU (Capo 2)
TIP: The intro is played quick, maybe two quick strums per chord.
INTRO: D G A D, D A G D, D . . .
G
Whenever I chance to meet, some old friends on the street.
A D A
They wonder how does a man get to be this way.
D G
I've always got a smiling face, any time and any place,
A D D G A D
And everytime they ask me why I just smile and say.
NC D A
You've got to, kiss an angel good morning,
G D
And let you know you think about her when you're gone.
A
Kiss an angel good morning,
G D D G A D, D A G D
And love her like the devil when you get back home.
G
Well people may try to guess, the secret of a happiness,
A D A
But some of them never learn it's a simple thing.
D G
The secret I'm speaking of, is a woman and a man in love,
A D D G A D
And the answer is in this song that I always sing.
NC D A
You've got to, kiss an angel good morning,
G D
A
G D D G A D
A
G D
A
G D D G A D
(Charley Pride) (Artist Index) - (Main Index) - (Song Index) (This Song)
KISSES SWEETER THAN WINE
Peter, Paul & Mary/Peter Seeger/The Weavers
(Ledbetter/Hayes/Seeger)
https://www.youtube.com/watch?v=LvbMarcf-UU Peter, Paul & Mary (Capo 5)
https://www.youtube.com/watch?v=A9_MpNwduAA Pete Seeger/The Weavers (Capo 5)
TIP: There are slight variations in the presentation of the song depending on who is
performing it. This version is from Peter, Paul & Mary. Pete Seeger and the Weavers
begin the song with the chorus.
TIP: When you get to the first "Oh" it's a two-syllable word so stay with the (Am) for
the first syllable and then change to the (G) with an up-inflection on the second
syllable.
INTRO: Am G F Em Dm G Am
G F Em Dm G Am
When-I was a young man and never been kissed I got to thinkin' over, what I had missed.
C G F G Dm Em Am
I got me a girl, I kissed her and then, oh Lord, I kissed her again.
G Am Em Am
Oh-oh kisses sweeter than wine.
Em G Am Em Am Am
Oh-oh-oh kisses sweeter than wine.
C G F Em
I asked her to marry and be my sweet wife
Dm G Am
And we would be so happy, the rest of our lives.
C G F G Dm Em Am
I begged and I pleaded like a natural man and then, oh Lord, she gave me her hand.
G Am Em Am
Em G Am Em Am Am
C G F Em Dm G Am
I worked mighty hard, and so did my wife workin' hand in hand, to make a good life.
C G F G Dm Em Am
With corn in the field, and wheat in the bins I was, oh Lord, the father of twins.
G Am Em Am
Em G Am Em Am Am
C G F Em
Our children they numbered, just about four.
Dm G Am
They all had sweethearts knockin' at the door.
C G F G Dm Em Am
They all got married and they didn't hesitate I was, oh Lord the grandmother of eight.
G Am Em Am
Em G Am Em Am Am
C G F Em Dm G Am
Now that we're old, and ready to go we get to thinkin' what happened, a long time ago.
C G F G Dm Em Am
We had a lot of kids, trouble and pain but then, oh Lord, we'd do it again.
G Am Em Am
Em G Am Em |A|
(Pete Seeger)(Peter, Paul and Mary)(The Weavers)

(Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
KNOCKIN’ ON HEAVEN’S DOOR
Bob Dylan
https://www.youtube.com/watch?v=rm9coqlk8fY (Capo 0)
INTRO: G D Am
G D C G D Am G D C
Ooo ooo ooh. Ooo ooo ooh. Ooo ooo ooo.
G D Am G D C
Mama take this badge off of me. I can’t use it anymore.
G D Am G D C
It’s getting dark, too dark to see. I feel I’m knockin’ on heaven’s door.
G D Am G D C
Knock knock knockin’ on heaven’s door. Knock knock knockin’ on heaven’s door.
G D Am G D C
G D Am G D C
Mama put my guns in the ground. I can’t shoot them, anymore.
G D Am G D C
That long black cloud is comin’ down. I feel I’m knockin’ on heaven’s door.
G D Am G D C
G D Am G D C
G D Am G D C G D Am G D C |G|
Ooo ooo ooh. Ooo ooo ooh. Ooo ooo ooo. Ooo ooo ooo.
(Bob Dylan) (Artist Index) - (Main Index) - (Song Index) (This Song)
KNOCKIN' ON YOUR SCREEN DOOR - John Prine
(Prine/McLaughlin)
https://www.youtube.com/watch?v=TN5b_RjE71g (Capo 2)
INTRO: A A
D
I ain't got nobody, hangin' 'round my doorstep.
A E
Ain't got no loose change, just a-hangin' 'round my jeans.
A D
If you see somebody, would you send em' over my way?
A E A
I could use some help here, with a can of pork and beans.
D
I once had a family, but they up and left me.
A E
With nothing but an 8-track, another side of George Jones.
A D
I was in high cotton, just a-bangin' on my six-string.
A E A
A-kickin' at the trash can, walkin' skin and bone.
D A
I can see your back porch, if I close my eyes now.
E
I can hear the train tracks, through the laundry on the line.
A D
I'm thinking it's your business, but you don't got to answer.
A E A A D A E
I'm knockin' on your screen door, in the summer time.
|A| D
Everybody's out there, climbin' on the trees now.
A E
Swingin' in the breeze now, a hangin' on the vine.
|A| D
I'm dreamin' 'bout a sailboat, I don't need a fur coat.
A E A
Underneath the dashboard, got some sweet potato wine.
D A
I can see your back porch, if I close my eyes now.
E
I can hear the train tracks, through the laundry on the line.
A D
I'm thinking it's your business, but you don't got to answer.
A E A
A E A A |A|
KODACHROME
Paul Simon
https://www.youtube.com/watch?v=8rlDTK6QI-w (Capo 2)
[There's a version in [G] which follows that is easier to play since it doesn't have the
(B) chords but it kind of lacks the bass. Nor will you you be able to play along with
the recording as you'd have to capo way up the neck.]
TIP: For the intro, form (D) and pick the open 4th string, letting it snap down onto the
covered 3rd string and contine with a downstroke strum of the lower 3 strings of the (D).
Do this 4 times and immediately jump into the (G) and the remaining chords. Bitchin'.
TIP: The double (G)(G) at the end of some of the lines is your cue play the double
measure walk-up/down of the bass line within the (G).
INTRO: 4-D, 4-D, 4-D, 4-D-G G Em A D Em-A
D D7 G G G
When I think back on all the crap I learned in high school,
Em A D Em A
It's a wonder I can think at all.
D D7 G G G
And though my lack of education hasn't hurt me none,
Em A D D7
I can read the writing on the wall.
G B7 E E7 Am D
Kodachro- oh - ome. You give us those nice, bright colors,
G C A D G B7 E
You give us the greens, of summers, makes you think all, the world's a sunny day oh yeah.
E7 Am D G C
I got a Ni,kon camera, I love to the pho,to graphs,
A D G Bm Em |A|
So Mama don't take, my Kodachrome away.
D D7 G G G
If you took all the girls I knew when I was single,
Em A D Em A
And brought them all together for one night.
D D7 G G G
I know they'd never match my sweet imagination,
Em A A7 D D7
And everything looks worse in black and white.
G B7 E E7 Am D
G C A D G B7 E
E7 Am D G C
A D G Bm Em
G Bm Em G Bm Em
Mama don't take my Kodachrome away. Mama don't you take my Kodachrome away.
G Bm Em
Mama don't take my Kodachrome away.
G Bm
Mama don't take my Kodachrome, mama don't take my Kodachrome,
Em
G Bm
Mama don't take my Kodachrome, leave your boy so far from home.
Em
G Bm Em
Mama don't take my Kodachrome. Ohhh wooo. Mama don't take my Kodachrome away.
G Bm Em Em, G Bm Em Em, G Bm Em Em, G Bm Em Em, G Bm Em Em, |G|
(Paul Simon) (Artist Index) - (Main Index) - (Song Index) (This Song)
KODACHROME
Paul Simon
TIP: For the intro, form (Gadd) and pick the open 3rd string, letting it snap down onto
the covered 2nd string and lower two strings. Do this 4 times and immediately jump into
the (C) and the remaining chords.
TIP: The double (C)(C) at the end of some of the lines is your cue play the double
measure walk-up/down of the bass line within the (C).
INTRO: 3-Gadd, 3-Gadd, 3-Gadd, 3-Gadd, C C Am D G Am-D
G G7 C C C
When I think back on all the crap I learned in high school,
Am D G Am D
It's a wonder I can think at all.
G G7 C C C
And though my lack of education hasn't hurt me none,
Am D G G7
I can read the writing on the wall.
C E7 A A7 Dm G
C F D G C E7 A
A7 Dm G C F
D G C Em Am |D|
G G7 C C C
If you took all the girls I knew when I was single,
Am D G Am D
And brought them all together for one night.
G G7 C C C
I know they'd never match my sweet imagination,
Am D G G7
And everything looks worse in black and white.
C E7 A A7 Dm G
C F D G C E7 A
A7 Dm G C F
D G C Em Am
C Em Am C Em Am
Mama don't take my Kodachrome away. Mama don't you take my Kodachrome away.
C Em Am
C Em
Mama don't take my Kodachrome, mama don't take my Kodachrome,
Am
C Em
Mama don't take my Kodachrome, leave your boy so far from home.
Am
C Em Am
Mama don't take my Kodachrome. Ohhh wooo. Mama don't take my Kodachrome away.
C Em Am Am, C Em Am Am, C Em Am Am, C Em Am Am, C Em Am Am, |C|
KUMBAYA – The Seekers
(Traditional)
https://www.youtube.com/watch?v=_6OlJATWrxA (Capo 3)
[The lyrics here are from the version by The Seekers. At the end are two other verses
sometimes included by other performers.]
INTRO: D A E A A
D A D E
Kumba ya my Lord, kumba ya. Kumbaya my Lord, kumba ya.
A D A D A E A D A
Kumba ya my Lord, kumba ya. Oh Lord, kumba ya.
D A D E
Someone's crying Lord, kumba ya. Someone's crying Lord, kumba ya.
A D A D A E A D A
Someone's crying Lord, kumba ya. Oh Lord, kumba ya.
D A D E
Someone's singing Lord, kumba ya. Someone's singing Lord, kumba ya.
A D A D A E A D A
Someone's singing Lord, kumba ya. Oh Lord, kumba ya.
D A D E
Kumba ya my Lord, kumba ya. Kumbaya my Lord, kumba ya.
A D A D A E A D A
Kumba ya my Lord, kumba ya. Oh Lord, kumba ya.
|A|
Kumba ya. <smores anyone?>
-----------------------------
<Other verses sometimes included>
A D A D E
Someone's praying Lord, kumba ya. Someone's praying Lord, kumba ya.
A D A D A E A D A
Someone's praying Lord kumba ya. Oh Lord, kumba ya.
A D A D E
Someone's sleeping Lord, kumba ya. Someone's sleeping Lord, kumba ya.
A D A D A E A D A
Someone's sleeping Lord, kumba ya. Oh Lord, kumba ya.
(Traditional) (Spiritual) (Folk) (The Seekers) (Artist Index)

L.A. COUNTY
Lyle Lovett
https://www.youtube.com/watch?v=3uGyClRhGg0 (Capo 2)
TIP: The cadence is everything. Get it down during the first verse and continue through
the whole song. Note that Lyle drags his words at the end of each line "yourr, "myy", "-
tyy". Just part of his delivery.
TIP: Note the chords in brackets, e.g., |A|, midway through which means to strike the
chord just once at that point and sustain. Also watch for the change in inflection for
the last two choruses.
INTRO: A D, A D
A D A D
She left Dallas, for California, with an old friend at her side.
A D A D
Well he did not say much, but one year later, he'd ask her to, be his, wife.
A D A D
And the lights of, L.A. County, they look like diamonds in the sky.
A D A D
When you're drivin', through the hours, with an old friend at yourrr side.
A D A D
One year later, I left Houston, with an old friend at my, side.
A D A D
Well it did not say much, but it was a beauty, of a coal black fortyyy - five.
A D A D
A D A D
When you're drivin', through the hours, with an old friend at yourrr side.
A D A D
So I drove on, all the day long, and I drove on through the night.
A D A D
And I thought of, her awaiting, for to be his blushing, bride.
|A| |D| |A| |D|

|A| |D| |A| |D|
As I drove in, to the valley with my old friend at myyy side.
A D A D
And as she stood there, at the altar, all dressed in her, gown of white.
A D A D
Lord her face was bright as, stars a shining, like I'd dreamed of, all myy life.
A D
And they kissed each other, and they turned around and,
A D
They saw me standing in the aisle.
A D
Well I did not say much, I just stood there watching,
E A
As that forty-five told them goodbye.
D A E A
And the lights of, L.A. County, look like diamonds in the sky.
D A E A
When you're kneeling at the altar, with an old friend at yourr side.
D A E A
And the lights of, L.A. County, are a mighty pretty sight.
D A E A |A|
When you're kneeling at the altar, with an old friend at yourr side.
LA BAMBA - Los Lobos
(Valens)
https://www.youtube.com/watch?v=Coy8Hoa1DNw (Capo 3)
[Afterwards there is a translation from Spanish to English but the syntax doesn't work
well. Best to just stumble through the Spanish if you don't speak it.]
TIP: You must play the full (E7) chord as indicated as you need that treble <d> note.
TIP: At the end, <raking> means to strum back and forth rapidly in a sawing motion.
INTRO: E-E-A D E, E, A D |E|
NC A D E
Para bailar la bamba.
E7 A D E A D E
Para bailar la bamba se nece sita una poca de gracia.
E7 A D E A D E
Una poca de gracia para mi-para ti, arriba y arriba.
E7 A D E A D |E|
Arriba y arriba por ti se ray. Por ti se ray, por ti se ray.
NC A D E
Yo no soy mari nero.
E7 A D E A D E
Yo no soy mari nero soy capi tán. Soy capi tán, soy capi tán.
A D E A D E A D E A D |E|
La ba bamba. La ba bamba. La ba bamba. Bam ba.
NC A D E
E7 A D E A D E
E7 A D E A D E
A D E, A D E, A D E, A D E, A D E, A D E, A D E, A D E
E . . .
A D E, A D |E|
NC A D E
E7 A D E A D E
E7 A D E A D E
E7 A D E A D |E|
Arriba y arriba por ti se ray. Por ti se ray, por ti se ray.
A D E A D E A D E A D E |A|
La ba bamba. La ba bamba. La ba bamba. A la bamba.
<rakingly> A D E, A D E, A D E, A D E; A D A, A D A
A D A, A D A
(Los Lobos) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
LA BAMBA - Los Lobos [English Translation-ish]
(Valens)
(MC2)
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 <d> note.
TIP: At the end, <raking> means to strum back and forth rapidly in a sawing motion.
INTRO: E-E-A D E, E, A D |E|
NC A E E
In order to dance the Bamba.
E7 A D E
In order to dance the Bamba a little humor is needed.
E7 A D E A D E
A little humor for me and for you - faster and faster.
E7 A D E A D |E|
Faster and faster, I'll be for you. I'll be for you. I'll be for you.
NC A D E
I'm not a sailor.
E7 A D E A D E
I'm not a sailor I'm cap tain. I'm cap tain. I'm cap tain.
A D E A D E A D E A D |E|
La ba bamba. La ba bamba. La ba bamba. Bam ba.
NC A D E
E7 A D E
E7 A D E A D E
E . . .
A D E, A D |E|
NC A E E
E7 A D E
E7 A D E A D E
E7 A D E A D |E|
Faster and faster, I'll be for you. I'll be for you. I'll be for you.
A D E A D E A D E A D E |A|
La ba bamba. La ba bamba. La ba bamba. La ba bamba.
A D A, A D A
(Los Lobos) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
LADY MADONNA – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=uLRiGX3L-kw (Capo 0)
TIP: Chords in brackets - |C| |Bm| |E7| - are meant to be struck just once.
INTRO: A D, A D, A D, F-G-A
A D A D A D F A
Lady Madonna, children at your feet. Wonder how you manage to make ends meet.
D A D A D F A
Who finds the money, when you pay the rent? Did you think that money was heaven sent?
Dm G C Am |Em|-|C|
Friday night arrives without a suitcase. Sunday morning creeping like a nun.
Dm G7 |C| |Bm| |E7| E
Monday's child has learned to tie his bootlegs. See, how they ru- -un.
A D A D
Lady Madonna, baby at your breast.
A D F G A
Wonders how you manage to feed the re- e- -est.
|A|-|A|-|A|-|A|-|D|-|D|-|D|-|A|, |A|-|A|-|A|-|A|-|D|-|D|-|D|-|A|
|A|-|A|-|A|-|A|-|D|-|D|-|D|-|D|-|F|-|F|-|G|-|G|-|A|
Dm G7 C Am
Pa pa pa pa, pa pa pa pa pa pa pa pa. Pa pa pa pa pa, pa pa pa pa pa pa pa pa.
Dm G7 |C| |Bm| |E7| E
Pa pa pa pa, pa pa pa pa pa pa pa pa. See, how they ru- -un.
A D A D
Lady Madonna, lying on the bed,
A D F A
Listen to the music playing in your he- e- ead.
|A|-|A|-|A|-|A|-|D|-|D|-|D|-|A|, |A|-|A|-|A|-|A|-|D|-|D|-|D|-|A|,
|A|-|A|-|A|-|A|-|D|-|D|-|D|-|D|-|F|-|F|-|G|-|G|-|A|
Dm G C Am
Tuesday afternoon is never ending. Wednesday morning papers didn't come.
Dm G7 |C| |Bm| |E7| E
Thursday night your stocking needed mending. See, how they ru- -un.
A D A D
Lady Madonna, children at your feet.
A D F A D F G-A
Wonder how you manage to make ends mee-ee-eet.
|A|-|A|-|D|-|D|-|F|-|G|-|A|
LAND OF 1000 DANCES - Wilson Pickett
(Kenner)
https://www.youtube.com/watch?v=7fa4BfPQiKs (Capo 5)
TIP: The |F#m| is just played once as the first chord so you can set it up ahead of
time. If you're uncomfortable with barre chords try this: First use your ring and pinky
fingers to cover the 4th and 5th strings in the 4th fret and adjust until you get a good
ring to the notes. Now with your index finger barre the bottom 3 strings of the 2nd
fret. Adjust all fingers so you get a good ring. Now the middle finger is up in the air
and looking for work so use it to reach up and cover the top string of the 2nd fret. It
may be uncomfortable but you just need it for that first strum and then you can release
and move to the |A|.
|F#m| |A| <gentle trill of (A)>

INTRO: One-two-three. One-two-three.
A
Oww. Uh. Alright. Uh. Got to know how to pony. Like Bony Maronie. Mashed potato.
Do the alligator. Put your hand on your hips yeah. Let your backbone slip.
Do the watusi. Like my little Lucy. Hey! Uh.
G A
Na-na-na-na-na, na-na-na-na-na-na-na-na-na, na-na-na-na
I need somebody to help me say it one time.

G A
Na-na-na-na-na, na-na-na-na-na-na-na-na-na, na-na-na-na, wowwww!
Uh. You know I feel alright? Huh. Feel pretty good y'all. Uh huh.
G A
Na-na-na-na-na, na-na-na-na-na-na-na-na-na, na-na-na-na
Come on y'all let's say it one more time.

G A
Na-na-na-na-na, na-na-na-na-na-na-na-na-na, na-na-na-na. Owwwww!
Twist it in the alley. With long tall Sally. Twistin' with Lucy. Doin' the watusi.
Roll over on your back. I like it like that. Do that Jerk-ah. Watch me work y'all.
Owww do it. Woww do it. Just watch me do it. Ahh help me. Ahh help me. Ahh help me.
Ahh help me. <repeat and fade>
THE LAST RESORT - Eagles
(Henley/Frey)
https://www.youtube.com/watch?v=BgNcv9ODzVY (Capo 0)
https://www.youtube.com/watch?v=h_NH7ryXSJ0 (Capo 0)
[Note: The Eagles are famously strict about having their music on YouTube so the links
above may be broken.]
TIP: For the intro piano part, form (E) and pick the covered 3rd string <g#> and then
the covered 5th string <b>. Repeat this sequence 8 times, then strum (E) and begin
singing.
TIP: (B) always follows (A) so play (A) with your bottom three fingers and then just
slide up two frets and cover the bottom string with your pinky. Much easier.
TIP: Chords in brackets |E| means strum once.
TIP: After verse three comes the first bridge. From the preceding verse there's two
strums of |E| and then 7 strums of (E). The same pattern follows but with (Amaj7). The
transition from (E) to (Amaj7) is super easy as you keep your index finger planted and
just move the middle and ring fingers down one string each (compare the two diagrams).
After the final (Amaj7) sequence you strum |E| once gently and then pluck the bottom
string at the fret number indicated, BO meaning open and O2 meaning open 2nd string.
Then 3 soft strums of |E||B||E|. Looks messy but it's not.
TIP: The same sequence repeats in the second bridge with a key change from [E] to [G]
with (Cmaj7) just being (C) without the index finger.
INTRO <Form E>: 3 - 5, 3 - 5, 3 - 5, 3 – 5
3 - 5, 3 - 5, 3 - 5, 3 - 5
E A B E
She came from Providence, the one in Rhode Island.
A B E
Where the old world shadows hang, heavy in the air.
A B E
She packed her hopes and dreams, like a refugee,
A B E
Just as her father came, across the sea.
A B E
She heard about a place, people were smilin'.
A B E
They spoke about the red man's way, how they loved the land.
A B E
And they came from everywhere, to the Great Divide.
A B |E| |E| E x 7
Seeking a place to stand, or a place to hide.
A B E
Down in the crowded bars, out for a good time.
A B E
Can't wait to tell you all, what it's like up there.
A B E
And they called it paradise, I don't know why.
A B |E| |E| E x 7
Somebody laid the mountains low, while the town got high.
|Amaj7|-|Amaj7| Amaj7 x 7, |E|-|E| E x 7, |Amaj7|-|Amaj7| Amaj7 x 7
|E|-B4-B2-BO-O2 <softly!> |E|-|B|-|E|
E A B E
Then the chilly winds blew down, across the desert,
A B E
Through the canyons of the coast, to the Malibu.
A B E
Where the pretty people play, hungry for power,
A B |E| |E| E x 7
To light their neon way, and give them things to do.
A B E
Some rich-men-came-and raped the land. Nobody caught 'em.
A B E
Put up a bunch of ugly boxes, and Jesus people bought 'em.
A B E
And they called it paradise. The place to be.
A B |E| |E| E x 7
They watched the hazy sun, sinking in the sea.
|Amaj7|-|Amaj7| (Amaj7) x 7, |E|-|E| (E) x 7, |Amaj7|-|Amaj7| (Amaj7) x 7,
|G|-|G| G x 7, |Cmaj7|-|Cmaj7| Cmaj7 x 7, |G|-|G| G x 7, |Cmaj7|-|Cmaj7| Cmaj7 x 7
<softly> |G|-|G|-|G|-|G|-|D|-|D|-|D|-||C|
<gently> |C|-|C|-|Gadd|-|Gadd|, |C|-|C|-|Gadd|-|Gadd|, |C|-|C|-|Gadd|-|Gadd|
|C|-|C|-|Gadd|-|Gadd|, |C|-|C|-|Gadd|-|Gadd|, |C|-|C|-|Gadd|-|Gadd|
|C|-|C|-|Gadd|-|Gadd|, |C|-|C|-|Gadd|-|Gadd|
C D G
<still subdued> You can leave it all behind, sail to Lahaina.
C D G
Just like the missionaries did, so many years ago.
C D G
They even brought a neon sign: "Jesus is coming."
C D G
Brought the white man's burden down; brought the white man's reign.
C D G
<back to normal> Who will provide the grand design? What is yours and what is mine?
C D G
'Cause there is no more new frontier. We have got to make it here.
C D G
We satisfy our endless needs, justify our bloody deeds,
C D |G| |G| G x 8
In the name of destiny, and in the name of God.
CaddD D G
And you can see them there, on Sunday morning.
C D G
They stand up and sing about, what it's like up there.
C D G
They called it paradise. I don't know why.
C D |G| |G| G x 7, |Cmaj7|-|Cmaj7| Cmaj7 x 7
You call someplace paradise. Kiss it goodbye.
|G|-|G| G x 7, |Cmaj7|-|Cmaj7| Cmaj7 x 7; |G|-|G| G x 7, |Cmaj7|-|Cmaj7| Cmaj7 x 7
|G|-|G| G x 7, |Cmaj7|-|Cmaj7| Cmaj7 x 7; |Gadd|

LEARNING TO FLY - Tom Petty
(Petty/Lynne)
https://www.youtube.com/watch?v=s5BJXwNeKsQ (Capo 0)
TIP: This is about as easy as it gets, one chord progression that is played for the
entire song. Thanks Tom, we hope you're flying up there.
TIP: Throughout the song you'll see either a <u> or a <d> notation in front of a word.
This means you sing the word either up-pitch or down-pitch. An example of this in the
first verse are the words "out" which is sung up-pitch, and "up" which is sung down-
pitch. If neither appears then the word (like in "alone" and "hill") is sung in the same
pitch as the preceding word.
INTRO: F C Am G, F C Am G, F C Am G, F C Am G
F C Am G F C Am G
Well I started out, down a dirty road.
F C Am G F C Am G
Started <u> out, all alone.
F C Am G F C Am G
And the sun went down, as I crossed the hill.
F C Am G F C Am G
And the town lit <d> up, the world got still.
F C Am G F C Am G
I'm <u> learning to fly, but I ain't got wings.
F C Am G F C Am G
<u> Coming down, is the hardest thing.
F C Am G F C Am G
Well the good old days, may not re <d> turn.
F C Am G F C Am G
And the rocks might <u> melt, and the sea may <d> burn.
F C Am G F C Am G
F C Am G F C Am G
G G G; F C Am G, F C Am G, F C Am G, F C Am G
F C Am G F C Am G
Well some say <u> life, will beat you <d> down.
F C Am G F C Am G
And break your <u> heart, steal your crown.
F C Am G F C Am G
So I started <u> out, for God knows <d> where.
F C Am G F C Am G
I guess I'll know, when I get there.
F C Am G F C Am G
I'm <u> learning to fly, around the clouds.
F C Am G F C Am G
But <u> what goes up, must come down.
G G G; F C Am G, F C Am G
F C Am G F C Am G
F C Am G F C Am G
F C Am G F C Am G
I'm <u> learning to fly, around the clouds.
F C Am G F C Am G
But <u> what goes up, must come down.
F C Am G, F C Am G
I'm <u> learning to fly.
F C Am G, F C Am G, F C Am G, |C|
I'm <u> learning to fly.
LEAVING ON A JET PLANE
John Denver/Peter, Paul, & Mary
(Denver)
https://www.youtube.com/watch?v=Skhp0mt0gB0 John Denver (Capo 0)
https://www.youtube.com/watch?v=IVEATF7VNTk Peter, Paul & Mary (Capo 2)
TIP: There are subtle voicing and lyric differences between the recordings done by John
and PPM. This is primarily PPM's version.
TIP: In the the final chorus sing the first “on a jet plane” up-register as notes
“g-f-e-d”. And for the final line, linger on the final “babe” and “hate.”
PPM INTRO: D Am C G D D7
JD INTRO: D4-D D G D D D D7 D7 D7
G C G C
All my bags are packed, I'm ready to go. I'm standin' here outside your door.
G Em D D7 G C
I hate to wake you up, to say goodbye. But the dawn is breakin' it's early morn.
G C G C D D7
The taxi's waitin', he's blowin' his horn. Already I'm so lonesome, I could cry.
G C G C
So kiss me and smile for me. Tell me that you'll wait for me.
G C D D7
Hold me like you'll never let me go.
G C G C G
I'm leaving on a jet plane. I don't know when I'll be back again.
C Am D
Oh babe, I hate to go.
G C G C
There's so many times I've let you down. So many times I've played around.
G C D D7
I tell you now they don't mean a thing.
G C G C
Every place I go I think of you. Every song I sing, I sing for you.
G C D D7
When I come back, I'll wear your wedding ring.
G C G C
So kiss me and smile for me. Tell me that you'll wait for me.
G C D D7
G C G C G
C D D7
G C G C
Now the time has come to leave you. One more time, let me kiss you.
G C D D7
Then close your eyes, I'll be on my way.
G C G C
Dream about the days to come, when I won't have to leave alone.
G C D D7
About the time I won't have to say.
G C G C
Kiss me and smile for me. Tell me that you'll wait for me.
G C D D7
G C G C
G C G C
Leaving on a jet plane. I don't know when I'll be back again.
G C G C G
Leaving on a jet plane. I don't know when I'll be back again.
C Am D D |D|
(John Denver)(Peter, Paul & Mary) (Artist Index) (Folk)

LET IT BE – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=QDYfEBY9NM4 (Capo 0)
TIP: The intro are the piano chords. Chords in brackets, including those in the intros
are struck just once each (like a piano chord). The intro has a cadence that emphasize
one chord and then that same chord followed by a different chord. Except for the first
two sets Paul doesn't play the middle chord but you need the "null" - meaning it's just a
space holder - to keep the rhythm. If this is too confusing then play another |C| in
place of the first |null| and another |G| in place of the second null.
TIP: The voicing on "be" on the "let it be" that ends a line is surprisingly trickly.
The key is to treat the lead-in (F) on "be" as a piano chord and not a chord strum. So
treat that whole sequence as 4 beats with the |F| on "be" as being the first beat, a
single strum, followed without delay by the 3 single strum chord sequence |C|-|G|-|C|.
So it's really |F|-|C|-|G|-|C| except that be comes on the |F|.
TIP: In the chorus, hold the (Am) through "be" but then move quickly to the (G) to
finish.
TIP: In the first bridge, and again at the outro, the |C|-|Bb|-|C| sequence is a little
trick. If the |Bb| gives you trouble play a |G| in its place. Also, on the next |Em|
play only the bottom 4 strings.
INTRO: |C|, |C|-|null|-|G|; |G|-|null|-|Am|; |Am|-|Am|-|F|; |F|-|F|-|C|
|C|-|C|-|G|; |G|-|G|-|F|,|C|-|G|-|C|
C G Am F
When I find myself in times of trouble, mother Mary comes to me,
C G |F| |C|-|G|-|C|
Speaking words of wisdom, let it be.
G Am F
And in my hour of darkness she is standing right in front of me,
C G |F| |C|-|G|-|C|
Am G F C
Let it be, let it be-, let it be-e, let it be.
G |F| |C|-|G|-|C|
Whisper words of wisdom, let it be.
C G Am F
And when the broken hearted people living in the world agree,
C G |F| |C|-|G|-|C|
There will be an answer, let it be.
G Am F
But though they may be parted, there is still a chance that they will see,
C G |F| |C|-|G|-|C|
There will be an answer, let it be.
Am G F C
G |F| |C|-|G|-|C|
Yeah there will be an answer, let it be.
Am G F C
G |F| |C|-|G|-|C|
|F|, |C|-|G|-|C|, |Em|-|Am|-|G|, |F|-|C|; |F|, |C|-|G|-|C|, |G|-|Am|-|G|-|F|-|C|
C C-G Am F C G F F-C, C C-Gadd Gadd-Am F C G F F-C
Am G F C
G F C
G Am F
And when the night is cloudy, there is still a light that shines on me.
C G |F| |C|-|G|-|C|-|C|-|C|-|C|-|C|-|C|
Shine until tomorrow, let it be.
C G Am F
I wake up to the sound of music, mother Mary comes to me,
C G |F| |C|-|G|-|C|
Am G F C
G |F| |C|-|G|-|C|
Am G F C
G |F| |C|-|G|-|C|
Am G F C
G |F| |C|-|G|-|C|
Am G F C
G F C
|F|, |C|-|G|-|C|, |Em|-|Am|-|G|, |F|-|C|
LET IT BE ME – The Everly Brothers
(Becaud/Curtis)
https://www.youtube.com/watch?v=lvA-STM7oJk (Capo 0)
INTRO: G D D Bm3 |D7|
G D Em Bm
I bless the day I found you. I want to stay around you.
C G C D G
And so I beg you, let it be me.
D Em Bm C
Don't take this heaven from one. If you must cling to someone,
G C D G
Now and forever, let it be me.
C Bm C G
Each time we meet love, I find complete lo-o-ve.
Am G C B7
Without your sweet love, what would life be?
G D Em Bm
So never leave me lonely. Tell me you love me only.
C G C D G
And that you'll always, let it be me.
C Bm C G
Each time we meet love, I find complete lo-o-ve.
Am G C B7
Without your sweet love, what would life be?
G D Em Bm
So never leave me lonely. Tell me you love me only.
C G G |C| |C| |C| |D7| |G|
And that you'll always <pause> let . . . it . . . be . . . me.
G G D Bm-D7-G
(The Everly Brothers) (Artist Index) - (Main Index) - (Song Index) (This Song)
LET'S GET MARRIED - The Proclaimers
(Reid/Reid)
https://www.youtube.com/watch?v=eRybRH4aTcc (Capo 0)
TIP: The song has a distinct downward strum beat, kind of like (chord) 1-2-3-4, 1-2-3-4
etc.
INTRO: G C G <palm/pause> G C G C G C D
G C D
We've been, goin' together, too long to be vague,
C D
When there's somethin', to say.
G
If it's not now, then it's never.
C D C D
So I'll say it straight out, 'cuz I have no doubt, noooo doubt.
G
Let's get married. I love ya, and I want to stay with ya.
C
Let's get married. Have kids, grow old and grey with ya.
D
Let's get married. Hold hands, walk in the park.
G C G D
Let's get married, let's get married.
G C D
We know, other people, who drifted apart,
C D
Who broke each others hearts.
G C D
But we ain't, other people. So we'll do things our way.
C Bm3 D
We're gonna be o, kay. We're gonna be more, than okay.
G
Let's get married. We're ready, for tyin' the knot.
C
Let's get married. Set the seal, on the feelings we've got.
D
Let's get married. We can make each other happy, or we can make each other blue.
G D
Let's get married. Yeah it's just a piece of paper, but it says "I Love You."
G
For the good times. For the days, when we can do no wrong.
C
For the bad times. For the moments, when we think we can't go on.
D
For the family. For the lives, of the children that we've planned.
G C G
Let's get married c'mon darlin' please take my hand.
D C G
Oh and I'll be the one, who's by, your side.
D C G
Yeah and I'll be the one, still ta-king pride.
Em Am
When we're old, if they ask me, "How do you define success?"
C D
I'll say, "You meet a woman and, you fall in love and, 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.
C
Let's get married. Have kids, grow old, and grey with ya.
D
Let's get married. Hold hands, when we walk, in the park.
G D
Let's get married. All right you can get a cat, just as long as it barks.
G
For the good times. For the days, when we can do no wrong.
C
For the bad times. For the moments, when we think we can't go on.
D
For the family. For the lives, of the children that we've planned.
G C G
Let's get married. C'mon darlin', please, take my hand.
C G C G
C'mon darlin', please, take my hand. C'mon darlin', please, take my hand.
C G C G C, D-C-D-G
THE LETTER - The Box Tops
(Thompson)
https://www.youtube.com/watch?v=BQaUs5J2wdI (Capo 0)
TIP: The chords in the outro are actually sharped but that's just daft and since they're
buried in the jet noise anyway just play the majors and it'll sound just fine.
INTRO: Em
Am F G Am
Gimme a ticket for an aeroplane. Ain't got time to take a fast train.
F E Am
Lonely days are gone, I'm a-goin' home, my baby just wrote me a letter.
F G Am
I don't care how much money I gotta spend. Got to get back to baby again.
F E Am Am
C G F C G
Well she wrote me a letter said she couldn't live without me no more.
C G F C G E7 E
Listen mister can't you see I got to get back to my baby once a more. Any way yeah.
Am F G Am
F E Am Am
C G F C G
Well she wrote me a letter said she couldn't live without me no more.
C G F C G E7 E
Listen mister can't you see I got to get back to my baby once a more. Any way yeah.
Am F G Am
F E Am
E Am
My baby just wrote me a letter.
C G F C G, C G F C G, C G F C G, |E|
(The Box Tops) (Artist Index) - (Main Index) - (Song Index) (This Song)
LETTER FROM AMERICA - The Proclaimers
(Reid/Reid)
https://www.youtube.com/watch?v=yy9GmieAEaQ (Capo 0)
INTRO: C G Am G, C G Am G, C G Am G, C G Am G
C Dm G C
When you go, will you send back, a letter from America?
Dm G C
Take a look, up the railtrack, from Miami to Canada well...
F
Broke off from my work, the other day.
Am
I spent the evening thinking about all the blood that flowed away.
F
Across the ocean, to the second chance.
Am G F G
I wonder how it got on when it reached the promised land.
C Dm G C
Dm G C
Take a look, up the railtrack, from Miami to Canada.
F
I've looked at the ocean, tried hard to imagine
Am
The way you felt the day you sailed from Wester Ross to Nova Scotia.
F Am
We should have held you, we should have told ya but you know our sense of timing,
Em F G
We always wait too long.
C Dm G C
Dm G C
C G, C G, C G, C G
C G Am G C G Am G
Lochaber no more, Sutherland no more, Lewis no more, Skye no more.
C G Am G C G Am G
C G Am G C G Am G
F
I wonder my blood, will you ever return,
Am
To help us kick the life back, to a dying mutual frien-end?
F Am
Do we not love her, I think we all tell you about do we have to roam the world
Em F G
To prove how much it hurts?
C Dm G C
Dm G C Am G Am G
C G Am G C G Am G
Bathgate no more, Linwood no more, Methil no more, Irvine no more.
C G Am G C G Am G
C G Am G C G Am G
C G Am G C G |C| |C| |Am| |G|
Bathgate no more, Linwood no more, Methil no more, Loch hab . . . er . . . no . . . more.
<strum gently> G
LEVON - Elton John
(Taupin/John)
https://www.youtube.com/watch?v=SEgEmTgAEUk (Capo 3)
TIP: Note the extra strum of the same chord after the word and the lead-in chord before
the next line, e.g. "(D) crown (D)(G). He...".
INTRO: |D|-|D|-|D|-|D| <pause> D G-Gadd <pause> |D|-|D|-|D|-|D|, D G; G
D G D D G D D A
Levon wears his war wound like a crown. He calls his child Jesus,
Bm F#m G Em
'Cause he likes the name, and he sends him to the finest school in town.
D G D D G D D A
Levon, Levon likes his money. He makes a lot they say.
Bm F#m G Em
Spends his days counting, in a garage by the motorway.
Bm G
He was born a pauper to a pawn on a Christmas day,
Em D Em D
When the New York Times said God is dead and the war's begun.
G D Em
Alvin Tostig has a son today.
G D
And he shall be Levon. And he shall be a good man.
G D
And he shall be Levon. In tradition with the family plan.
G D
|G| Gadd A A D, Gadd |D|, |D| D Gadd
He, shall be, Levon.
D G D D G D D A
Levon sells cartoon balloons in town. His family business thrives.
Bm F#m G Em
Jesus, blows up balloons all day. Sits on the porch swing watching them fly.
D G D D G D D A
And Jesus, he wants to go to Venus. Leaving Levon far behind.
Bm F#m G Em
Take a balloon, and go sailing, while Levon, Levon slowly dies.
Bm G
He was born a pauper to a pawn on a Christmas day,
Em D Em D
When the New York Times said God is dead and the war's begun.
G D Em
Alvin Tostig has a son today.
G D
G D
And he shall be Levon. In tradition with the family plan, whoo.
G D
|G| Gadd A A
G D
G D
And he shall be Levon. In tradition with the family plan, whoo.
G D
|G| Gadd A A
D, Gadd |D|, |D| D Gadd; D, Gadd |D|, |D| D Gadd; D, Gadd |D|, |D| D Gadd
D, Gadd |D|, |D| D Gadd; D, Gadd |D|, |D| D Gadd; |D|
LIKE A ROCK
Bob Seger
https://www.youtube.com/watch?v=9b4cW9sx47A (Capo 1)
TIP: The (Gadd) isn't played until the final chord of the song.
INTRO: G G G
C
Stood there boldly, sweatin' in the sun. Felt like a million, felt like number one.
F C G G
The height of summer, I'd never felt that strong, like a rock.
C
I was eighteen, didn't have a care. Workin' for peanuts, not a dime to spare.
F C G G
But I was lean and, solid everywhere. Like a rock.
My hands were steady, my eyes were clear and bright.

C
My walk had purpose, my steps were quick and light.
F C G G
And I held firmly, to what I felt was right. Like a rock.
C
Like a rock, I was strong as I could be. Like a rock, nothin' ever got to me.
F C G
Like a rock, I was something to see. Like a rock.
Em
And I stood arrow-straight, unencumbered by the weight
G
Of all these hustlers and their schemes.
C Am D
I stood proud I stood tall, high above it all. I stillll believed in my dreams.
G G C C F C G G, G G C C F C G G <gently> G G
C
Twenty years now. Where'd they go? Twenty years, I don't know.
F C G G
I sit and I wonder someti-imes, where they've gone.
C
And sometimes late at night, ohh when I'm bathed in the firelight.
F C G
The moon comes callin' a ghostly white. And I recall. I recall.
C
Like a rock, standin' arrow-straight. Like a rock, chargin' from the gate.
F C G G
Like a rock, carryin' the weight. Like a rock.
C
Ohh like a rock, the sun upon my skin. Like a rock, hard against the wind.
F C G
Like a rock, I see myself again. Like a rock, ohh like a rock.
G G C C F C G G, G G C C F C G G , G G C C F C |Gadd|
Oh oh.
<gently strum>
LILY, ROSEMARY, AND THE JACK OF HEARTS
Joan Baez/Bob Dylan
(Dylan)
https://www.youtube.com/watch?v=kIY-GZpY58w Joan Baez (Capo 3)
https://www.youtube.com/watch?v=agdoeRpTfHg Bob Dylan (Capo 3)
This version is the one Joan performed live on her "From Every Stage album." Like many
of Dylan's songs covered by others the covers rarely match Dylan's voicing and cadence.
There’s a whole litany of theories concerning this ballad. 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.]
BAEZ INTRO: G, G
DYLAN INTRO: G C G, G C G, C G D G C G D G C D
C G
The festival was over and the boys were all plannin' for a fall.
C G
The cabaret was quiet, except for the drillin' in the wall.
C G D G
The curfew had been lifted and the gamblin' wheel shut down.
C G C D
Anyone with any sense had already left town.
G Am D G C G
He was standin' in the doorway, lookin' like the Jack of Hear arts.
C G
He moved across the mirrored room, "Set em up, for everyone" he said.
C G
Then everyone commenced to do what they'd been doin' before he moved their heads.
C G D G
He walked up to a stranger and he asked him with a grin,
C G D D7
"Could you kindly tell me mister, what time the show begins?"
G Am D G C G
He moved into the corner, face down like the Jack of Hear arts.
C G
Backstage the girls were playin' five-card stud by the stairs.
C G
Lily had two queens and she was hopin' for a third to match her pairs.
C G D G
Outside the streets were fillin' up and a window was open wide.
C G C D
A gentle breeze was blowin' you could feel it from inside.
G Am D G C G
Lily called another bet, and drew up the Jack of Hear arts.
C G
Big Jim was no one's fool he owned the town's only diamond mine.
C G
He made his usual entrance, lookin' all so dandy and so fine.
C G D G
With his bodyguards and silver cane and every hair in place,
C G C D
He took whatever he wanted to and he laid it all to waste,
G Am D G C G
But his bodyguards and his silver cane they were no match for the Jack of Hear arts.
C G
Rosemary combed her hair and took, the carriage into town.
C G
She slipped into the side door, lookin' like a queen without a crown.
C G D G
She fluttered her false eyelashes and whispered in his ear,
C G C D
"I'm sorry darlin' that I'm late" but he didn't seem to hear.
G Am D G C G
He was starin' into space, over at the Jack of Hear arts.
C G
"Well I know I've seen that face somewhere," Big Jim was thinkin' to himself.
C G
"Maybe down in Mexico or a picture upon somebody's shelf."
C G D G
But then the crowd began to stamp their feet and the house lights did dim,
C G C D
And in the darkness of the room there was only Jim and him.
G Am D G C G
Staring at the butterfly who just up drew up the Jack of Hear arts.
C G
Lily was a princess, she was fair-skinned and precious as a child.
C G
She had that certain something, was a kind of a flash every time she smiled.
C G D G
She'd come away from a broken home had lots of strange affairs,
C G C D
With men in every walk of life who took her everywhere.
G Am D G C G
But she'd never met anyone quite like the Jack of Hear arts.
C G
The hangin' judge came in, unnoticed, and was being wined and dined.
C G
The drillin' in the wall kept up but no one seemed to pay it any mind.
C G D G
It was known all around that Lily had Jim's ring,
C G C D
And nothing could ever come between Lily and the king.
G Am D G C G
No nothing ever could, except maybe the Jack of Hear arts.
C G
Rosemary started drinkin' hard and seein' her reflection in the knife.
C G
She was tired of the attention, tired of playin' the role of Big Jim's wife.
C G D G
She had done a lot of bad things even once tried suicide.
C G C D
Was lookin' to do just one good deed before she died.
G Am D G C G
She was gazin' to the future, riding on the Jack of Hear arts.
C G
Lily took her dress off, buried it away. "Has your luck run out?" she laughed at him,
C G
"I guess you must have known it would some day.
C G D G
Be careful not to touch the wall there's a brand-new coat of paint.
C G C D
I'm glad to see you're still alive and you're lookin' like a saint."
G Am D G C G
Down the hallway footsteps were comin' for the Jack of Hear arts.
C G
The Backstage Manager was pacing all around by his chair.
C G
"There's somethin' funny going on "I know I can just feel it in the air."
C G D G
He went to get the hangin' judge but the hangin' judge was drunk,
C G C D
And the leading actor hurried by in the costume of a monk.
G Am D G C G
But there was no actor anywhere, better than the Jack of Hear arts.
C G
Lily had her arms around the man she dearly loved to touch.
C G
She forgot all about the man she hated who hounded her so much.
C G D G
I missed you so she said to him and he thought she was sincere,
C G C D
But in the hallway he found jealousy and fear.
G Am D G C G
Just another night in the life of the Jack of Hear arts.
C G
Well no one knew the circumstance but they say that it happened pretty quick.
C G
The door to the dressing room burst open and a cold revolver clicked.
C G D G
And Big Jim was standin' there you couldn't say surprised,
C G C D
Rosemary right beside him, steady in her eyes.
G Am D G C G
She was with Big Jim, but she was leanin' to the Jack of Hear arts.
C G
Two doors down, and the boys finally made it through the wall.
C G
They cleaned out the bank safe, said they got off with quite a haul.
C G D G
And in the darkness of the riverbed they waited on the ground,
C G C D
For one more member who had business back in town.
G Am D G C G
But they couldn't go no further, without the Jack of Hear arts.
C G
Well the next day was hangin' day, the sky was overcast and black.
C G
Big Jim lay covered up, killed by a penknife in the back.
C G D G
And Rosemary on the gallows Lord she didn't even blink.
C G C D
The hangin' judge was sober Lord he hadn't had a drink,
G Am D G C G
And the only person on the scene missing was the Jack of Hear arts.
C G
Well the cabaret was quiet now and a sign said "Closed for Repair."
C G
Lily had already taken all of the dye out of her hair.
C G D G
She was thinkin' about her father who she very rarely saw.
C G C D
Thinkin' about Rosemary and thinkin' about the law.
G Am D G C G |G|-|G|
But most of all, she was thinkin' about the Jack of Hear arts.
(Bob Dylan)(Joan Baez) (Artist Index) - (Main Index) - (Song Index) (This Song)
LI'L RED RIDING HOOD - Sam the Sham and the Pharohs
(Blackwell)
https://www.youtube.com/watch?v=_FA85RO89HA (Capo 0)
TIP: Okay, just a little completely irrelvant back-story: This was the first song I
ever saw a real live person play. It was on Halloween night in 1968. I was trick-or-
treating with my mates and a young college student was going door-to-door playing for
tips to help pay for school. I was in awe watching him and decided I wanted to do that
someday (play the guitar, not go door-to-door asking for tips).
|Em|
INTRO: Owwww! Who's that I see walkin' in these woods?
|Em|
Why it's Little Red Riding Hood.
Em G A
Hey there Little Red Riding Hood, you sure are lookin' good.
C B7 Em B7
You’re everything a big bad wolf could want. Listen to me!
Em G A
Little Red Riding Hood, I don't think little big girls should,
C B7 Em B7
Go walkin’ in these spooky old woods alone. Owwww!
G Em
What big eyes you have. The kind of eyes, that drive wolves mad.
A D
So just to see that you don't get chased I think I ought, to walk, with you for a ways.
G Em
What cool lips you have. They're sure to lure, someone bad
A D7
So until you get to Grandma's place I think you ought, to walk, with me and be safe.
Em G A
I'm gonna keep my sheep suit sheep suit on, til I'm sure that you've been shown,
C B7 Em B7
That I can be trusted, walkin' with you alone. Owwww.
Em G A
Little Red Riding Hood, I'd like to hold you if I could.
C B7 Em B7
But you might think I’m a big bad wolf so I won’t. Owwww!
G Em
What a big heart I have. All the better to love you with.
A D
Little Red Riding Hood, even bad wolves can be good.
G Em
I’ll try to keep satisfied, just to walk close by your side.
A D7
Maybe you'll see, things my way, before we get to grandma's place.
Em G A
Little Red Riding Hood, you sure are lookin' good.
C B7 Em B7
You're everything a big bad wolf could want. Owwww!
Em G A A C B7 |Em|
I mean baaa. Baaaa? Baaa.
(Sam the Sham & the Pharaohs) (Artist Index) - (Main Index) - (Song Index) (This Song)
LITTLE DEUCE COUPE – The Beach Boys
(Wilson/Christian)
https://www.youtube.com/watch?v=NwgGuadsqyo (Capo 1)
TIP: The chorus has overlapping melodies. Helps to have more than one person singing.
G
INTRO: Little deuce coupe you don't know -
- You don't know what I got -
- Little deuce
coupe you don’t know what I got.
Well I'm not braggin' babe so don't pull me down,
But I've got the fastest set of wheels in town.

C
When something comes up to me he don't even try
G
‘Cause if it had a set of wings man I know she could fly.
D D7 G
She's my little deuce coupe, you don't know what I got -
- Little deuce coupe you don’t
know what I got.
Just a little deuce coupe with a flathead mill,
But she'll walk a Thunderbird like she’s standing still.

C
She's ported and relieved and she's stroked and bored
G
She'll do a hundred and forty in the top end floored.
D D7 G
know what I got.
C
She's got a competition clutch with the four on the floor,
G
And she purrs like a kitten til the lake pipes roar.
C
And if that ain't enough to make you flip your lid,
A |D|
There's one more thing I got the pink slip daddy.
G
And comin' off the line when the light turns green.
Oh well she blows 'em outta the water like you never seen
C
I get pushed out of shape, and it's hard to steer,
G
When I get rubber in all four gears.
D D7 G
know what I got.
D D7 G
know what I got.
D D7 G
know what I got.
LITTLE MOUNTAIN CHURCH HOUSE
Ricky Skaggs/Nitty Gritty Dirt Band
(Jackson/Rushing)
https://www.youtube.com/watch?v=YV95gRr6L_o (Capo 0)
INTRO: D D G, D A D
G
There's a little mountain church, in my thoughts of yesterday,
D A
Where friends and family gathered for the Lord.
D G
There an old fashioned preacher, taught the straight and narrow way
D A D
For-what-few coins the congregation could afford.
G
Dressed in all our Sunday best, we sat on pews of solid oak,
D A
And I remember how our voices filled the air.
D G
How Mama sounded like an angel, on those high soprano notes
D A D
And "When the roll is called up yonder I'll be there."
G
Looking back now that little mountain church house,
D A
Has become, my life's cornerstone.
D G
It was there, in that little mountain church house,
D A D
I first heard the word I based my life upon.
D G D A, D G D A D
G
At the all day Sunday singing, with dinner on the ground.
D A
Many were the souls that were revived.
D G
While the brothers and the sisters who've gone on to Gloryland
D A D
Slept in peace in the maple grove nearby.
G
D A
D G
D A D
G
D A
D G
D A D
D G D A, D G D A D; D G D A, D G D A D; |D|
(Nitty Gritty Dirt Band) (Ricky Skaggs) (Artist Index) (Spiritual)

LITTLE SISTER - Dwight Yoakam/Elvis Presley
(Pomus/Shuman)
https://www.youtube.com/watch?v=-x70_ord3UQ Dwight (Capo 0)
https://www.youtube.com/watch?v=Di2ThVZeGV4 Elvis (Capo 0)
TIP: This is based on Dwight's version. Elvis does the verses in a different order but
it's basically the same song.
TIP: There's a sequence consisting of 8 rapids strums of (E) and then a palm mute. It's
the intro and outro and also repeats at the end of some verses.
INTRO: < Strum E quickly 8 times followed by a palm mute >
NC E E
Little sister don't you. Little sister don't you.
A
Little sister don't you kiss me once or twice,
A7 E
Tell me that's it nice and then you, ru - un.
B7 C B7 E
Yeah-yeah little sister don't you do what your big sister done.
A E A E
You know I dated your big sister. Oh I took her to the show.
A
Hey I went for some candy and along came Jim Dandy
|A| < Strum E quickly 8 times and palm mute >
And they slipped right out the door.
NC E E
A
A7 E
B7 C B7 E
Yeah-ahh little sister don't you do what your big sister done.
E, E, E A A7 E, E B7 C B7 E
A E A E
I used to pull down on your pigtails. Hey girl pinch your turned-up nose.
A
Oh but baby you've been growin', and lately it's been showin',
From your head down to your toes.
NC E E
A
A7 E
B7 C B7 E E
E, E, E A A7 E, E B7 C B7 E
A E A E
Every time I see your sister, Lord she's with somebody new.
A
Oh she's mean and she's evil like a little old boll weevil
Think I'll try my love with you.
NC E E
A
A7 E
B7 C B7 E E
B7 C B7 E E
Well-ell little sister don't you do what your big sister done.
B7 C B7 E
Oh-oh little sister don't you do what your big sister done.
< Strum E quickly 8 times and palm mute >
(Elvis Presley) (Dwight Yoakum) (Artist Index) - (Main Index) - (Song Index) (This Song)
LIVIN' ON LOVE
Alan Jackson
https://www.youtube.com/watch?v=DDXLmYyFu4I (Capo 0)
INTRO: A E A D A E A E
A E A D
Two young people, without a thing, say some vows, and spread their wings.
A E
Settle down, with just what they need, livin’ on love.
A E A D
She don’t care, 'bout what’s in style. She just likes, the way he smiles.
A E A
It takes more than marble and tile, livin’ on love.
E A D A
Livin’ on love, buyin’ on time without somebody nothin' ain’t worth a dime.
D A E
Just like an old fashioned story book rhyme, livin’ on love.
A E
It sounds simple, that’s what you're thinkin',
A D
But love can walk through fire without blinkin'
A E A E
It doesn’t take much, when you get enough, livin' on love.
A E A D A A E E, A E A D A E A E
A E A D
Two old people, without a thing. Children gonnnne but still they sing.
A E
Side by side in that front porch swing, livin’ on love.
A E A E
He can’t see, anymore, she can bare, ly sweep the floor.
A E A
Hand in hand they'll walk through that door, just livin’ on love.
E A D A
D A E
A E
A D
A E A E
E A D A
D A E
A E
A D
A E A D
A E A D-E-A
No it doesn’t take much, when you get enough, livin' on love.
THE LOCOMOTION - Grand Funk Railroad
(Coffin/King)
https://www.youtube.com/watch?v=jxyU4W8iyeI (Capo 0)
[Afterwards is the version by Litta Eva. And after that are versions for both GFR and
Little Eva in [G] which is easier to play since it doesn't have the (Bm) but you have to
capo quite high to play along with the recording.]
TIP: While the chords are included in the first verse, Grand Funk sings acapella (along
with the hand clapping) until the first (G) in "My (G) little..."
INTRO: <Hand clapping>
D Bm D Bm
Everybody's doin' a brand new dance now. Come on baby, do the Locomotion.
D Bm
I know you'll get to like it if you give it a chance now.
D Bm
Come on baby, do the Locomotion.
G Em G E
My little baby sister can do it with ease, it's easier than learnin' you’re A B C’s.
D A D
So come on come on and do The Locomotion with me.
G D
You've got to swing your hips now. Come on. Jump up, jump back.
A
Oh well I think you've got the knack.
D Bm
Whoa whoa now that you can do it well let's make a chain now.
D Bm
D Bm D Bm
A chuga-chuga motion like a railroad train now. Come on baby, do the Locomotion.
G Em
Do it nice and easy now and don't lose control.
G E
A little bit of rhythm and a lot of soul.
D A D
So come on come on and do the Locomotion with me.
D G D G D G D A
D Bm D Bm
Whoa whoa move around the floor in a locomotion. Come on baby, do the Locomotion.
D Bm D Bm
Do it holdin' hands if'n you get the notion. Come on baby, do the Locomotion.
G Em
There's never been a dance that's so easy to do.
G E
It even makes you happy when you're feelin' blue.
D A D Bm
So come on come on and do The Locomotion with me. Come on baby, do the Locomotion.
D A D Bm
So come on come on and do the Locomotion with me. Come on baby, do the Locomotion.
D A D Bm
D Bm D Bm
Come on baby, do the Locomotion. Come on baby, do the Locomotion.
D Bm |D|
(Grand Funk Railroad) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE LOCOMOTION - Little Eva
(Coffin/King)
https://www.youtube.com/watch?v=lNNW0SPkChI (Capo 1)
[Afterwards there is a version in [G] which is easier to play since it doesn't have the
(Bm) but you have to capo 8 to play along with the recording.]
TIP: For the intro strike hard once followed by lighter strums. Repeat.
INTRO: D.... D....
D Bm D Bm
D Bm
D Bm
G Em G E
D A D
G D
You've got to swing your hips now. Come on baby. Jump up, jump back.
A
D Bm
D Bm
D Bm D Bm
G Em
G E
D A D
Come on come on and do the Locomotion with me.
D G G D D A
D Bm D Bm
Yay yay yay yeah move around the floor in a locomotion. Come on baby, do the Locomotion.
D Bm D Bm
Do it holdin' hands if you get the notion. Come on baby, do the Locomotion.
G Em
G E
D A D
G D
You've got to swing your hips now. Come on, that's right. You're doin' fine.
G D G D
Come on baby. Mm-mm-mm jump up. You're looking good. Mm-mm-mm jump back.
(Little Eva) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
THE LOCOMOTION - Little Eva/Grand Funk Railroad
(Coffin/King)
https://www.youtube.com/watch?v=jxyU4W8iyeI Grand Funk (Capo 7)
https://www.youtube.com/watch?v=lNNW0SPkChI Little Eva (Capo 8)
TIP: Here in [G]. Styled after the version by Grand Funk.
INTRO: <Hand clapping>
G Em G Em
G Em
G Em
C Am C A
G D G
C G
You've got to swing your hips now. Come on. Jump up, jump back.
D
G Em
G Em
G Em G Em
C Am
C A
G D G
So come on come on and do the Locomotion with me.
G C G C G C G D
G Em G Em
Whoa whoa move around the floor in a locomotion. Come on baby, do the Locomotion.
G Em G Em
Do it holdin' hands if'n you get the notion. Come on baby, do the Locomotion.
C Am
C A
G D G Em
So come on come on and do The Locomotion with me. Come on baby, do the Locomotion.
G D G Em
G D G Em
G Em G Em
Come on baby, do the Locomotion. Come on baby, do the Locomotion.
G Em |G|
(Little Eva)(Grand Funk Railroad) (Artist Index) (Oldies)

LODI – Creedance Clearwater Revival
(Fogerty)
https://www.youtube.com/watch?v=yA7iGxV6rt4 (Capo 3)
TIP: At the key change forcefully strike the chords with the first downstroke.
INTRO: G G C G
C G
Just about a year ago, I set out on the road.
Bm Em Am D
Seekin my fame and fortune, lookin' for a pot of gold.
G Bm Em C G
Things got bad and things got worse, I guess you know the tune.
D C G
Oh Lord, stuck in Lodi a-gain.
C G
Rode in on the greyhound, I’ll be walkin’ out if I go.
Bm Em Am D
I was just passin' through, must be seven months or more.
G Bm Em C G
Ran out of time and money, looks like they took my friends.
D C G
G G C G, G G C G
C G
The man from the magazine, said I was on my way.
Bm Em Am D
Somewhere I lost connections, ran out of songs to play.
G Em C G
I came into town a one night stand, looks like my plans fell through.
D C G
<key change> D A E A
D A
If I only had a dollar, for ev’ry song I’ve sung.
F#m Bm E
And ev’ry time I’ve had to play while people sat there drunk.
A F#m D A
You know I’d catch the next train, back to where I live.
E D A E D A
Oh Lord, stuck in Lodi a-gain. Oh Lord, stuck in Lodi a-gain.
A A D A, A A D A, A A D |A|

LOLA – The Kinks
(Davies)
https://www.youtube.com/watch?v=LemG0cvc4oU (Capo 0)
TIP: The intro begins with two strong downbeats of |C| and then that classic (C)-(D)-(E)
riff. Strum (E) lightly afterwards prior to beginning the song. A variation of the riff
appears throughout the song.
TIP: The movement from (A) to (E) to (B) in the bridge is a little tricky. You can play
(B7) instead of the (B) if it's easier but the (B) sounds better. Also note the (C#m).
You can play this as either a regular (C#m) in the 1st fret (1st diagram) or as a (Bm4)
in the 4th fret (2nd diagram). It's really either or. The chord sounds a little more
pure as (C#m) but the transition from (F#m) to (Bm4) may be easier.
TIP: For the outro, the recorded song just fades out while repeating the riff. But if
you're playing live try ending with a final riff played slowly, ending the final (E)
strum with a sawing motion, slowly to start and then building rapidly and ending with a
final strum of (E). I saw the Kinks do it this way once at it was pretty sweet.
; ; or
INTRO: |C|-|C| C C D-E, E
I met her in a club down in old Soho

A D E A
Where you drink champange and it tastes just like Coca Cola. C-O-L-A cola.
E
She walked up to me and she asked me to dance.
A D E A
Asked her her name and in a dark brown voice she said Lola. L-O-L-A Lola.
D C C C D-E, E
Lo lo lo lo Lo-la.
Well I’m not the world’s most physical guy

A D E
But when she squeezed me tight she nearly broke my spine you know my Lola.
A
Lo lo lo lo Lola.
E
Well I’m not dumb but I can’t understand
A D E A
Why she walked like a woman but talked like a man oh my Lola. Lo lo lo lo Lola.
D C C C D-E, E
Lo lo lo lo Lola.
B7 F#
Well we drank champagne and danced all night, under electric candle light.
A
She picked me up and sat me on her knee, and said pretty boy won’t you come home with me?
E
Well I’m not the world’s most passionate guy
A D E
But when I looked in her eyes well I almost fell for my Lola.
A D C
Lo lo lo lo Lo-la. Lo lo lo lo Lo-la.
C C D-E A D C C C D-E, E
Lola. Lo lo lo lo Lo-la. Lo lo lo lo Lo-la.
A E B E A E B E A E B
I pushed her away. I walked to the door. I fell to the floor.
E F#m C#m/Bm4 B
I got down on my knees. Then I looked at her and she at me.
E
Well that’s the way that I want it to stay
A D E A
And I always want it to be that way for my Lola. Lo lo lo lo Lola.
E
Girls will be boys and boys will be girls
A D E A
It’s a mixed up muddled up shook up world except my Lola. Lo lo lo lo Lola.
B7 F#m
Hey and I’d left home just a week before, and I’d never ever kissed a woman before.
A
Well Lola smiled and took me by the hand. Said pretty boy gonna make you a man.
E
Well I’m not the world’s most passionate man
A D E
But I know what I am and I’m glad I'm a man an so is Lola.
A D C
Lo lo lo lo Lo-la. Lo lo lo lo Lo-la.
C C D-E A D C
C C D-E A D C
C C D-E A D C
C C D-E A D C
<slowly> C C C C C . . . C-D . . . E <saw, slow to rapid>
LONELY PEOPLE – America
(Peek)
https://www.youtube.com/watch?v=QYGvKc7Q1PU (Capo 0)
TIP: The version released on their 1974 "Holiday" album is uncapo'd and that's the
version the link will take you to. But a version that later appears on their Greatest
Hits (History) album is capo'd at the 1st fret. Identical arrangement, lyrics, and
chords. Rather strange.
INTRO: G Em Bm Bm, G Em Bm D D, C D G-D-Em-D-C, D G D
G Em Bm G Em Bm D
This is for all the lonely people, thinking that life has passed them by.
C D G Em C D G D
Don't give up until you, drink from the silver cup, and ride that highway in the sky.
G Em Bm G Em Bm D
This is for all the single people, thinking that love has left them dry.
C D G Em C D G
Don't give up until you, drink from the silver cup. You never know until you try.
C G Am C G Am C G Am D G
Well I'm on my way. Yes I'm back to stay. Well I'm on my way back home. (Hit it.)
<harmonica> Gadd D C C-G, Gadd D D C G D
<piano> Em Bm, Em Bm, Em Bm, D
G Em Bm G Em Bm D
This is for all the single people, thinking that life has passed them by.
C D G Em C
Don't give up until you, drink from the silver cup.
D G Em C D |Em|
She’ll never take you down or, never give you up. You’ll never know until you try.
(America) (Artist Index) - (Main Index) - (Song Index) (This Song)

THE LONESOME FRIENDS OF SCIENCE
John Prine
https://www.youtube.com/watch?v=gn2MwHGbP1A (Capo 0)
TIP: For the intro pick the 5th string and then strum (C/G) - with the pinky on the top
string bass <g> - and then the 6th string and strum (C/G). Repeat.
INTRO: 5-C/G 6-C/G 5-C/G 6-C/G
F
The lonesome friends of science say, "The world will end most any day."
C G
Well if it does then that's okay, 'cause I don't live here anyway.
C F
I live down deep inside my head, where long ago I made my bed.
C G C C C C
I get my mail in Tennessee, my wife my dog and my family mmm hmmm.
F
Now poor ol' planet Pluto now, he never stood a chance no how.
C G
When he got uninvited to, the interplanetary dance.
C F
Once a mighty planet there, now just an ordinary star.
C G
Hangin' out in Hollywood, in some ol' funky sushi bar.
F
C G
C F
C G C C C C C C
I get my mail in Tennessee, my wife my dog and my kids and me uh humm.
F
The Vulcan lives in Birmingham, sometimes he just don't give a damn.
C G
His head is full of bumblebees, his pride hangs down below his knees.
C F
Venus left him long ago, for-a-guy-named Mars from Idaho.
C G C C C C
The Vulcan sent a wedding gift, three-legged stool and a wheelchair lift mm hmmm.
F
C G
C F
C G C C C
I get my mail in Tennessee, my wife my dog and my kids and me mmm hmmm.
Am C Am C
Uh-uh huh. Uh-uh hun. Uh-uh huh. Uh-uh huh.
F
Those bastards in their white lab coats, who experiment with mountain goats,
C G
Should leave the universe alone. It's not their business, not their home.
C F
I go to sleep and it never rains, my dog predicts hurricanes.
C G C C C C
She can smell a storm a mile away, that's all the news we have today mm hmmm.
F
C G
C F
C G C C C
I get my mail in Tennessee, my wife my dog and my kids and me mmm hmmm.
Am C Am |C|
Uh-uh huh. Uh-uh hun. Uh-uh huh. Uh-uh huh.
LONG BLACK VEIL
Lefty Frizell/The Chieftains with Mick Jagger
(Wilkin/Dill)
https://www.youtube.com/watch?v=50k18gL76AU (Lefty) (Capo 2)
https://www.youtube.com/watch?v=4F-4rY4g4Do (Chieftains with Mick Jagger) (Capo 4)
[This version is based on Lefty's classic. The version by the Chieftains with Mick
Jagger has an ethereal Irish quality to it and a little different lyrics and much
different pacing but very well done. Following these is Johnny Cash's version in [G].]
INTRO: <strum> D
Ten years ago, on a cold dark night,

A7 G D
There was someone killed, 'neath the town hall light.
There were few, at the scene, but they all did agree,
A7 G D
That the slayer who ran looked a lot like me.
The Judge said son “What is your alibi?

A7 G D
If you were somewhere else, then you won't have to die.”
I spoke, not a word, though it meant my life,

A7 G D
For I had been in the arms of my best friend's wife.
G D G D
She walks these hills, in a long black veil.
G D G D
She visits my grave, when the night winds wail.
G A7 G A7 D
Nobody knows, nobody sees. Nobody knows, but me.
The scaffold is high, and eternity nears.

A7 G D
She stood in the crowd, and shed not a tear.
But sometimes at night, when the cold wind moans.

A7 G D
In a long black veil, she cries over my bones.
G D G D
G D G D
G A7 G A7 D
G A7 D G A7 D
Nobody knows, but me. Nobody knows, but me.
(Lefty Frizell) (The Chieftains) (Artist Index) - (Main Index) - (Song Index) (This Song)
LONG BLACK VEIL – Johnny Cash
(Wilkin/Dill)
https://www.youtube.com/watch?v=5pYA46dyKh4 (Capo 3)
INTRO: <strum> G
Ten years ago, on a cold dark night,

D7 C G
Someone was killed 'neath the town hall light.
There were few at the scene, but they alllll agreed,

D7 C G
That the slayer who ran looked a lot like me.
C G C G
C G C G
Gadd C G C D7 G
The Judge said son “What is your, alibi?

D7 C G
If you were somewhere else, then you won't have to die.”
I spoke not a word, though it meant my life,

D7 C G
I'd been in the arms of my best friend's wife.
Now the scaffold is high, and eternity is near.

D7 C G
She stood in the crowd, and shed not a tear.
But sometimes at night when the cold wind moans.

D7 C G
In a long black veil, she cries over my bones.
C G C G
C G C G
Gadd C G C D7 G
LONG COOL WOMAN – The Hollies
(Clarke/Cook/Greenway)
https://www.youtube.com/watch?v=1l0xpkk0yaQ (Capo 0)
TIP: There are some rock and roll classics that shouldn’t be performed acoustically . .
. and this is one of them. But we'll try it if only to see the actual words that go
along with Allan Clarke's incomprehensible singing.
TIP: For the first part of the intro - the guitar lick - just strum (Em) through until
the two-beat drum. Then you play the chords, two strums of |E| and three quick strums of
|A|-|D|-|A|. Note this chord sequence repeats in the second part of the bridge as well
and at the end.
TIP: The (A),(B), and (B#) are played in sequence so play (A) with your bottom three
fingers. Then slide up for the (B), down for the (A), and back up to the 5th fret (which
should be marked on the fingerboard) for the (B#).
TIP: At the end you get back into the recurring riff for the "had it all"'s. End with a
single strum of |E|.
INTRO: Em . . . <drum>; Em . . . <drum>
|E|-|E| |A|-|D|-|A|, |E|-|E| |A|-|D|-|A|, |E|-|E| |A|-|D|-|A|, |E|-|E| |A|-|D|-|A|
E Gadd A E
Saturday night I was downtown, workin' for my F.B. I.
Gadd A E
Sittin’ in a nest of bad men, whiskey bottles pilin' hi-i-igh.
Gadd A E
Bootleggin’ boozer on the west side full of people who are doin’ wrong.
Gadd A E
Just about to call up the D.A. man, when I heard this woman singin’ a so-o-ong.
A B A
A pair of 45s made me open my eyes, my temperature startin’ to ri-ii-i-i-ise.
B A B# A E
She was a long cool woman in a black dress, just a five nine beautiful tall.
A B# A G E
Well just one look I was a bad mess, ‘cuz that long cool woman had it all-all-all.
|E| |E|-|E|, D A; |E| |E|-|E|, D A; |E| |E|-|E|, D A; |E| |E|-|E|, D A
(whooh)

E Gadd A E
I saw her head up to the table, well a tall walkin' big black cat.
Then Charlie said "I hope that you're able boy,

Gadd A E
Well I'm tellin' ya she knows where it's at."
Gadd A E
Well suddenly we heard the sirens, and everybody started to run.
Gadd A E
A jumpin' out of doors and tables, well I heard somebody shootin' a guh-uh-uhn.
Gadd A E
Well the D.A. was pumpin' my left hand, uh ma she was ahold of my right.
G
Well I told her 'Don't get scared 'cuz you're gonna be spared.'
A B#
I gotta be forgiven if I wanna spend a livin’ with a long cool woman in a black dress,
A E A B#
Just a five-nine beautiful tall. Yeah with just one look I was a bad mess
A G E
‘Cuz that long cool woman had it all-all-all.
G E G E
Had it all-all-all. Had it all-all-allllll had it all.
|E|-|E| |A|-|D|-|A|, |E|-|E| |A|-|D|-|A|, |E|-|E| |A|-|D|-|A| . . .
Had it all. Had it all. Oooooh. Had it all. Had it all.
. . . . |E|-|E| |A|-|D|-|A|, |E|-|E| |A|-|D|-|A|, |E|-|E| |A|-|D|-|A|, |E|
(The Hollies) (Artist Index) - (Main Index) - (Song Index) (This Song)
LONG MONDAY - John Prine
(Prine/Sykes)
https://www.youtube.com/watch?v=_NO2eI30Qhc (Capo 3)
INTRO: G C, G C, G D C G
C G
You and me, sittin' in the back my memory.
C G
Like a honey bee, buzzin' 'round a glass of sweet Chablis.
D C G
The radio's on, the windows rolled up and my mind's rolled down.
D C G
Headlights shinin' like silver moons rollin' on the ground.
C G
We made love, in every way love can be made.
C G
And we made time, look like time could never fade.
D C G
Friday Night, we both made the guitar hum.
D C D
Saturday made Sunday feel like it would never come.
G
Gonna be a lonnng Monday.
C G
Sittin’ all alone on a mountain by a river that has no end.
G
D C C G
Stuck like the tick of a clock, that’s come unwound, again.
G C, G C, G D C G
C G
Soul to soul, heart to heart and cheek to cheek.
C G
Come on baby, give me a kiss that'll last all week.
D C G
The thought of you, leavin' again, brings me down.
D C D
The promise of, your sweet love brings me around.
G
C G
Sittin’ all alone on a mountain by a river that has no end.
G
D C C D G
Stuck like the tick of a clock, that's come unwound, again. And again.
G C, G C, G D C G
LONG ROAD OUT OF EDEN - Eagles
(Henley, Frey, Schmit)
(No video available due to copyright restrictions - thanks Don.)
TIP: Much of the song is played with somewhat strong downstrokes and not a lot of
upstroke strumming, and the attack focuses on the middle strings.
TIP: Don sings the final verse ("Weaving down...") a little differently than the
previous ones. If you see an (Am) but not a following (D) then sing the melody in the
same note until you do.
INTRO: Am D, Am D; Am D, Am G D/A
Am D Am D
Moon shinin', down through the palms. Shadows moving on the sand.
Am D Am D
Somebody whispering the twenty-third Psalm, dusty rifle in his tremblin' hands.
Am D Am D
Somebody trying just to stay alive. He got promises to keep.
Am D Am D
Over the ocean in America, far away and fast asleep.
F G F G Am
Silent stars blinking in the blackness of an endless sky.
F G F G Am
Cold silver satellites ghostly caravans passing by.
F G F G
Galaxies unfolding, new worlds being born.
F G F G
Pilgrims and prodigals creeping toward the dawn.
|C| |E7| Am D, Am D
And it's a lonnnng, road, out of Eden.
Am D Am D
Music blasting from an S.U.V., on a bright and sunny day.
Am D Am D
Rollin' down the interstate, in the good ol' U. S. A.
Am D Am D
Having lunch at the petroleum club, smokin' fine cigars and swappin' lies.
Am D
He said "Gimme 'nother slice o' that barbecued brisket.
Am D
Gimme-'nother-piece of that pecan pie."
F G F G Am
Freeways flickering cell phones chiming a tune.
F G F G Am
We're riding to utopia, road map says we'll be arriving soon.
F G F G
Captains of the old order clinging to the reins,
F G F G
Assuring us these aches inside are only growing pains.
|C| |E7| Am
But it's a lonnnnng, road, out of Eden.
Am C G; Am C, Gadd-Am-(NC)-D; Am C G; Am C, Gadd-Am-(NC)-D
F G F G
Back home I was so certain, the path was very clear.
F G F G F
But now I have to wonder "What are we doing here?"
G F G
I'm not counting on tomorrow, and I can't tell wrong from right,
Am F C Am
But I'd give anything to be there, in your arms tonight.
Am C G; Am C, Gadd-Am-(NC)-D; Am C G; Am C, Gadd-Am-(NC)-D . . .
Am D, Am D, Am D, Am D, Am D
Am D Am
Weaving down the American highway,
D
Through the litter and the wreckage, and the cultural junk.
Am D
Bloated with entitlement, loaded on propaganda, and now we're driving dazed and drunk.
Am
Been down the road to Damascus, the road to Mandalay.
D
Met the ghost of Caesar on the Appian way.
Am D
He said 'It's hard to stop this bingeing, once you get a taste,
Am
But the road to empire is a bloody stupid waste.'
F G F
Behold the bitten apple, the power of the tools.
G F
But all the knowledge in the world is of no use to fools.
|C| |E7| Am
And it's a lonnnng, road, out of Eden.
Am D, Am D, Am D, Am D, Am D, Am D, Am D
Am D, Am D, Am D, Am D, Am D, Am D, Am D, Am . . . |Am|

LONG TIME GONE – Dixie Chicks
(Scott)
https://www.youtube.com/watch?v=2c5b8ZtjwwY (Capo 0)
TIP: The chord sequence that appears emulates the banjo and violin solos in the song.
INTRO: D, D G-D-A; A A D; D, D G-D-A; A A D
G D A
Daddy sits on the front porch a-swinging, looking out on a vacant field.
D
Used to be filled with burley t'bacca now he knows it never will.
G D A
My brother found work in Indiana, sister's a nurse at the old folks home.
D
Mama’s still cookin’ too much for supper and me I been a long time gone.
G D A G D A
Been a long time gone. No I ain't hoed a row since I don't know when.
D G A D D, D G-D-A; A A D
Long time gone and it ain't coming back again.
G D A
Deliah plays that ol' church piana, sittin’ out on her daddy's farm.
D
She always thought that we'd be together Lord I never meant to do her harm.
G D A
Said she could hear me singin' in the choir. Me I heard another song.
D
I caught wind and hit the road runnin' and Lord I been long time gone.
G D A G D A
Been a long time gone. No I ain't hoed a row since I don't know when.
D G A D E
Long time gone and it ain't coming back again.
E, E A-E-B7; B7 B7 E; E, E A-E-B7; B7 B7 E
C
Now me I went to Nashville, tryin' to beat the big deal.
D G
Playin' down on Broadway, gettin' there the hard a way.
C
Living from a tip jar, sleepin’ in my car.
D E A
Hocking my guitar yeah I’m gonna be a star-r-ar -ar.
D G D A
Now me and Deliah singin’ every Sunday, watchin’ the children and the garden grow.
D
We listen to the radio to hear what's cookin’ but the music ain't, got no soul.
Now they sound tired but they don't sound Haggard.

G D A
They got money but they don't have Cash.
They got Junior but they don't have Hank. I think I think I think the rest is a
G D A G D A
Long time gone. No I ain't hit the roof since I don’t know when.
D G A G D A
Long time gone, and it ain't coming back I said a long time gone.
G D A
No I ain't honked the horn since I don’t know when.
D G A D D, D G-D-A; A A D
Long time gone, and it ain't coming back again.
A
I said a long time long time long time gone. Well it’s been a long time.
D A D
Long time long time long time gone. Oh it's been a long, time, gone.
A A A D; D, D G-D-A; A A D, |D|
Long time long time long time gone yeah yeah.
(Dixie Chicks) (Artist Index) - (Main Index) - (Song Index)(This Song)

LOOK OUT HERE COMES TOMORROW - The Monkees
(Diamond)
https://www.youtube.com/watch?v=J8Kg23lpVvA (Capo 1)
https://www.youtube.com/watch?v=2Ccw2t0FnVk (Capo 0)
[The video in which the Monkees perform is capo'd at the 1st fret. The studio album
version from "More of the Monkees" is uncapo'd.]
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 sung concurrently
with the main vocal.
INTRO: G C G C G C G-G
Am D7 G
Look out, here comes tomorrow that's when, I'll have to choose.
Am D7 G
How I, wish I could borrow someone else's shoes.
G Am D7 G
Mary, [Mary] oh what a sweet girl lips like, strawberry pie.
Am D7 G
Sondra, [Sondra] long hair and pig tails can't make up my mind.
Gadd F C F G
I see, all kinds of sorrow wish I, only loved one.
C F C F C F G D
Look out, here comes tomorrow. Oh how I wish tomorrow would never come.
G Am D7 G
Told them, [told them] both that I loved them sayin' it, and it was true.
Am D7 G
But I, [but I] can't have both of them don't know what to do.
Gadd F C F G
I see, all kinds of sorrow wish I, only loved one.
C F C F C F G D
G, C, D, G
<Whispered> Mary, I love you.
G, C, D, G
Sondra, I love you.
Gadd F C F G
Well I see, all kinds of sorrow wish I, only loved one.
C F C F C F G D
G, C, D G G, C, D, G [
[I love you]. [Darling] [I love you]
LOOK WHAT THEY’VE DONE TO MY SONG
Melanie Safka
https://www.youtube.com/watch?v=Gx_WQGp7YJg (Capo 3)
[Occasionally Melanie recorded this song live capo'd at the 2nd fret.]
INTRO: G, G, G, G
Em C
Look what they've done to my song Ma. Look what they've done to my song.
G A C
Well it's the only thing I could do half right, and it's turning out all wrong Ma.
G D G D7
Look what they've done to my song.
G Em C
Look what they've done to my brain Ma. Look what they've done to my brain.
G A C
Well they picked it like a chicken bone and I think I'm half insane Ma.
G D G D7
G Em C
I wish I could find a good book, to live in. Wish I could find a good book.
G A C
Well if I could find a real good book, I'd never have to come out and look at,
G D G D7
What they've done to my song.
G Em C
La la la la, la la la, la. La la la la, la la la, la.
G A C
La la la la, la la la, la la la la la la la.
G D G D7
G Em C
But maybe it'll-all be alright, Ma. Maybe it'll all be okay.
G A C
Well, if the people are buying tears, I'll be rich some day, Ma.
G D G D7
G Em C
Ils ont change ma chan son, Ma. Ils ont change ma chan son.
G A C
C'est la seule chose que je peux faire, et ce n'est pas bon, Ma.
G Em
Ils ont change ma chan son.
G Em C
Look, what they've done, to my song, Ma. Look, what they've done, to my song, Ma.
G A C
Well they tied it up in a plastic bag, and turned it upside down Ma.
G D G D7
G Em C
Ils ont change ma chan son, Ma. Ils ont change ma chan son.
G A C
C'est la seule chose que je peux faire, et ce n'est pas bon, Ma.
G Em
Ils ont change ma chan son.
Em C
Look what they've done to my song Ma. Look what they've done to my song.
G A C
Well it's the only thing I could do half right, and they turned it upside down.
G D G
(Melanie Safka) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
LOOKIN’ OUT MY BACK DOOR – Creedence Clearwater Revival
(Fogerty)
https://www.youtube.com/watch?v=Aae_RHRptRg (Capo 4)
INTRO: < muted strums of G >, G Em, C G D7 G
Em
Just got home from Illinois, lock the front door oh boy.
C G D D7
Got to sit down take a rest on the porch.
G Em
Imagination sets in, pretty soon I'm singing,
C G D G
Doo doo doo lookin’ out my back door.
Em
There's a giant doing cartwheels, a statue wearing high heels.
C G D D7
Look at all the happy creatures dancing on the lawn.
G Em
A dinosaur Victrola, listening to Buck Owens.
C G D G
D C G
Tambourines and elephants are playing in the band.
Em D
Won't you take a ride on the flying spoon? Doo doo doo.
G Em
Wond'rous apparition, provided by magician.
C G D G
G Em, C G D D7, G Em, C G D7 G
D C G
Tambourines and elephants are playing in the band.
Em D
Won't you take a ride on the flying spoon? Doo doo doo.
G Em
Wond'rous apparition, provided by magician.
C G D G
Em
Forward troubles Illinois, lock the front door oh boy.
C G D D7
Look at all the happy creatures dancing on the lawn.
G Em
<slow down> Bother me tomorrow, today I'll buy no sorrows.
C G D G < muted strum of G > C G D7 G, |G|

LORD I HOPE THIS DAY IS GOOD - Don Williams
(Hanner)
https://www.youtube.com/watch?v=4qkoZQRbl3s (Capo 2)
TIP: For (CaddD) keep the (C) and add your pinky to the 2nd string/3rd fret. To get
from (C) to (Csus2) and back just lift off the middle finger and then replace it. Easy!
INTRO: C, CaddD C; C, CaddD C; C, CaddD C; C, CaddD C
Csus2 C Csus2 C
Lord I hope this day is good. I'm feelin' empty and misun derstood.
G F G C
I should be thankful Lord I know I should, but Lord I hope this day is good.
Csus2 C Csus C
Lord have you forgot ten me? I've been prayin' to you faithfully.
G F G C
I'm not sayin' I'm a righteous man, but Lord I hope you understand.
Am Em F C
I don't need fortune and I don't need fame.
Am Em F C
Send down the thunder Lord send down the rain.
Am Em F C Dm G
But when you're plannin' just how it will be, plan a good day for me.
C Csus2 C Csus2 C
G F G C
C C Csus2-C, C C Csus2-C, G G, F G C
Am Em F C
You've been the King since the dawn of time.
Am Em F C
All that I'm askin' is a little less crime.
Am Em F C Dm G
It might be hard for the devil to do, but it would be easy for you.
C Csus2 C Csus2 C
G F G C
C C CaddD-C, C C CaddD-C, C C CaddD-C, G G, F G C
C C CaddD-C, C C CaddD-C, C C CaddD-C, G G, F G C
C C CaddD-C, C C CaddD-C, C C CaddD-C, G G, F G C, |C|
(Don Williams) (Spiritual) (Artist Index) - (Main Index) - (Song Index) (This Song)
LORD IT'S HARD TO BE HUMBLE
Mac Davis
https://www.youtube.com/watch?v=mYKWch_MNY0 (Capo 0)
TIP: In the intro strum (D) with a sing-song cadence emphasizing the <d> (covered 2nd or
open 4th string) and the <a> (covered 3rd strings or open 5th string) while telling the
story.
INTRO: < strum D > "Back a few months ago, I was headlinin' a great big nightclub. And
they put me up a couple days early, I came in a couple days early and they put me up in
what they call the 'Star Suite'. Now here I am, headlinin' in one of the biggest
nightclubs in the country and I wake up at eight o'clock in the morning in this 'Star
Suite,' all by myself. But I did what I've always done man to cheer myself up I picked
up my guitar, I sat down and I wrote me a little song. Now this is how it feels to be
alone at the top of the hill, tryin' to figure out why."
A7
Oh Lord it's hard to be humble, when you're perfect in every way.
A D
I can’t wait to look in the mirror, cuz I get better looking each day.
D7 G
To know me is to love me. I must be a hell of a man.
D A A7 D G-D, D D
Oh Lord it’s hard to be humble, but I’m doing the best that I can.
G D A7
I used to have a girlfriend, but I guess she just couldn't compete,
A D
With all of these love-starved women, who keep clamoring at my feet.
D7 G
Well I prob'ly could find me another, but I guess they're all in awe of me.
D A A7 D A
Who cares, I never get lonesome, cuz I treasure my own company. Ohhhhhhhhh,
D A7
Lord it's hard to be humble, when you're perfect in every way.
A D
D7 G
D A A7 D G-D, D D
Oh Lord it’s hard to be humble, but we’re doing the best that we can.
G D A7
I guess you could say I'm a loner. A cowboy outlaw tough and proud.
A
Oh I could have lots of friends if I wanted,
D
But then I wouldn’t stand out from the crowd.
D7 G
Some folks say that I’m egotistical. Hell I don't even know what that means.
D A A7 D
I guess it has something to do with the way that I fill out my skin-tight blue jeans.
A
Whoooooaaa,
D A7
Lord it's hard to be humble, when you're perfect in every way.
A D
D7 G
D A A7 D
Oh Lord it’s hard to be humble, but we’re doing the best that we can.
A A7 D <strum D rapidly> |D|

<slow down> We're doin' the best that we can.
(Mac Davis) (Artist Index) - (Main Index) - (Song Index) (This Song)
LOS ANGELOSER - Meat Loaf
(Michael)
https://www.youtube.com/watch?v=eE-ifLgmhTQ (Capo 1)
TIP: The whole song is nothing but a progression of (G), (D), (A) and (D) but there’s a
pattern in which you strike the first chord with a downstroke and then strum the same
chord five times. So the strumming pattern is |G| G-G-G-G-G, |D| D-D-D-D-D and so forth.
The exception is the in the last line of the verse where you transition from the (G) to
the (D) as in “Mercedes Benz”.
TIP: In the intro and the spoken bridge, the chords are played over the top of the
spoken words and it’s not super important to hit the chords at the same time as Marvin
does but you need to end on (D) to prep for the next verse.
G, D, A, D G
INTRO: <spoken> "Yo baby, I wrote you this poem.
D A, D
I'd like to dedicate it to ya."
G D A
I'm just a white boy, I play the guitar. I put my pants on.
D Gadd D
I drive a shit car up into the valley, to see my girlfriend.
A G D
She got a big couch, she got a Mercedes Benz.
G D
Sing hallelujah, my glass is half full.
A D
She pours me champagne, she drinks a Red Bull.
Gadd D
And she says "Darling, one thing you got to understand
A Gadd D
As long as I am satisfied well you will always be my man."
G D
You know that I, I'll give you all the love that I have.
A D Gadd
I'll empty all my pockets and I'll give you what I can you know that I,
D A D
I'll give you all the love that I have. I'll give you all the love that I have.
G D A D Gadd D
Los Angeloo loo loo ser. Los Angeloo loo loo ser. Los Angeloo loo loo ser.
A D
I'm gonna give you all the love that I can.
G D A
Oh yeah, we got the sunshine, we got the good friends.
D G D
We doe si doe and all the time out in the wilderness, she always looks fine.
A G D
She's gonna be the one to make it and I'll be two steps behind.
G D
A D Gadd
D A D
G D A D
Los Angeloo loo loo ser. Los Angeloo loo loo ser.
Gadd D A D
Los Angeloo loo loo ser. I'm gonna give you all the love that I can.
|G| G D
<spoken> "Now check this out.
A D G
I say this with the deepest appreciation for all you, ladies out there.
D A D G
Especially the ones who've shown a little love, for someone such as myself.
D A D G
You believed in me. You loved me. Oh so friendly toward me.
D A D
And if it wasn't, for you, there would be, no me."
G D
A D Gadd
D A D
I'll give you all the love that I have. I'll give you all the love that I can.
G D
A D Gadd
D A D
G D
I, I'll give you all the love that I have.
A D Gadd
D A D
A D A D
Oh I'll give you all the love that I have. I'll give you all the love that I 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 – R.E.M.
(Stipe/Buck)
https://www.youtube.com/watch?v=u036M7p6-ak (Capo 0)
TIP: For the mandolin interlude, to go from the (Am) to the (Asus) just keep the (Am)
form and add your pinky to the 2nd string/3rd fret and then remove it.
INTRO: Dm-G-Am Am, Dm-G-F F; Dm-G-Am Am, Dm-G-F
G Am Em Am
Oh life, is bigger. It's bigger, than you, and you are not me.
Em Am Am Em
The lengths that I will go to. The distance in your eyes.
Dm G
Oh no I've said too much. I set it up.
Am Em Am
That's me in the corner. That's me in the spot - light. Losing my religon.
Em Am Em
Trying to keep, up, with you. And I don't know if I can do it.
Dm G
Oh no I've said too much. I haven't said enough.
F G Am
I thought that I heard you laughing. I thought that I heard you sing.
F G Am
I think I thought I saw you try.
G Am Em Am
Every whisper, of every waking hour. I'm, choosing my confessions.
Em Am
Trying to keep, an eye on you. Like a hurt lost and blinded fool, fool.
Em Dm G
Oh no I've said too much. I set it up.
Am Em
Consider this, consider this the hint of the century.
Am Em
Consider this, the slip, that brought me to my knees. Pale.
Am Em Dm G
What if all these fantasies come, flailing around. Now I've said, too much.
F G Am
F G Am G
<Mandolin bridge> Am Asus Am, Am Asus Am
C Am C F Am
But that was just a dream. That was just a dream that's me in the corner.
Em Am
That's me in the spot - light. Losing my religon.
Em Am Em
Trying to keep, up, with you. And I don't know if I can do it.
Dm G
Oh no I've said too much. I haven't said enough.
F G Am
F G Am
F Am
But that was just a dream. Try, cry, fly, try.
F G Am G
That was just a dream, just a dream just a dream. Dream.
<Mandolin outro>: Am . . .

LOST HIGHWAY
Hank Williams
https://www.youtube.com/watch?v=lCgicPdsxxg (Capo 0)
[Presented afterwards in the key of [G] mainly for fingerstyle.]
TIP: The intro are the chords in the last line of the verse.
INTRO: D, A D
NC D G D
I'm a rollin' stone, all alone and lost.
A
For a life of sin, I have paid the cost.
Gadd D
When I pass by, all the people say,
A D G D
"There goes another boy, down the lost highway.
G D
Just a deck of cards, and a jug of wine.
A
And a woman's lies, makes a life like mine.
Gadd D
For the day we met, I went astray.
A D G D
I started rolling down, that lost highway.
<Repeat chords> D, G D; D A, A G D, D A D G D
G D
I was just a lad, nearly twenty two.
A
Neither good nor bad, just a kid like you.
Gadd D
And now I'm lost, too late to pray.
A D G D
Lord I've paid the cost, on the lost highway.
G D
Now boys don't start, to ramblin' round.
A
On this road of sin, are you sorrow bound.
Gadd D
Take my advice, or you'll curse the day,
A D
You started rollin' down, that lost highway.
LOST HIGHWAY
Hank Williams
https://www.youtube.com/watch?v=lCgicPdsxxg (Capo 7)
TIP: The intro are the chords from the last line of the verse.
INTRO: G, D G
NC G C G
I'm a rollin' stone, all alone and lost.
Gadd D
For a life of sin, I have paid the cost.
C G
When I pass by, all the people say,
G D G C G
"There goes another boy, down the lost highway.
C G
Just a deck of cards, and a jug of wine.
Gadd D
And a woman's lies, makes a life like mine.
C G
For the day we met, I went astray.
G D G C G
I started rolling down, that lost highway.
<Repeat chords> G, C G; G Gadd D, D C G, G G D G C G
C G
I was just a lad, nearly twenty two.
Gadd D
Neither good nor bad, just a kid like you.
C G
And now I'm lost, too late to pray.
G D G C G
Lord I've paid the cost, on the lost highway.
C G
Now boys don't start, to ramblin' round.
Gadd D
On this road of sin, are you sorrow bound.
C G
Take my advice, or you'll curse the day,
G D G
You started rollin' down, that lost highway.
LOUIE LOUIE - The Kingsmen
(Berry)
https://www.youtube.com/watch?v=1RZJ4ESU52U (Capo 0)
TIP: The whole song is just a repetition of (A)(D) and (E).
TIP: For the intro, form up and hold (Asus4) which is just (A) with your pinky added to
the 2nd string/3rd fret to cover note <d>. The first note is a quick but gentle blend of
the covered 2nd string <d> and bottom string <e>. Once that's out of the way pick the
3rd string three times <a>, the 2nd string twice <d>, the bottom string three times <e>,
and the 2nd string again twice <d>. Easy. Now you can lift off the pinky and strum each
chord in brackets once. I find it helpful to mentally think of an extra (but not
strummed) chord/beat in between the |A| and the |D| and again between the |E| and |D|.
So it's |A|-|A|-|A| ... hesitation ... |D|-|D| ... no hesitation ... |E|-|E|-|E| ...
hesitation ... |D|-|D|.
TIP: In the verse it's (Esus) for the downward inflection on lines 1, 3, and 4, and (E)
for the upward inflection on line 2. Most play (A) with the index, middle and ring
fingers. Try playing the (Esus) with the bottom three fingers which may feel more
natural since the middle and ring are usually played on the 5th and 4th string with an
(E) family of chords.
TIP: In the instrumental bridge play the chords one after another without a pause
between sequences as you're playing over the top of the guitar solo.
INTRO: <Form Asus4> d/e <pause> a – a - a, d – d, e – e - e, d – d
|A|-|A|-|A|, |D|-|D|, |E|-|E|-|E|-, |D|-|D|
A D D E D A D E D
Louie Louie, oh no, sayin' we gotta go, yeah yeah yeah yeah yeah baby,
A D D E D A D E D
Louie Louie, oh baby I said now we gotta go.
A D Esus D A D E D
A fine little girl, she waits for me. Me catch oh the ship, across the sea.
A D Esus D A D Esus D
Me sailed that ship now all alone. Me never think I'll, I'll make it home.
A D D E D A D E D
Ah Louie Louie, oh no no no no, sayin' we gotta go, oh no,
A D D E D A D E D
Sayin’ Louie Louie, oh baby sayin’ we gotta go.
A D Esus D A D E D
Three nights, and days, I sailed the sea. Me think of the girl, oh constantly.
Oh on that ship, I dream she there. I smell the rose, now in her hair.
A D D E D A D E D
Ah Louie Louie, oh no sayin' we gotta go, yeah yeah yeah yeah yeah baby,
A D D E D A D E D
Louie Louie, oh baby I said now we gotta go. Okay let’s give it to ‘em right now.
A D E D, A D E D, A D E D, A D E D, A D E D
A D E D, A D E D, A D E D, A D E D
A D Esus D A D E D
Me see Jamaica, the moon above. It won't be long, me see me love.
Me take her in, my arms and then, I tell her I never leave again.
A D D E D A D E D
Ah Louie Louie, oh no, sayin' we gotta go, yeah yeah yeah yeah yeah baby,
A D D E D A D E
Louie Louie, oh baby I said now we gotta go.
D A D E D A D E |A|
I said a we gotta go now. Get on out of here. Let’s go.
(The Kingsmen) (Artist Index) - (Main Index) - (Song Index) (This Song)
LOUISIANA MAN - The Seekers
(Kershaw/Kershaw)
https://www.youtube.com/watch?v=MQuPnIkMY-g (Capo 5)
Am
INTRO: Oh yeah-ah-ah-ah. Cajun man do what he can,
C G C D
Gotta make a livin' he's a Louisiana Man oh oh.
G Em
At birth mom and papa called their little boy Ned.
G D G
Raised him on the banks of the river bed.
Em
A houseboat tied to a big tall tree,
G D G
A home for my papa and my mama and me.
Em
The clock strikes three and papa jumps to his feet.
G D G
Already mama's cooking papa somethin' to eat.
Em
At half past papa he's a ready to go.
G D G
He jumps in his pirogue headed down the bayou.
C
He's got a fishing line strung across the Louisiana River,
G C
Gotta catch a big fish for us to eat.
He's-sets-his-traps in the swamp catches anything he can.

G C
Gotta make a livin' he's a Louisiana man.
G C Am
Gotta make a livin' he's a Louisiana man oh yeah-ah-ah-ah.
C G C D
Cajun man do what he can, gotta make a livin' he's a Louisiana Man oh oh.
G Em
They call mama Rita and my daddy Jack,
G D G
Little baby brother on the floor is Mack.
Em
Bren and Lin are the family twins,
G D G
Big brother Ed's on the bayou fishin'.
Em
On the river floats papa's great big boat,
G D G
That's how my papa goes into town.
Em
Takes every bit of a night and a day,
G D G
To even reach a place where the people stay.
C
G C

G C
G C D
Gotta make a livin' he's a Louisiana Man ooh ooh.
G Em
I can hardly wait until tomorrow comes round,
G D G
That's the day my papa takes his furs to town.
Em
Papa said "Son we've got lines to run,
G D G
We'll come back again cuz there's work to be done."
C
G C

G C
G C Am
Gotta make a livin' he's a Louisiana man oh yeah-ah-ah-ah.
C G C
Cajun man do what he can, gotta make a livin' he's a Louisiana Man.
G C C |C|
Gotta make a livin' he's a Lousiana Man.
LOVE AIN'T FOR KEEPING - The Who
(Townshend)
https://www.youtube.com/watch?v=0IEaobS9O4A (Capo 0)(MC0)
INTRO: G-G A, A D A, A
G D A
Layin' on my back, in the newly mown grass.
G D A
Rains comin' down, but I know the clouds will pass.
D A
You bring me tea, say 'The babe's a sleeping.'
C G A A-A-A, A D A, A
Lay down beside me. Love ain't for keeping.
G D A
Black ash from the foundry, hangs, like a hood.
G D A
But the air is perfumed, by the burnin' fire wood.
D A
The seeds are bursting, the spring's a seeping.
C G A A G A
Lay down my darling. Love ain't for keeping.
C G A A G A A
G G G G D D D D A A-A G D A, G D A, D D A
C G A A G A A
C G A <pause> A D G-A
Lay down my darling. Love ain't for keeping.
LOVE AT THE FIVE AND DIME – Nanci Griffith/Kathy Mattea
(Griffith)
https://www.youtube.com/watch?v=OQH3ijRCY-o (Nanci studio) (Capo 1)
https://www.youtube.com/watch?v=2GK462XnRjQ (Nanci live) (Capo 1)
https://www.youtube.com/watch?v=2dX8QZRwdC8 (Kathy Mattea)(Capo 1)
TIP: This is patterned after Nanci’s studio version but I’ve included the link to her
live version because it so epitomizes her stage presence and is a joy to listen to.
Kathy combines the first two verses before singing the chorus.
TIP: (Asus2) will always follow and (A) so just lift off the bottom finger.
TIP: Nanci drags the last syllable in the chorus. So hold the (A) and (Bm) on “now,”
“me” and “dime” and play it on the back end of the word. It’s subtle but you’ll see what
I mean when get there.
INTRO: A Asus2 D A
Asus2 D
Rita was sixteen years with hazel eyes and chestnut hair.
A
She made the Woolworth counter shine.
Asus2 D
And Eddie was a sweet romancer, and a darn good dancer,
A
And they waltzed the aisles of the five and dime.
Bm A
And they'd sing, dance a little closer to me. Dance a little closer now.
Bm E7 A Bm
Dance a little closer tonight. Dance a little closer to me.
E7 Bm E A
Cuz it's closing time and love's on sale tonight at this five and dime.
Asus2 D
Eddie played the steel guitar and his mama cried 'cause he played in the bars.
A
He kept young Rita out late at night.
Asus2 D
Soon they married up in Abilene, lost a child in Tennessee,
A
But still that love survived.
Bm A
Cuz they'd sing, dance a little closer to me. Dance a little closer now.
Bm E7 A D/A
E7 Bm E A
Asus2 D
One of the boys in Eddie's band, took a shine to Rita's hand,
A
So Eddie ran off with the bass man's wife.
Asus2 D
Oh but he was back by June, singin' a different tune,
A
Sportin’ Miss Rita back by his side.
Bm A
And he sang dance a little closer to me. Dance a little closer now.
Bm E7 A Bm
E7 Bm E A
A Asus2 D A, A Asus2 D A
Asus2 D
Eddie traveled with the barroom bands, til arthritis took his hands.
A
Now he sells insurance on the side.
Asus2 D
Rita's got her house to keep dime store novels and a love so sweet,
A
They dance to the radio late at night.
Bm A
And they sing, dance a little closer to me. Dance a little closer now.
Bm E7 A Bm
E7 Bm E A
Asus2 D
Cuz Rita was sixteen years with hazel eyes and chestnut hair.
A
She really made the Woolworth counter shine.
Asus2 D
And Eddie was a sweet romancer, and a darn good dancer,
A D
And they’d waltz the aisles of the five and dime.
A D
A |A|
(Nanci Griffith) (Kathy Mattea) (Artist Index)

LOVE BUILDS THE BRIDGES (Pride Builds the Wall)
Patty Loveless
(Salley/McBride)
https://www.youtube.com/watch?v=_zce5d18m1Y (Capo 3)
TIP: The intro consists of light and firm single and double strums of |C| followed by a
“regular” sequence of (C)(Bb)(F) and (C).
INTRO: |C|, C |C|-|C|, C |C|, C |C|-|C|, C Bb F C
G C
She's twistin' the ring on her finger, she's watchin' the clock on the wall.
F C Am
She's hopin' when it finally hits him he's wrong,
C G C C F
He'll come to his senses and give her a call.
C G C
Across town he's in a hotel room, he can't keep his eyes off the phone.
F C Am
He's thinking that soon she will break down and call
C G C
To tell him she's sorry and beg him back home.
F C
There's a lonesome fool waiting on each end of the line.
D G
There's a measure of blame on both sides.
C F
Until each heart is willing there's no hope at all,
C G C C C C C Bb F F
'Cause love builds the bridges but pride builds the wall.
C G C
The longer they wait on each other, the harder it gets to give in.
F C Am
They're too proud to see they're just one call away
C G C
From putting their world back together again.
F C
There's a lonesome fool waiting on each end of the line.
D G
There's a measure of blame on both sides.
C F
C G C C
F
C G C C Bb F |C|
LOVE CAN BUILD A BRIDGE – The Judds
(N. Judd/Jarvis/Overstreet)
https://www.youtube.com/watch?v=IvjOnKqubJU (Capo 4)
[A version in [D] follows which may be slightly easier to play but is capo'd too high to
sing along with the recording.]
INTRO: Gadd Gadd, Gadd D
G C
I'd gladly walk across the desert, with no shoes upon my feet,
D C G D
To share with you the last bite, of bread I had to eat.
G Em
I would swim out to save you, in your sea of broken dreams.
C G D
When all your hopes are sinking, let me show you what love means.
G C D D7 G
Love can build a bridge, between your heart and mine.
G C G D G
Love can build a bridge. Don't you think it's time? Don’t you think it’s time?
G C
I would whisper love so loudly, every heart could understand,
D C G D
That love and only love, can join the tribes of man.
G Em
I would give my heart's desire, so that you might see.
C G D
The first step is to realize, that it all begins with you and me.
G C D D7 G
G C G D G
Love can build a bridge. Don't you think it's time? Don’t you think it’s time?
<repeat chords> G C-D, D7 G C-D7, Gadd C, C G, D G
Em D G
When we stand together, it's our finest hou-ur.
Am G
We can do anything (anything), anything (anything).
C D G C D D7 G C D
Keep believin' in the power love can build a bridge, between your heart and mine.
G C G
Love can build a bridge. Don't you think it's time?
D G C D
Don't you think it's time/yeahhhhh yes I do.
G C D
Love can build a bridge, (oh love and only love)
D7 G C D
Between your heart and mine (between your heart and mine.)
G C
Love can build a bridge (love and only love).
G D G
Don't you think it's time? Oh don’t you think it’s time?
G |G|
Don't you think it's time?
LOVE CAN BUILD A BRIDGE – The Judds
(N. Judd/Jarvis/Overstreet)
TIP: The (Bm) will follow a (D) so you can play it as an extension of (D) with your
pinky if you must.
TIP: The last line of the song is repeats the same melody as the line before it.
INTRO: D Gadd, D Gadd
D G
I'd gladly walk across the desert, with no shoes upon my feet,
A G D A
To share with you the last bite, of bread I had to eat.
D Bm
I would swim out to save you, in your sea of broken dreams.
G D A
When all your hopes are sinking, let me show you what love means.
D G A A7 D G A7
D G D
A D Gadd, D Gadd
D G
I would whisper love so loudly, every heart could understand,
A G D A
That love and only love, can join the tribes of man.
D Bm
I would give my heart's desire, so that you might see.
G D A
The first step is to realize, that it all begins with you and me.
D G A A7 D G A7
D G D
A D
<repeat chords> D G-A, A7 D G-A, D G, G D, A D

Bm A D
When we stand together, it's our finest hou-ur.
Em D
We can do anything (anything), anything (anything).
G A D G A A7 D G A
Keep believin' in the power love can build a bridge, between your heart and mine.
D G D
A D G A
Don't you think it's time/yeahhhhh yes I do.
D G A
Love can build a bridge, (oh love and only love)
A7 D G A
Between your heart and mine (between your heart and mine.)
D G
Love can build a bridge (love and only love).
D A D Gadd, D Gadd
Don't you think it's time? Oh don’t you think it’s time?
D Gadd, D Gadd, D Gadd, |D|
LOVE HURTS – Gram Parsons & Emmylou Harris
(Brant)
https://www.youtube.com/watch?v=mJAmQq8fTjM (Capo 0)
[The Nazereth version follows.}
TIP: (Am7) will follow (C) so just lift off the index finger.
INTRO: <slowly with bass emphasis> G Em C D
G Em C D7
Love hurts. Love scars. Love wounds, and mars.
G Em C D7
Ann-ny heart, not tough, nor strong, enough.
G B7 Em
To take a lot of pain, take a lot of pain.
G C Am7 D7
Love is like a cloud. Holds a lot of rain.
G G F C G G D
Love hurts. Mmm, mmm, love hurts.
G Em C D7
I'm young, I know, but eeee-ven so.
G Em C D7
I know-a thing, or two, I learned, from you.
G B7 Em
I really learned a lot, really learned a lot.
G C Am7 D7
Love is like a stove, burns you when it's hot.
G G F C G Gadd
Em B7 Em B7 Em B7 Em
Some fools think, of happiness, bliss-fulness, togetherness.
A7 A A7 D
Some fools fool themselves I guess, but they're not fooling me.
D7 G B7 Em
I know it isn't true, know it isn't true.
G C Am7 D7
Love is just a lie made to make you blue.
G F C G G D
G Em C D
G F C G
D F C G
Oh-ohhhh-oh love hurts.
(Emmylou Harris) (Gram Parsons) (Artist Index) - (Main Index) - (Song Index) (This Song)
LOVE HURTS – Nazareth
(Brant)
https://www.youtube.com/watch?v=G_1LP3Z6pW4 (Capo 0)
TIP: In the intro the numbers are just the strings you pick while holding the (G)
formation. Then hit the |F| and |C| once forcefully and let sustain.
INTRO <Form (G)>: 6 – 5 – 4 – 5 – 3 – 4 - 5, 6 – 5 – 4 – 5 – 3 – 4 - 5, |F| |C|
6 – 5 – 4 – 5 – 3 – 4 - 5, 6 – 5 – 4 – 5 – 3 – 4 - 5, |F| |C|, G
Em C D7
Love hurts. Love scars. Love wounds, and mars.
G Em C D
Ann-ny heart, not tough, nor strong, enough.
C G B7 Em
To take a lot of pain, take a lot of pain.
G C D C
Love is like a cloud. Holds a lot of rain.
G G F C G
Love hurts. Oooh oooh love hurts.
Em C D7
I'm young, I know, but eeee-ven so.
C G Em C D7
I know-a thing, or two, I learned, from you.
G B7 Em
I really learned a lot, really learned a lot.
B7 C D7
Love is like a stove, burns you when it's hot.
G G F C G
Love hurts. Oooh oooh love hurts.
Em B7 Em B7 Em B7 Em
Some fools think, of happiness, bliss-fulness, togetherness.
A A7 D
Some fools fool themselves I guess, but they're not fooling me.
C G B7 Em
I know it isn't true, I know it isn't true.
B7 C D7
Love is just a lie made to make you blue.
C G F C G F C G G G
Love hurts. Oooh oooh love hurts. Oooh oooh love hurts.
G, Em, G-C, D; D G, Em, G-C, D

C G B7 Em
I know it isn't true, I know it isn't true.
B7 C D7 C G
Love is just a lie, made to make you blue. Love hurts.
F C G F C G F |C|
Oooh oooh love hurts. Oooh oooh love hurts. Oooh oooh.
(Nazareth) (Artist Index) - (Main Index) - (Song Index) (This Song)

LOVE ME DO – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=0pGOFX1D_jg (Capo 0)
TIP: For the (G4) in the harmonica intro and instrumental just drop your index finger
down to cover the <c> at the 2nd string/2nd fret for one count.
INTRO: <harmonica> G7 C G G, G7 C G G, G7 C G G, G G G4-G
C G C G C
Love love me do. You know I love you. I'll always be true.
C |C| NC G7 C G G G7 C G G
So plee-ee-ee-ee-ease, love me do. Whoa-oh love me do.
C G C G C
D C G
Someone to love, somebody new.
D C G |G|
Someone to love, someone like you.
C G C G C
<harmonica> D D, C G; D D, C G; G G G4-G, G |G| <drum/cymbal>
C G C G C
G7 C G G G7 C G G, G7 C G |G|
Yeah love me do. Whoa-oh love me do.
LOVE ME TENDER – Elvis Presley
(Darby)
https://www.youtube.com/watch?v=-Y-bd3aDMGA (Capo 2)
TIP: For the intro form (C/G) which is just (C) with your pinky on the top string. Then
pick the 5th string and strum, then pick the top string and strum.
TIP: Be sparse with the strums. Often you only need strums at the chord changes and
maybe at the end of a line.
INTRO <Form (C/G)>: 5-C/G, 6-C/G
Dm G C
Love me tender, love me sweet. Never let me go.
Dm G C
You have made my life complete. And I love so.
E Am F C
Love me tender, love me true. All, my dreams, fulfilled.
A Dm G C
For my, darling, I love you. And I always will.
Dm G C
Love me tender, love me long. Take me to your heart.
Dm G C
For it’s there that I belong, and we’ll never part.
E Am F C
A Dm G C
Dm G C
Love me tender, love me dear. Tell me you are mine.
Dm G C
I’ll be yours through all the years, till the end of time.
E Am F C
A Dm G C
LOVE ME TONIGHT
Don Williams
https://www.youtube.com/watch?v=-mwwPqJd8WA (Capo 0)
TIP: Not too fast.
INTRO: D, 2 – BO – D, B – BO – D
G D A
I been lonesome, I been empty. I gotta achin', way down inside.
D G
I need someone, someone to hold me.
D A D
Pull down the shade, turn out the light, and love me tonight.
A G D
Don't think about tomorrow it don't matter anymore.
A G D A
We can turn the key and lock the world outside the door.
D G
I need you so now, come on let go now.
D A D D D, D A D
Kick off your shoes, turn out the light, and love me tonight.
G D A
Now don't you worry, we're all alone now. Let your hair down, sit by my side.
D G
Turn off the TV, put on some music,
D A D
Pull down the shade, turn out the light and love me tonight.
A G D
Don't think about tomorrow it don't matter anymore.
A G D A
We can turn the key and lock the world outside the door.
D G
I need you so now, come on let go now.
D A D
Kick off your shoes, turn out the light, and love me tonight.
D D, D A D; D D, D A D
LOVE WILL KEEP US ALIVE - Eagles
(Capaldi/Carrack/Vale)
https://www.youtube.com/watch?v=boZ4A9Uoovc (Capo 0)
INTRO: A A F#m D
A F#m
I was standing, all alone against the world outside.
A E
You were searching, for a place to hide.
A F#m
Lost and lonely, now you've given me the will to survive.
A D E A
When we're hungry, love will keep us alive.
F#m
Don't you worry, sometimes you've just gotta let it ride.
A E
The world is changing, right before your eyes.
A F#m
Now I've found you, there's no more emptiness inside.
A D E A
D F#m
I would die for you. Climb the highest mountain.
Bm E
Baby, there's nothing-I-wouldn't do.
A F#m
Now I've found you, there's no more emptiness, in-side.
A D E A
A A F#m D A
D F#m
I would die for you. Climb the highest mountain.
Bm E
Baby, there's nothing-I-wouldn't do.
A F#m
I was standing, all alone against the world outside.
A E
You were searching, for a place to hide.
A F#m
Lost and lonely, now you've given me the will to survive.
A D E A
D E A
D E A A A A |A|-|A|-|A|

LUCILLE – Kenny Rogers
(Bynum/Bowling)
https://www.youtube.com/watch?v=lnA1awjeAhI (Capo 3)
[Afterwards is a version in [C] which doesn't have the (Bm).]
TIP: For the (G) in the intro pick the top string and strum, then the 4th string and
strum. Repeat 4 times.
INTRO: 6-G 4-G, 6-G 4-G; 6-G 4-G, 6-G 4-G
D7
In a bar in Toledo, across from the depot, on a barstool she took off her ring.
Am D7 Am D7 G
I thought I'd get closer, so I walked on over. I sat down and asked her her name.
When the drinks finally hit her, she said 'I'm no quitter,
G7 C
But I finally quit living on dreams.
D7 G
I'm hungry for laughter, and here ever after, I'm after whatever the other life brings.'
D7
In the mirror I saw him, and I closely watched him, I thought how he looked out of place.
Am D7 Am D7 G
He came to the woman, who sat there beside me. He had a strange look on his face.
His big hands were calloused, he looked like a mountain,

G7 C
For a minute I thought I was dead.
D7 G
But he started shakin', his big heart was breakin'. He turned to the woman and said:
NC C
"You picked a fine time to leave me Lucille.
G
With four hungry children and a crop in the field.
C
I've had some bad times, lived through some sad times,
G
But this time your hurtin' won't heal.
D7 G
You picked a fine time to leave me Lucille.”
<key change> A
E7
After he left us, I ordered more whiskey. I thought how she'd made him look small.
Bm E7
From the lights of the barroom, to the rented hotel room,
Bm E A
We walked without talking at all.
A7 D
She was a beauty, but when she came to me, she must have thought I'd lost my mind.
E E7 A
I couldn't hold her, cuz the words that he told her, kept comin' back time after time.
NC D
A
D
A
E E7 A
NC D
A
D
A
E E7 A
E E7 A |A|
You picked a fine time to leave me Lucille."
LUCILLE – Kenny Rogers
(Bynum/Bowling)
TIP: For the (C/G) in the intro cover the top string (bass <g>) with your pinky and
alternate pick/strum between the 5th string and 6th strings.
TIP: (C7) will follow (C) so just add your pinky to the 3rd string/3rd fret.
; ;
INTRO <Form C/G>: 5-C/G 6-C/G, 5-C/G 6-C/G; 5-C/G 6-C/G, 5-C/G 6-C/G
G7
In a bar in Toledo, across from the depot, on a barstool she took off her ring.
Dm G7 Dm G7 C
I thought I'd get closer, so I walked on over. I sat down and asked her her name.
C/G
When the drinks finally hit her, she said 'I'm no quitter,
C7 F
But I finally quit living on dreams.
G7 C
I'm hungry for laughter, and here ever after, I'm after whatever the other life brings.'
C/G G7
In the mirror I saw him, and I closely watched him, I thought how he looked out of place.
Dm G7 Dm G7 C
He came to the woman, who sat there beside me. He had a strange look on his face.
C/G
His big hands were calloused, he looked like a mountain,
C7 F
For a minute I thought I was dead.
G7 C
But he started shakin', his big heart was breakin'. He turned to the woman and said:
NC F
C
F
C
G7 C
<key change> D
A7
After he left us, I ordered more whiskey. I thought how she'd made him look small.
Em A7
From the lights of the barroom, to the rented hotel room,
Em A D
We walked without talking at all.
D7 G
She was a beauty, but when she came to me, she must have thought I'd lost my mind.
A A7 D
I couldn't hold her, cuz the words that he told her, kept comin' back time after time.
NC G
D
G
D
A A7 D
NC G
D
G
D
A A7 D
You picked a fine time to leave me Lucille.
A A7 D |D|
You picked a fine time to leave me Lucille.
LUCKENBACK TEXAS – Waylon Jennings and Willie Nelson
(Emmons/Moman)
https://www.youtube.com/watch?v=xvZeYDBY4fw (Capo 0)
TIP: For chords in brackets, strum once and let sustain at that point.
INTRO <one strum>: |Gadd|
|D| |G|
The only two things in life that make it worth livin’.
|C| |D7| |G|
Is guitars that tune, good and firm, feelin’ women.
|C| |Am| |G|
I don’t need my name in the marquee lights.
|C| |D7| |G|
I got my song, and I got you with me tonight.
|C| |G| |D| |D7| |G|
Maybe it’s time we got back, to the basics of love.
G C
Let’s go to Luckenbach Texas, Waylon and Willie and the boys.
D D7 G
This successful life we’re livin’s got us feudin’ like the Hatfields and McCoys.
G7
Betwee-een, Hank Williams pain songs, Newberry’s train songs
Am C
And Blue Eyes Cryin’ in the Rain.
D G G Am Am7 D7
Out in Luckenbach Texas, ain’t nobody feelin’ no pain.
|G| |Am| |D7| G

So baby let’s sell your diamond ring, buy some boots and faded jeans and go away.
|G| |C| |D7| G
This coat and tie is chokin me, in your high society you cry all day.
G7
We’ve been so busy keepin’ up with the Jones.
C Am
Four-car garage and were still buildin’ on.
C |G| |D| |D7| G
Maybe it’s time we got back, to the basics of love.
C
D D7 G
G7
Betwee-een, Hank Williams pain songs, Newberry’s train songs
Am C
D G
Out in Luckenbach Texas, ain’t nobody feelin’ no pain.
C
D D7 G
G7
Betwee-een, Hank Williams pain songs, and Jerry Jeff’s train songs
Am C
D7 Am D G
Out in Luckenbach Texas, there ain’t nobody feelin’ no pain.
G G G D D G |G|
LUCKY MAN – Emerson, Lake & Palmer
(Lake)
https://www.youtube.com/watch?v=89g1P_J40JA (Capo 0)
TIP: This song is special to me as it’s the very first song I ever learned to play way
back in nineteen hundred and seventy-five. If you have a friend to play a kazoo for the
Moog part at the end that would be like, way cool.
INTRO: Gadd D, Gadd D
G D G D
He, had white horses, and la-dies by the score.
G D G D
All, dressed in satin, and waiting, by the door.
Am G Gadd Em D D4 D Dsus2-D
Ooooh what a luck-y man, he wa-as.
G D G D
White lace, and feathers, they made up, his bed.
G D G D
A gold, covered mattress, on which, he was led.
<The "Awwwww" part>:
G D, G D, G D, G D; Am Gadd D D4 D Dsus2-D, Am Gadd D D4 D Dsus2-D
G D G D
He went, to fight wars, for his country, and his king.
G D G D
Of his honor, and his glory, the people, would sing.
G D G D
A bullet, had found him, his blood ran, as he cried.
G D G D
No money, could save him, so he laid down, and he died.
["Awwwww"s throughout]
Am Gadd D D4 D Dsus2-D, Am Gadd D D4 D Dsus2-D
Am Gadd D D4 D Dsus2-D, Am Gadd D D4 D Dsus2-D
Am Gadd D D4 D Dsus2-D
<one way to end it> Am G D <slow down> D4 D Dsus2-D
(Emerson, Lake & Palmer) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE LUCKY ONE - Alison Krauss & Union Station
(Castleman)
https://www.youtube.com/watch?v=jcRZ_J_VgNc (Capo 3)
INTRO: G D Em C G D C G
D
You're the lucky one so I've been told, as free as the wind blowin' down the road.
G C
Loved by many hated by none I'd say you're lucky 'cause I know what you've done.
G
Not a care in the world not a worry in sight.
D C C G
Everything's gonna be alright 'cause you're the lucky one.
D
You're the lucky one always havin' fun a jack of all trades a master none.
G C
You look at the world with a smilin' eye and laugh at the devil as his train goes by.
G
Give you a song and a one night stand,
D C C G
You'll be looking at a happy man 'cause you're the lucky one.
Am7 D
Well you're blessed I guess by never knowin' which road you're choosin to you
Am7 D B7 Em
The neeext best thing, to playin and winning is playin and losin'.
G D
You're the lucky one I know that now don't ask you why when where or how.
G
You look at the world through your smilin' eye,
C
You laugh at the devil as his train goes by.
G D
Give you a song and a one night stand and you'll be looking at a happy man
C C G
'Cause you're the lucky one.
G D G-G7 C G D C G
Am7 D
Well you're blessed I guess by never knowin' which road you're choosin to you
Am7 D B7 Em
The neeext best thing, to playin and winning is playin and losin'.
G D
You're the lucky one I know that now don't ask you why when where or how.
G7 C
No matter where you're at it's where you'll be you can bet your luck won't follow me.
G D
Just give you a song and a one night stand, you'll be looking at a happy man
C C G
'Cause you're the lucky one.
G D Em C G D C |G|
LULU WALLS - Carter Family/John Prine
(Unknown)
https://www.youtube.com/watch?v=KNmi_rz_PTU (Carter Family) (Capo 1)
https://www.youtube.com/watch?v=-YNmgJmvc2w (John Prine) (Capo 0)
[While usually attributed to A.P. Carter the earliest recording was in 1927 by William
Morris and it was likely in circulation in Appalachia prior to that. The Carter family
recorded it in 1929 and A.P. may have rewritten it. I much prefer John Prine's upbeat
version and it's that version the song is patterned after although the music is the same
for either.]
TIP: Play with a bluegrass snappiness.
TIP: The instrumental mandolin bridge repeats the chords from the verse.
INTRO: G G G G, G
C G
One evening getting dark, we first met at the park.
D7
Just sitting by the fountain all alone.
G C G
I lifted up my hat, and then began to chat.
D7 G
She said she'd-allow-me-to see her at her home.
C G
Such a star I've never seen, she's as pretty as the queen.
D7
She's as perfect as an angel from above.
G C G
If she'd only be my wife, I'd live happy all me life,
D7 G
With that aggravating beauty Lulu Walls.
G C G, G D7, G C G, G D7 G
C G
If she were only mine, I'd build a house so fine,
D7
And around it, so many fences tall.
G C G
It would make me jealously, to think that none but me,
D7 G
Could gaze upon that beauty Lulu Walls.
C G
D7
G C G
D7 G
G C G, G D, G C G, G D G
C G
One evening getting late, well I met her at the gate.
D
I asked her if she'd wed me in the fall.
G C G
But she only turned away, and nothing would she say.
D G
That aggravating beauty Lulu Walls.
C G
D7
G C G
D7 G
D G G |G|
(Traditional) (John Prine) (Carter Family) (Artist Index)

THE LUMBERJACK SONG - Monty Python
(Jones/Palin/Tomlinson)
https://www.youtube.com/watch?v=L_W_W-VZBQU (Capo 0)
TIP: Of course this is the classic from Monty Python. There are several soliloquys
depending upon which sketch the song is performed, be it barber (the original), pet shop
owner, or as featured here, a weatherman. The length of the intro also varied, often
going straight from "mighty Scots Pine" to "with my best girl (or buddy) by my side . .
.". It's presented here in all its gaudy Michael Palin excess.
TIP: You kind of need at least two people for the intro as it's played underneath the
spoken bit leading up to the actual song, and also you might find it difficult to
concentrate on 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.
INTRO [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!"
G D C, D-D-D G D C, D-D-D 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.*
D7 G D D7 G D D7 G D <repeat>
Lah lah lah lah, Lah lah lah lah, Lah lah lah lah
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 buddy by my side, we'd sing! Sing! Sing!"
G C D G
I'm a lumberjack and I'm okay. I sleep all night and I work all day.
C D G
He's a lumberjack and he's okay. He sleeps all night and he works all day.
C Am D G C-G
I cut down trees. I eat my lunch. I go to the lavatree.
C D G D-G
On Wednesdays I go shopping, and have buttered scones for tea.
C Am D G C-G
He cut down trees. He eats his lunch. He goes to the lavatree.
C D G
On Wednesdays he goes shopping, and has buttered scones for tea.
C D G
C Am D G C-G
I cut down trees. I skip and jump. I like to press wildflowers.
C D G D-G
I put on women's clothing, and hang around in bars.
C Am D G
He cuts down trees. He skips and jumps. He likes to press wildflowers.
C D G
He puts on women's clothing and hangs around in bars?
C D G
C Am D G
I cut down trees. I wear high heels suspendies and a bra.
C D G
I wish I'd been a girlie, just like my dear Papa.
C Am D G
He cuts down trees. He wears high heels, suspendies and a bra . . . ?
C D G
He's a lumberjack and he's okay. He sleeps all night and he works all day.
C Am
He's a lumberjack and he's o- kaaaaaaaaaaaaaaaaaaaaaaaaay.
D G
<rapidly> Sleeps all night and he works day <palm>.
(Monty Python) (Artist Index) - (Main Index) - (Song Index) (This Song)
LYIN’ EYES – Eagles
(Frey/Henley)
https://www.youtube.com/watch?v=nk1g6jJTsXY (Capo 0)
[In 2018 Rhino/Elektra "remastered" this song and (for some reason) rearranged the verses
(?!?). This is the original (and complete) 1975 version from "One of These Nights."]
TIP: Don't be put off by all the chords--a lot of it is just twinkly bits. They're
correct, and easy to play, but can be skipped without effect. Remember chords in
brackets are meant to be struck just once.
TIP: And don't sweat the (GF#) which is super easy. Just slide your bottom finger down
one fret. Or lift off completely and just cover the bottom string/2nd fret.
TIP: In the chorus it's "And (D) your (Em) smi-(Bm)-le . . ." That (D) might catch you
off guard. You can skip that (D) if you want and just carry forward the preceding (G).
And if you don't like that (Bm) - which only appears in the chorus - you can play a (D)
instead but the (Bm) really does sound better.
INTRO: G GF# C, Am D7 G D
G GF# C
City girls just seem to find out early,
Am Am7 D7
How to open doors with just a smile.
G GF# C
A rich old man, and she won't have to worry.
Am G G
She'll dress up all in lace, and go in style.
GF# C
Late at night, a big old house gets lonely.
Am D7
I guess every form of refuge has its price.
G GF# C
And it breaks her heart, to think her love is only,
Am C G G C D
Given to a man with hands as cold as ice.
G GF# C
So she tells him she must go out for the evening,
Am Am7 D7
To comfort an old friend who's feelin' down.
G GF# C
But he knows where she's goin' as she's leavin'.
Am C G D |G|
She is headed for the cheatin' side of town.
NC G C G C-G
You can't hii-ide your lyin' eyes.
D Em Bm Am D
And your smi-ile is a thin disguise.
Gadd G7 C A
I thought by now- -ow you'd realize,
Am D G D C C, Am D G, D
There ain't no way to hide your lyin' eyes.
G GF# C
On the other side of town a boy is waiting,
Am D
With fiery eyes and dreams no one could steal.
G GF# C
She drives on through the night anticipating.
Am C G D
'Cause he makes her feel the way she used to feel.
G GF# C
She rushes to his arms, they fall together.
Am D7
She whispers that it's only for a while.
G GF# C
She swears that soon she'll be comin' back forever.
Am C G C-|G|
She pulls away and leaves him with a smile.
NC G C G C-G
D Em Bm Am D
Gadd G7 C A
Am D G D C C, Am D G, D
GF# C
She gets up and pours herself a strong one,
Am Am7 D7
And stares out at the stars up in the sky.
G GF# C
Another night, it's gonna be a long one.
Am C G D
She draws the shade and hangs her head to cry.
G GF# C
She wonders how it ever got this crazy.
Am C D
She thinks about a boy she knew in school.
G GF# C
Did she get tired or did she just get lazy?
Am C G D
She's so far gone she feels just like a fool.
G GF# C
My oh my, you sure know how to arrange things.
Am Am7 D7
You set it up so well so carefully.
G GF# C
Ain't it funny how your new life, didn't change things.
Am C G C |G|
You're still the same old girl you used to be.
NC G C G C-G
D Em Bm Am D
Gadd G7 C A
Am D G D
Am D G D
Am D G G Am D <slow down> |G|, |C|-|G|-|D|-|C|-|G|
Honey you can't hide your lyin' eyes.

MAGGIE MAY - Rod Stewart
(Quittenton/Stewart)
https://www.youtube.com/watch?v=pj2EQRLm7Vc (Capo 0)
INTRO: D Em G D, D Em G D
A G D D
Wake up Maggie I think I got something to say to you.
A G D D
It's late September and I really should be back at school.
G D G A
I know I, keep you amused, but I feel I'm being used.
Em F#m Em
Oh Maggie I couldn't have tried, anymore.
Em A Em A
You led me away from home, just to save you from being alone.
Em A D D
You stole my heart, and that's what really hurts.
A G D D
The mornin' sun when it's in your face really shows your age.
A G D D
But that don't worry me none in my eyes you're everything.
G D G A
I laughed at all of your jokes, my love you didn't need to coax.
Em F#m Em
Oh Maggie I couldn't have tried, anymore.
Em A Em A
You led me away from home, just to save you from being alone.
Em A D D
You stole my soul and that's a pain I can do without.
A G D D
All I needed was a friend, to lend, a guiding hand.
A G D D
But you turned into a lover and mother what a lover you wore me out.
G D G A
All you did was wreck my bed, and in the morning kick me in the head.
Em F#m Em
Oh Maggie I couldn't have tried anymore.
Em A Em A
You led me away from home, 'cause you didn't wanna be alone.
Em A D D
You stole my heart I couldn't leave you if I tried.
Em A D G Em G D D
A G D D
I suppose I could collect my books and get on back to school.
A G D D
Or steal my daddy's cue and make a living out of playing pool.
G D G A
Or find myself a rock 'n' roll band, that needs a helpin' hand.
Em F#m Em
Oh Maggie I wished I'd never, seen your face.
Em A Em A
You made a first class fool out of me, but I'm as blind as a fool can be.
Em A D D
You stole my heart but I love you anyway.
Em A D G Em G D D, Em A D G Em G <mandolin> D Em G D <play 5 times>
D Em G D D Em G D
Maggie, I wished I'd, never seen your face.
D Em G D Em G D
I'll get on back, home, one of these, day-ay-ays. Ooh ooh ooh.
D Em G D, D Em G D, |D|
MAGNOLIA WIND - John Prine & Emmylou Harris
(Clark/Camp)
https://www.youtube.com/watch?v=eCLZnCiH_k0 (Capo 4)
INTRO: A
E
I'd rather sleep in a box, like a bum on the street,
D E
Than a fine feather bed, without your little ol' cold feet.
A A E
And I'd rather be deaf, dumb and stone blind,
D E A
Than to know that your mornings, will never be mine.
E
And I'd rather die young, than to live without you.
D E
And I'd rather go hungry, than to eat lonesome stew.
A E
You know it's once in a lifetime, and it won't come again.
D E A
It's here and it's gone, on a magnolia wind.
G D A
And I'd rather not walk, through the garden again,
E A
If I can't catch your scent, on a magnolia wind.
<mandolin> A, E, D; D D D E <harmonium> E A E D, E A
E
If it ever comes time, that it comes time to go,
D E
Pack up your fiddles, Sis' pack up your bow.
A A E
If I can't dance with you, then I won't dance at all.
D E A
I'll just sit this one out, with my back to the wall.
G D A
And I'd rather not hear, pretty music again,
E A A A E
If I can't get your hopes, on a magnolia wind.
D E A A |A|
If I can't catch your scent, on a magnolia wind.
(John Prine) (Emmylou Harris) (Artist Index) - (Main Index) - (Song Index) (This Song)
MAMA HE’S CRAZY – The Judds
(Odell)
https://www.youtube.com/watch?v=21Zs5mOluV4 (Capo 0)
INTRO: <gently> G C, G C, G C, G C
G C
Mama, I found someone. Like you said would come along.
G D
He's a sight, so unlike, any man I've known.
G C
I was afraid, to let him in, 'cause I'm not the trustin' kind.
G D7 |G|
But now I'm convinced, that he's heaven sent, and must, be out of his mind. <pause>
NC C
Mama he's crazy. Crazy over me.
G D
And in my life, is where he says, he always wants to be.
G C
I've never been so loved. He beats all I've ever seen.
Am7 G D7 G D G, G C G, D
Mama he's crazy. He's crazy over me.
G C
And Mama, you've always said, "Better look before you leap."
G D
Maybe so, but here I go. Lettin'-my heart lead me.
G C
He thinks I hung, the moon and stars. I think he's a livin' dream.
G D D7 G
Well there are men, but ones like him, are few and far between.
NC C
Mama he's crazy. Crazy over me.
G D
And in my life, is where he says, he always wants to be.
G C
I've never been so loved. He beats all I've ever seen.
Am7 G D7 G
Mama he's crazy. He's crazy over me.
C G D7 G C G C G, D-C-G
Oh, and Mama he's crazy. He's crazy over me.
MAMAS DON’T LET YOUR BABIES GROW UP TO BE COWBOYS
Waylon Jennings/Willie Nelson
(Bruce)
https://www.youtube.com/watch?v=RePtDvh4Yq4 (Capo 0)
[A version in the key of [C] follows which avoids the (B7).]
INTRO: D
G
Cowboys ain't easy to love and they're harder to hold.
A7 A D
They'd rather give you a song than diamonds or gold.
G
Lonestar belt buckles and old faded Levis and each night begins a new day.
A7 A A7 D
If you don't understand him, and he don't die young, he'll prob'ly just ride away.
G
Mamas, don't let your babies grow up to be cowboys.
A7 A
Don't let 'em pick guitars or drive them old trucks.
D
Let 'em be doctors and lawyers and such.
G
A7 A A7 D
Cuz they'll never stay home and they're always alone, even with someone they love.
<key change>
E A
Cowboys like smokey old pool rooms and clear mountain mornings.
B7 E
Little warm puppies and children and girls of the night.
Them that don't know him won't like him and them that do
A
Sometimes won't know how to take him.
B7
He ain't wrong he's just different but his pride won't let him
E
Do things to make you think he's right.
A
B7
E
A
B7 E
A
B7
E
A
B7 E A E
MAMAS DON’T LET YOUR BABIES GROW UP TO BE COWBOYS
Waylon Jennings/Willie Nelson
(Bruce)
https://www.youtube.com/watch?v=RePtDvh4Yq4 (Capo 2)
INTRO: C
F
Cowboys ain't easy to love and they're harder to hold.
G7 G C
They'd rather give you a song than diamonds or gold.
F
Lonestar belt buckles and old faded Levis and each night begins a new day.
G7 G G7 C
If you don't understand him, and he don't die young, he'll prob'ly just ride away.
F
G7 G
C
F
G7 G G7 C
<key change>
D G
Cowboys like smokey old pool rooms and clear mountain mornings.
A7 A D
Little warm puppies and children and girls of the 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 his pride won't let him
D
Do things to make you think he's right.
G
A7 A
D
G
A7 A A7 D
G
A7 A
D
G
A7 A A7 D G D
MAMA TRIED
Merle Haggard
https://www.youtube.com/watch?v=ZkQzP9D6vyg (Capo 0)(MC0)
TIP: There's a lone (Bm) in the chorus that'll catch you out if you're not ready for it.
INTRO: D G-D, D G-D; |D|, |D|, |D|-|D|
NC D G D G
First thing I remember knowin, was a lonesome whistle blowin,
D G A
And a young-un's dream of growin up to ride.
D G D G
On a freight train leaving town, not knowin' where I'm bound.
D A7 D
No one could change my mind but Mama tried.
G D G
One and only rebel child, from a family meek and mild.
D G A
My Mama seemed to know what lay in store.
D G D G
Despite all my Sunday learnin, towards the bad I kept on turnin,
D A7 D
Til Mama couldn't hold me anymore.
D7 G D
And I turned twenty-one in prison doing life without parole.
Bm A A7
No one could steer me right but Mama tried, Mama tried.
D D7 G D
Mama tried to raise me better, but her pleading I denied.
A7 D
That leaves only me to blame 'cuz Mama tried.
|D|,|D|, G; D A D
G D G
Dear old Daddy rest his soul, left my Mom a heavy load.
D G A
She tried so very hard to fill his shoes.
D G D G
Working hours without rest, wanted me to have the best.
D A7 D
She tried to raise me right but I refused.
D7 G D
And I turned twenty-one in prison doing life without parole.
Bm A A7
No one could steer me right but Mama tried, Mama tried.
D D7 G D
Mama tried to raise me better, but her pleading I denied.
A7 D
That leaves only me to blame 'cuz Mama tried.
OUTRO: D G-D, D G-D; |D|, |D|, |D|-|D|
MAN ON THE MOON - R.E.M.
https://www.youtube.com/watch?v=dLxpNiF0YKs (Capo 0)
TIP: The intro is bass-focused so start wtih a (C/G) which is just (C) with the top
string bass note <g> covered.
TIP: A couple of lines in the verse are sung up-inflection (like "Monopoly") and are so
indicated by <up>.
TIP: For some reason (or at least for me) you may have a hard finding the right note to
start singing the verse after coming off the preceding (D) in the chorus and instrumental
bridge. It's not note <c> in chord (C); it's note <g>, the open 3rd string in chord (C).
You'll have to concentrate on note <a> in the preceding (D) and mentally prepare to drop
your voice down one note to start on note <g> with the (C) or everything will be off.
You can thank Stipe for that.
INTRO: C/G Am-D C C, C D C C
D C
Mott the Hoople and the game of Life. Yeah yeah yeah yeah.
D C
Andy Kaufman in the wrestling match. Yeah yeah yeah yeah.
D C
Mon- <up> -opoly Twenty-One checkers and chess. Yeah yeah yeah yeah.
D C
Mister Fred Blassie in a breakfast mess. Yeah yeah yeah yeah.
D C
<up> Let's play Twister, let's play Risk. Yeah yeah yeah yeah.
D C
See you in heaven if you make the list. Yeah yeah yeah yeah.
Am G Am G
Now Andy did you hear about this one? Tell me are you locked in the punch?
Am G C D
Andy are you goofing on Elvis hey baby. Are we losing touch?
G Am C G Am D
If you believe, they put a man on the moon, man on the moon.
G Am C Am D
If you believe, there's nothing up his sleeve, then nothing is cool.
C D C
Moses went walking with the staff of wood. Yeah yeah yeah yeah.
D C
Newton got beaned by the apple good. Yeah yeah yeah yeah.
D C
<up> Egypt was troubled by the horrible asp. Yeah yeah yeah yeah.
D C
Mister Charles Darwin had the gall to ask. Yeah yeah yeah yeah.
Am G Am G
Am G C D
Hey Andy are you goofing on Elvis hey baby. Are we losing touch?
G Am C G Am D
G Am C Am D
Em, D, Em, D, Em, D, D
C D C
Here's a little agit for the never believer. Yeah yeah yeah yeah.
D C
Here's a little ghost for the offering. Yeah yeah yeah yeah.
D C
<up> Here's a truck stop instead of Saint Peter's. Yeah yeah yeah yeah.
D C
Mister Andy Kaufman's gone wrest-eling. Yeah yeah yeah yeah.
Am G Am G
Am G C D
Andy are you goofing on Elvis hey baby. Are we losing touch?
G Am C G Am D
G Am C Am D
G Am C G Am D
G Am C Am
G Am C G Am D
G Am C Am |Em|

MANIC MONDAY - The Bangles
(Prince)
https://www.youtube.com/watch?v=SsmVgoXDq2w (Capo 0)
INTRO: D G Em Em D, G; D G Em Em D, G |D|
D Em D
Six o'clock already I was just in the middle of a dream.
D Em D
I was kissin' Valentino by a crystal blue Italian stream.
D Em D
But I can't be late cause then I guess I just won't get paid.
D A D
These are the days when you wish your bed was already made.
|A| D G Em D G
It's just another manic Monday. I wish it was Sunday.
Em D G Em D
'Cause that's my fun day. My I don't have to run day.
A7 D
It's just another manic Monday.
Em D
Have to catch an early train got to be to work by nine.
D Em D
And if I had an air-o-plane I still couldn't make it on time.
D Em D
'Cause it takes me so long just to figure out what I'm gonna wear.
D A D
Blame it on the train but the boss is already there.
|A| D G Em D G
Em D G Em D
A7 D
It's just another manic Monday.
Bm E
All of the nights why did my lover have to pick last night to get down?
G A Bm
Doesn't it matter that I have to feed the both of us employment's down.
G E A A7
He tells me in his bedroom voice, 'C'mon honey, let's go make some noise.'
Time it goes so fast.

|A| D G Em D G
Em D G Em D
G A D G Em D G
Em D G A D D D D D |D|
'Cause that's my fun day. It’s just another manic Monday.
(The Bangles) (Artist Index) - (Main Index) - (Song Index) (This Song)
MARGARITAVILLE
Jimmy Buffett
https://www.youtube.com/watch?v=ue2-ZVxpVjc (Capo 0)
INTRO: D, D, G-G-G-G G-A-D
Nibblin’ on sponge cake, watchin’ the sun bake,

A
All of those tourists covered with oil.
Strummin’ my six string, on my front porch swing.

D D7
Smell of shrimp dip beginning to boil.
G A D D7
Wastin’ away again in Margaritaville.
G A D D7
Searchin' for my-y lost shaker of salt.
G A D G
Some people claim that there’s a wo-man to blame,
A D D-A-D
But I know, it’s nobodys fault.
Don’t know the reason, stayed here all season.

A
Nothin’ to show but this brand new tattoo.
But it’s a real beauty, a Mexican cutie,

D D7
How it got here I haven’t a clue.
G A D D7
G A D D7
G A D G
A D D-A-D
Now I think, “Hell it could be my fault.
D, D, D D A; G A, D A G; A, D
I blew out my flip flop, stepped on a pop top.

A
Cut my heel had to cruise on back home.
But there’s booze in the blender, and soon it will render,

D D7
That frozen concoction that helps me hang on.
G A D D7
G A D D7
G A D G
A D D-A-D
But I know, it’s my own damn fault.
G A D G
Yes and, some people claim that there’s a wo-man to blame.
A D D, G-G-G-G, G-A-D, |D|
And I know, it’s my own damned fault.
THE MARVELOUS TOY - Peter, Paul, and Mary
(Paxton)
https://www.youtube.com/watch?v=LRQrZz9czec (Capo 0)
TIP: In different versions, even by Peter, Paul, and Mary themselves, the end of the
first line of each verse (e.g., "joy", "surprise", "chair") ends in either a down-
inflection on note <e>, which is covered by (A), or up-inflection on note <g> which is
covered by a (G). Just depends on which version.
INTRO: D, D, D, A, D, A, G, D, E, A
D A D A
When I was just a wee little lad, full of health and joy,
G D E A
My father homeward came one night and gave to me a toy.
D A D G
A wonder to behold it was with many colors bright.
D E A
And the moment I laid eyes on it it became my heart's delight.
D A7 D G
It went "zip" when it moved and "bop" when it stopped and "whirr" when it stood still.
D A7 D D
I never knew just what it was and I guess I never will.
A D A
The first time that I picked it up, I had a big surprise,
G D E A
Cuz right on its bottom were two big buttons that looked like big green eyes.
D A D G
I first pushed one and then the other, and then I twisted its lid.
D E A
And when I set it down again, here is what it did:
D A7 D G
D A7 D D
A D A
It first marched left and then marched right, and then marched under a chair.
G D E A
And when I looked where it had gone, it wasn't even there.
D A D G
I started to cry and my daddy laughed, cuz he knew that I would find,
D E A
When I turned around my marvelous toy would be chugging from behind.
D A7 D G
D A7 D D
G D G D A D D
<slightly slower>
|D| |A| |D| |A|

The years have gone by too quickly it seems. I have my own little boy.
|G| |D| |E| |A|
And yesterday I gave to him my marvelous little toy.
<Back to normal tempo>
D A D G
His . . . eyes nearly popped right out of his head, and he gave a squeal of glee.
D E A
Neither-one-of-us-knows just what it is but he loves it just like me.
D A7
It still goes "zip" when it moved and "bop" when it stopped
D G
And "whirr" when it stands still.
D A7 D |D|
(Peter, Paul and Mary) (Kid Friendly) (Artist Index)

MARY DANCED WITH SOLDIERS - Emmylou Harris
(Kennerly)
https://www.youtube.com/watch?v=RjiBgK1s7Q8 (Capo 1)
[Afterwards there's a version in [G] which may be easier to play as it avoids the (Bb)
although to play with the recording you have to capo at the 6th fret.]
TIP: I normally avoid the (Bb) like Ebola but for some reason I find it playable here.
Maybe because this is my favorite Emmylou song and I'm trying extra hard.
INTRO: <spoken softly> One, two, three, four. <strum> C, C-C, C
F G C
She'd slip away each day with the dimming light.
F G C
And with the sweetest smile she'd kiss the child goodnight.
F G C
At the mill she worked her fingers till they were raw.
Bb G C
For the sake of her son and the daddy he never saw.
F C F G C
Mary danced with soldiers, she stepped a light quadrille.
F C G C F C G C
Shawl across her shoulders, to keep away the chill, to keep away the chill.
F G C
It was a rebel boy who brought her joy they say.
F G C
Though the years had passed-the-memories stood fast each day.
F G C
Before a bullet crushed the life of their romance,
Bb G C
He gave her a shawl and a parasol from France.
F C F G C
F C G C F C G C
Bb Bb Am F; G, C F C C-G
C F G C
They came around to the tavern in town that night.
F G C
And with silent cries Mary never tried to fight.
F G C
They cut her hair and left her body torn.
Bb G C
Her spirit slipped away before the dawn.
F C F G C
Mary danced with soldiers, but now her body’s still.
F C G C
Shawl across her shoulders, to keep away the chill.
F C F G C
F C G C F C G C
Shawl across her shoulders, to keep away the chill-ill, to keep away the chill.
(Emmylou Harris) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
MARY DANCED WITH SOLDIERS - Emmylou Harris
(Kennerly)
https://www.youtube.com/watch?v=RjiBgK1s7Q8 (Capo 6)
INTRO: <spoken softly> One, two, three, four. <strum> G, G-G, G
C D G
She'd slip away each day with the dimming light.
C D G
And with the sweetest smile she'd kiss the child goodnight.
C D G
At the mill she worked her fingers till they were raw.
F D G
For the sake of her son and the daddy he never saw.
C G C D G
C G D G C G D G
C D G
It was a rebel boy who brought her joy they say.
C D G
Though the years had passed-the-memories stood fast each day.
C D G
Before a bullet crushed the life of their romance,
F D G
He gave her a shawl and a parasol from France.
C G C D G
C G D G C G D G
F F Em C; D, G C C D
G C D G
They came around to the tavern in town that night.
C D G
And with silent cries Mary never tried to fight.
C D G
They cut her hair and left her body torn.
F D G
Her spirit slipped away before the dawn.
C G C D G
Mary danced with soldiers, but now her body’s still.
C G D G
Shawl across her shoulders, to keep away the chill.
C G C D G
C G D G C G D G
Shawl across her shoulders, to keep away the chill-ill, to keep away the chill.
(Emmylou Harris) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
MAXWELL’S SILVER HAMMER - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=mJag19WoAe0 (Capo 2)
TIP: Chords in |brackets| mean strum once and let sustain so at the end of the verse
strum |D| once and then |G7| once before resuming a normal strumming patter with the (G7)
at the end of the line. If you'd rather strum the whole line there's a (D7) in there
between the two as in "But (D) as she's getting (D7) ready to go, a (G7) knock comes on
the door."
TIP: The only real tricky bits are the bridges (horn parts) and that's just knowing when
to move from one chord to the next. To play the (C7) from the (Am) just slide your ring
finger into the 4th fret and don't worry about the 5th string <c>.
C A7 Dm
Joan was quizzical, studied pataphysical science in the home.
G7 C G
Late nights all alone with a test tube. Oh, oh oh oh.
C A7 Dm
Maxwell Edison, majoring in medicine calls her on the phone.
G7 C G
"Can I take you out to the pictures, Joa, oa-oa-oan?"
|D| |G7| G7
But as she's getting ready to go, a knock comes on the door.
C D7
Bang bang Maxwell's silver hammer came down upon her head.
G7 Dm G C |C|-|C|
Clang clang Maxwell's silver hammer made sure that she was dead.
C E7 Am C7, F F G C
A7 Dm
Back in school again Maxwell plays the fool again. Teacher gets annoyed.
G7 C G
Wishing to avoid an unpleasant sce-, -e-e-ene.
C A7 Dm
She tells Max to stay when the class has gone away so he waits behind.
G7 C G
Writing fifty times "I must not be so, oh-oh-oh."
|D| |G7| G7
But when she turns her back on the boy, he creeps up from behind.
C D7
G7 Dm G
Clang clang Maxwell's silver hammer made sure that she was dead.
C, D, G, Dm G C, C E Am C7 F F G C
A7 Dm
P.C. Thirty-One, said "We've caught a dirty one" Maxwell stands alone.
G7 C G
Painting testimonial pictures oh, oh-oh-oh.
C A7 Dm
Rose and Valerie, screaming from the gallery, say he must go free (Maxwell must go free).
G7 C G
The judge does not agree and he tells them so, oh-oh-oh.
|D| |G7| G7
But as the words are leaving his lips, a noise comes from behind.
C D7
G7 Dm G
Clang clang Maxwell's silver hammer made sure that she was dead. Whoa whoa-oh.
C, D7, G7, F F G C C E Am C7 F-F-F-F-F, G-G-G-C

Sil ver Ham mer.
MAYBE BABY – Buddy Holly
(Hardin/Petty)
https://www.youtube.com/watch?v=XR6BtPqED4k (Capo 0)
INTRO: |A|-|A|-|A|-|A|-|A|-|A|-|A|-|A| - F#m
|A|-|A|-|A|-|A|-|A|-|A|-|A|-|A| - F#m
|A|-|A|-|A|-|A|-|A|-|A|-|A| - D E A D A-E
A F#m A F#m
Maybe baby, I'll have you. Maybe baby, you'll be true.
A F#m E A D E
Maybe baby, I'll have you for me.
A F#m A F#m
It's funny honey, you don't care. You never listen, to my prayer.
A F#m E A D A
Maybe baby, you will love me someday.
D A
Well you are the one that, makes me glad, and you are the one that, makes me sad.
D E
When someday, you want me well I'll be there, wait and see.
A F#m A F#m
A F#m E A D E
Maybe baby, I'll have you for me.
A x 7 F#m
Bupbudderup bup bupbudderup bup bah dah dum;
A x 7 F#m
Bupbudderup bup bupbudderup bup bah dah dum;
A x 7 F#m A D A
Bupbudderup bup bupbudderup bup bah dah dum; ohh ohh ohh.
D A
Well you are the one that, makes me glad, and you are the one that, makes me sad.
D E
When someday, you want me well I'll be there, wait and see.
A F#m A F#m
A F#m E A D E A F#m E A D A |A|
Maybe baby, I'll have you for me. Maybe baby, I’ll have you for me.
(Buddy Holly) (Artist Index) - (Main Index) - (Song Index) (This Song)
MAYBE IT'S TIME - Bradley Cooper
(Isbell)
https://www.youtube.com/watch?v=RdljoTFMhO4 (Capo 0)
INTRO: G, G
C G
Maybe it's time to let the old ways die. Maybe it's time to let the old ways die.
C G D Em
It takes a lot to change a man hell it takes a lot to try.
D C G
Maybe it's time to let the old ways die.
C G
Nobody knows what awaits for the dead. Nobody knows what awaits for the dead.
C G D Em
Some folks just believe in the things they've heard and the thing they read.
D C G
Nobody knows what awaits for the dead.
C G
I'm glad I can't go back to where I came from.
C G
I'm glad those days are gone, gone for good.
C G D Em
But if I could take spirits from my past and bring-'em-here,
D C
You know I wou-ould, you know I would.
G C G
Nobody speaks to God these days. Nobody speaks to God these days.
C G D Em
I'd like to think he's lookin' down and laughin' at our ways.
D C G
Nobody speaks to God these days.
C G
When I was a child they tried to fool me.
C G
Said the worldly man was lost and that the hell was real.
C G D Em D
Well I've seen hell in Reno, and this world's one big ol' Catherine wheel,
C
Spinnin' still.
G C G
Maybe it's time to let the old ways die. Maybe it's time to let the old ways die.
C G D Em
It takes a lot to change your plans and a train to change your mind.
D C G D C G
Maybe it's time to let the old ways die. Oh-oh maybe it's time to let the old ways die.
(Bradley Cooper) (Artist Index) - (Main Index) - (Song Index) (This Song)
MAY IT BE – Enya
(Bhraonáin/Tolkein)
https://www.youtube.com/watch?v=i7MLT4MmAK8 (Capo 2)
TIP: To emulate Enya's ethereal quality try strumming the chords not over the soundhole
but over the fretboard where it joins the upper bout (14th or 12th fret). Also strum
very sparingly, perhaps even one strum per chord at the place indicated.
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.
INTRO: <very gently strum> G
NC Em C G D
May it be, an evening star, shines down upon you.
Em C G D
May it be, when darkness falls, your heart, will be true.
C G Am D
You-ou walk, a lonely road. Oh how far, you are from home.
G Em C Am D
Mor, nee ay, ooh too, lee aay-aay.
G D C D
Believe, and you will-ill find your way.
G Em C Am D
Mor-or nee ay, ah lahn, tee aay-ayy.
Em C D G
A prom - ise lives, within you, now.
Em C G D
May it be, the shadows call, will fly-y away.
Em C G D
May it be, you journey on, to li-ight the day.
C G Am D
When the night, is overcome, you may rise, to find the sun.
G Em C Am D
Mor, nee ay, ooh too, lee aay-aay.
G D C D
Believe, and you will-ill find your way.
G Em C Am D
Mor-or nee ay, ah lahn, tee aay-ayy.
Em C D G
A prom - ise lives, within you, now.
Em C D Gadd
A prom - ise lives, within you . . . now.
(Enya) (Artist Index) - (Main Index) - (Song Index) (This Song)

MAY THE BIRD OF PARADISE FLY UP YOUR NOSE
Little Jimmy Dickens
(Merritt)
https://www.youtube.com/watch?v=pkgkWpyVLfg (Capo 2)
INTRO: D
A7 D
One fine day as I was a walkin' down the street,
A
Spied a beggar man with rags upon his feet.
D |D| |G|
Took a penny from my pocket, in his tin cup I did drop it,
D A D
And I heard him say as I made my retreat:
"May the bird of paradise fly up your nose.

A
May an elephant caress you with his toes.
D G
May your wife be plagued with runners in her hose.
D A D D G D
May the bird of paradise fly up your nose."
A7 D
My laundry man is really on his toes,
A
Found a hundred-dollar bill among my clothes.
D |D| |G|
When he called me I came a runnin', gave him back his dime for phonin'.
D A D
And I heard him sayin' as I turned to go:

A
D G
D A D D . . .
A7 D
I was way behind one day to catch the train.
A
The taxi driver said "We'll make it just the same."
D |D| |G| A
The speed cop made it with us, and as he wrote out the ticket,
D A D
I stood by politely awaitin' for my change.
A
D G
D A D

A
D G
D A D |A|-|D|
(Little Jimmy Dickens) (Kid Friendly) (Artist Index)

ME AND BOBBY MCGEE – Kris Kristofferson/Janis Joplin
(Kristofferson)
https://www.youtube.com/watch?v=G-J7mLyD3yc (Kris)(Capo 2)
https://www.youtube.com/watch?v=WXV_QjenbDw (Janis)(Capo 0)
TIP: Kris and Janis sing the song much differently although the lyrics are similar. The
presentation here is based on Janis' version. Play the first three lines (through "New
Orleans") with a restrained strum and then bust it loose with the (C)-(G). Great song,
towel off when you're finished.
TIP: You just have to know how Janis sings all the “la da da’s” at the end. There's a
long outro (the piano part) before the final line in which you play a full (E7) chord
(last diagram) in which all you do is play an (E) and add the pinky to the 2nd
string/3rd fret.
INTRO: G C G, C-G
Busted flat in Baton Rouge, waitin' for a train.

D7
And-I-was feelin' near as faded as my jeans.
Bobby thumbed a diesel down, just before it rained,

G C-G
And rode us all the way to New Orleans.
I pulled my harpoon, and my dirty red bandana.

G7 C
I was playin' soft while Bobby sang the blues, nah-hah.
G
Windshield wipers slappin' time I was, holdin' Bobby's hand in mine,
D7 D
And we sang every song that driver knew.
C G
Freedom's just another word for nothin' left to lose.
D7 G
Nothin', don't mean nothin' hon' if it ain't free, no no.
C G
And feelin' good was easy Lor-hord, when he sang the blues.
D7 D
You know feelin' good was good enough for me.
D7 G A
Good enough for me and my Bobby McGee.
From the Kentucky coal mine, to the California sun.

E7
Yeah Bobby shared the secrets of my soul.
Through all kinds of weather, through everything we done.
E A
Yeah Bobby baby kept me from the cold world.
One day up near Salinas no-oh, I let him slip away.

A7 D
He's lookin' for that home and I hope he finds it.
A
But I'd trade all of my tomorrows, for one single yesterday.
E7 E
To be holdin' Bobby's body next to mine.
D A
Freedom's just another word for nothin' left to lose.
E7 A
Nothin', and that’s all that Bobby left me, yeah.
D A
But if feelin' good was easy Lor-hord, when he sang the blues.
E7 E
Hey feelin' good was good enough for me, mm-hmm.
E7 A
Good enough for me and my Bobby McGee.
La da-da, la da da-da. La da-da, da da da da. La da da da da da Bobby McGee, yeah.

E7
La da da da da-da. La da da da-da. La da da da da da Bobby McGee, yeah.
La da-da, La la la la la la la la. La la la la la la la la la.

E7
Hey my Bobby oh my Bobby McGee yeah.
La la la la la la la la. La la la la la la la la la.
A
Hey my Bobby oh my Bobby McGee 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.

E7
Hey now Bobby now. Hey now Bobby McGee yeah.
A
Lo lo lo lo lo lo lo lo lo lo lo lo lo. Hey, hey, hey, Bobby McGee lah-ha-oh.
A A A, A A E; E7full E, E7full E, E7full E E A
A A A A E7; E7 E7 E7 A; A A A E7
E A |A|
Lo lo lo lo lo lo lo lo lo lo lo lo lo. Hey, hey, hey, Bobby McGee.
(Kris Kristofferson)(Janis Joplin)

(Artist Index) - (Main Index) - (Song Index) (This Song)
ME AND JULIO DOWN BY THE SCHOOLYARD
Paul Simon
https://www.youtube.com/watch?v=JVdlpZ4M-Hw (Capo 2)
TIP: In the chorus, "Rosie" is sung in three syllables, "Ro-oh-sie" with an up-
inflection on the second. Hold the preceding (D) through the first syllable and shift to
the (C) on the second.
INTRO: G D G D, G D G D, G D G D, G D G D
G C G D G C G D, G C G D
G C C
The mama pajama rolled outa bed and she ran to the police station.
D G |G|
When the papa found out he began to shout and he started the investigation.
NC D G
It's against the law. It was against the law.
D G
What the mama saw, it was against the law.
C
The mama looked down and spit on the ground every time my name gets mentioned.
D G |G|
Papa said 'Oy if I get that boy I'm gonna stick him in the house of detention.'
NC C G
Well I'm on my way. I don't know where I'm going.
C G D
I'm on my way. I'm takin' my time but I don't know where.
C G
Goodbye to Ro-oh-sie the Queen of Corona.
F C D G C G D
See me and Julio down by the school yard.
G F C D G C G D
C G; G C G D; C G; G F C D G, C G D; G F C D G, C G D |D|
G C C
Whoa oh in a couple of days they gonna take me away but the press let the story leak.
D G
And when the radical priest come to get me released we was all on the cover of Newsweek.
C G
And I'm on my way. I don't know where I'm going.
C G D
I'm on my way. I'm takin' my time but I don't know where.
C G
Goodbye to Ro-oh-sie the Queen of Corona.
F C D G C G D
G F C D G C G D
G F C D G C G D
<bottom 4 strings> G C G D, G C G D, G C G D
<all strings> 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 C G D, G C, G D
G C G D, |G|
ME AND YOU AND A DOG NAMED BOO – Lobo
(LaVoie)
https://www.youtube.com/watch?v=aTbBvPoxUkk (Capo 4)
[Afterwards in [G] which is a little easier to play but it won't match the recording.]
TIP: For the intro, three strums of (D), add your pinky to the bottom string/3rd fret,
lift the pinky to get back to (D), and lift off the bottom finger to play (Dsus2). So
(D) - on with the pinky - off with the pinky - off with the bottom finger. The same
sequence repeats after the chorus. In both cases the first beat of the (D) or (G) comes
on the last syllable of the trailing line.
INTRO: D-D-D-D4-D-Dsus2, D-D-D-D4-D-Dsus2, D-D-D-D4-D-Dsus2, D-D-D-D4-D-Dsus2
D G A D
I remember to this day, the bright red Georgia clay.
D A
And how it stuck to the tires, after the summer rain.
D G A D
Will power made that old car go. A woman's mind told me that so.
C G -G-G-G-G-A, G-G-G-G-G-A
Oh how I wish we were, back on the road again.
G A D G A D
Me and you and a dog named Boo. Travellin' and livin' off the land.
G A D
Me and you and a dog named Boo
C G D -D-D-D4-D-Dsus2, D-D-D-D4-D-Dsus2
How I love bein' a free-ee man.
D G A D
Now I can still recall, the wheat fields of Saint Paul.
D A
And the morning we got caught, robbing from an old hen.
D G A D
Old McDonald he made us work, but then he paid us for what it was worth.
C G -G-G-G-G-A
Another tank of gas and, back on the road again.
G A D G A D
G A D
C G D -D-D-D4-D-Dsus2, D-D-D-D4-D-Dsus2
How I love bein' a free man.
D G D
Now I'll never forget the day, we motored stately into, big L. A.
A
The lights of the city put settlin' down in my brain.
D G A D
Though-it's-only been a month or so, that old car's buggin' us to go.
C G -G-G-G-G-A
We've gotta get away and get, back on the road again.
G A D G A D
G A D C G D
Me and you and a dog named Boo how I love bein' a free man.
G A D G A D
G A D C G D
G A D G A D
G A D C G D |D|
(Lobo) (Artist Index) - (Main Index) - (Song Index) (This Song)

ME AND YOU AND A DOG NAMED BOO – Lobo
(LaVoie)
TIP: The move from (C) to (Cmaj7) comes naturally, just stroke up as you lift off the
(C) on the way to the (D). It's like you're not really playing the (Cmaj7) at all. And
the 6-count (G) and (C) sequence is played exactly as in the version above.
INTRO: G-G-G-C-Cmaj7-D, G-G-G-C-Cmaj7-D, G-G-G-C-Cmaj7-D, G-G-G-C-Cmaj7-D
G C D G
I remember to this day, the bright red Georgia clay.
D
And how it stuck to the tires, after the summer rain.
G C D G
Will power made that old car go. A woman's mind told me that so.
F C -C-C-C-C-D, C-C-C-C-C-D
Oh how I wish we were, back on the road again.
C D G C D G
C D G
F C G -G-G-C-Cmaj-D, G-G-G-C-Cmaj7-D
How I love bein' a free-ee man.
G C D G
Now I can still recall, the wheat fields of Saint Paul.
G D
And the morning we got caught, robbing from an old hen.
G C D G
Old McDonald he made us work, but then he paid us for what it was worth.
F C -C-C-C-C-D
Another tank of gas and, back on the road again.
C D G C D G
C D G
F C G -G-G-C-Cmaj-D, G-G-G-C-Cmaj7-D
How I love bein' a free man.
G C G
Now I'll never forget the day, we motored stately into, big L. A.
D
The lights of the city put settlin' down in my brain.
G C D G
Though-it's-only been a month or so, that old car's buggin' us to go.
F C -C-C-C-C-D
We've gotta get away and get, back on the road again.
C D G C D G
C D G F C G
Me and you and a dog named Boo how I love bein’ a free man.
C D G C D G
C D G F C G
C D G C D G
C D G F C G -G-G-C-Cmaj7-D |G|
(Lobo) (Artist Index) - (Main Index) - (Song Index) (This Song)

MEAN WOMAN BLUES - Roy Orbison
(DeMetrius)
https://www.youtube.com/watch?v=JBiKfknNZkU (Capo 0)
TIP: The lyrics here are from Roy's original recording which differ slightly from the
version in "Black and White" and from the one performed by Elvis in "Loving You."
TIP: The |A| in brackets means to strike the chord once at that point. So in the
opening line you strike the (A) once and let the sustain run while singing "Mmmmm-mmmmm"
(which begins at middle <a> and sinks down to middle <e>). Resume a strumming pattern at
the next chord in parentheses. Same thing in the verses. And don't forget the growl.
|A| NC A
Mmmmm-mmmmm. Well I got a woman mean as she can be.
A7 D D7 A
Welllll I got a woman mean as she can be.
E7 D A E
Some a times I think she's almost mean as me.
|A| |A|
She gotta ruby lips she got shapely hips yeah.
A
Boy she makes old Roy a-flip.
A
I got a woman, mean as she can be.
A
Some a times I think she's almost, mean as me.
|A| |A|
Yeah well I ain't braggin', it's understood.
|A| A7
Everything I do well I sure do it good yeah.
D A
E7 D A
Some a times I think she's almost mean as me.
A A, D, A, E, A; E7
Wellllll.
|A| |A|
She gotta ruby lips she got shapely hips yeah.
A
Boy she makes old Roy a-flip.
A
A
Some a times I think she's almost, mean as me.
E7 A D A
Easy now a huh-huh a huh. A huh-huh huh. A huh-huh. Whoooo a huh.
E7 D A
A huh-huh. Yeah, yea-yeah.
D A E7 D A
Ahhhhhhhhhhhhh-ah. Oooooooooooh-oooh. <growl> Yeah. Now let's go one time.
Well I got a woman - sha la la la. Yeah I got a woman sha la la la.
D A
Yeah I got a woman sha la la la. Well I got a woman sha la la la.
E7 D A
Some a times I think she's almost mean as me. Sha la la la.
MEDICINE JAR - Paul McCartney & Wings
(McCulloch/Allen)
https://www.youtube.com/watch?v=QyjbVgP4nYo (Capo 0)
TIP: There are very minor variations depending on the recording. This version is from
the live album Wings Over America.
INTRO: Am . . . Am . . .
What's wrong with you? I wish I knew.

Dm Am
You say time will tell. I hope that's true.
Dm
There's more to life than blues and reds.
G E E7 Am
I say I know how you feel now your friends, are, dead.
Dm
Dead on your feet you won't get far
E7 E E7 Am
If you keep on sticking your hand in the medicine in the medicine jar.
Well now don't give up, whatever you do.

Dm Am
You say time will tell, I hope that’s true.
Dm G E E7 Am
If you go down and lose your head I say I know how you feel now your friends, are, dead.
Dm
E7 E E7 Am
If you keep on sticking your hand in the medicine jar.
Am . . . Am . . .
Dm
E7 E E7 Am
Am . . . Am . . . Am Am, Dm Dm; Am Am Dm G E-E7-Am Am
Dm Am
What can I do? I can't let go. You say time will heal, but very slow.
Dm
So don't forget the things you said.
G E E7 Am
I say I know how you feel now your friends, are, dead.
Dm
E7 E Am
Dm
E7 E Am
Dm Am Dm Am
The medicine jar, the medicine jar. Medicine jar, the medicine jar.
Dm Am Dm
The medicine jar, the medicine jar. The medicine jar. Get your hands out.
Am Dm Am Dm Am Dm Am Dm Am Dm Am Dm Am Dm Am Dm Am Dm Am Dm Am Dm
|Am|-|Am|-|Am|, |E7|-Am, |Am|
MEMORIES ARE MADE OF THIS - Dean Martin
(Gilkyson/Dehr/Miller)
https://www.youtube.com/watch?v=mv9PSkNkUfs (Capo 2)
TIP: The (A7-) will always follow the (A7) so all you do is lift the bottom finger on
your way to the (D).
INTRO: D A7
Sweet sweet, memories you gave to me.
D A7
You-can't-beat, the memories you gave to me.
D A7 A7- D A7
Take, one fresh and tender kiss.
D A7 A7- D A7
Add, one stolen night of bliss.
G D A7 D
One girl, one boy, some grief, some joy.
A7 D A7
Memories are, made of this.
D A7 A7- D A7
Don't, forget a small moon beam.
D A7 A7- D A7
Fold, in lightly with a dream.
G D A7 D
Your lips, and mine, two sips, of wine.
A7 D A7
Memories are, made of this.
G D
Then add the wedding bells. One house where lovers dwell.
A7 D D7
Three little kids, for the flavor.
G D
Stir carefully through the days. See how the flavor stays.
E A7 A
These are the dreams, you'll sa-vor.
D A7 A7- D A7
With, His blessings from above.
D A7 A7- D A7
Serve, it generously with love.
G D A7 D
One man, one wife, one love, through life.
A7 D A7 D A7 D |D|
Memories are made of this. Memories are made of this.
(Dean Martin) (Artist Index) - (Main Index) - (Song Index) (This Song)
MEMORY – Elaine Paige/Betty Buckley
(Eliot/Nunn/Webber)
https://www.youtube.com/watch?v=DH_D7z0NwQM (Betty Buckley) (Capo 3)
https://www.youtube.com/watch?v=8gd_ohoPzYc (Elaine Paige) (Capo 3)
[Afterwards is a version in [C] without the key changes that is easier to play although
it won't match either recorded version from Cats.]
TIP: This song is a bit of a nightmare because of the key change. I've changed the
names of the chords to jog the memory as to how to play them.
TIP: There are minor variations in the versions between Elaine and Betty. It's Betty's
(Broadway) intro you see here. The numbers are the strings to pick, all in open (G).
INTRO: G
Em
Mem'ry, turn your face to the moonlight.
C Bm
Let your memory lead you, open up, enter in.
D Am Em Bm
If you find there the meaning of what happiness is,
D C G
Then a new life, will begin.
G Em
Mem'ry, all alone in the moonlight.
C Bm
I can smile at the old days, I was beautiful then.
D Am Em Bm
I remember a time I knew what happiness was.
D C G
Let the memory, live again.
Bm Am Bm Am Bm G D
Burnt out ends of smoky days. The stale cold smell of morning.
Bm A D E A
A streetlamp dies, another night is over. Another day is dawning.
G Em
Daylight, I must wait for the sunrise.
C Bm
I must think of a new life, and I musn't give in.
D Am Em Bm
When the dawn comes, tonight will be a memory too.
D C G
And a new day will begin.
D/A3 Bm3 F4 D/A3
Gm F4 Gm F4 Gm D/A3 Bb
Sunlight through, the trees in summer, endless masquerading.
Gm F Gm C7 F
Like a flower, as the dawn is breaking, the memory is fading.
Bb Gm
Touch me. It's so easy to leave me,
D/A3 Dm
All alone with the memory, of my days in the sun.
Bm3 Gm F
If you touch me, you'll understand what happiness is.
Bb
Look, a new day has begun.
(Elaine Paige)(Betty Buckley) (Artist Index) - (Main Index) - (Song Index)(This Song)
MEMORY – Elaine Paige/Betty Buckley
(Eliot/Nunn/Webber)
TIP: Andrew Lloyd Webber wrote Memory with key changes that makes playing the song
rather messy. Here it is in [C] with the key changes removed.
TIP: There are two intros. The first is before the first verse and the other after the
spoken soliloquy. If you're going to skip the first verse and the spoken bit then just
play the second intro.
TIP: There's a short instrumental bit two-thirds of the way through consisting of six
chords. Eyeball the previous verse and play the chords at the beginning and the end:
(C) Daylight, I must wait for the (Am) sunrise. I must think of a (F) new life . . . (F)
will be (C) gin.
INTRO ONE: C
Am
Daylight, see the dew on the sunflower.
F Em
And the rose that is fading, roses wither away.
G Dm Am Em
Like the sunflower, I yearn to turn my face to the dawn.
G F C
I am waiting, for the day.
<spoken> Now old Deuteronomy, just before dawn, through a silence you feel you could cut
with a knife, announces the cat, who can now be reborn, and come back, to a different,
jellicle life.
INTRO TWO: C
Am
Mem'ry, turn your face to the moonlight.
F Em
Let your memory lead you, open up, enter in.
G Dm Am Em
If you find there the meaning of what happiness is,
G F C
Then a new life, will begin.
C Am
Mem'ry, all alone in the moonlight.
F Em
I can smile at the old days, I was beautiful then.
G Dm Am Em
I remember a time I knew what happiness was.
G F C
Let the memory, live again.
Em Dm Em Dm Em C Bm
Burnt out ends of smoky days. The stale cold smell of morning.
Em D F#m G A D
A streetlamp dies, another night is over. Another day is dawning.
C Am
Daylight, I must wait for the sunrise.
F Em
I must think of a new life, and I musn't give in.
G Dm Am Em
When the dawn comes, tonight will be a memory too.
G F C
And a new day will begin.
C Am, Am F, F C
Em Dm Em Dm Em C Bm
Sunlight through, the trees in summer, endless masquerading.
Em D F#m G A D
Like a flower, as the dawn is breaking, the memory is fading.
C Am
<With gusto> Touch me. It's so easy to leave me,
F Em
All alone with the memory, of my days in the sun.
G Dm Am Em
If you touch me, you'll understand what happiness is.
G F C
Look, a new day has begun.
(Elaine Paige)(Betty Buckley) (Artist Index) - (Main Index) - (Song Index) (This Song)
MERCEDES BENZ – Janis Joplin
(Joplin/McClure/Neuwirth)
https://www.youtube.com/watch?v=Qev-i9-VKlY (Capo 0)
TIP: Janis sings the entire song a cappella but these are the chords that go with her
vocals.
<spoken> “I'd like to do a song of a great social and political import.

It goes like this:”
D G D
<clapping> Oh Lord, won't you buy me, a Mercedes Benz?
A
My friends all drive Porsches, I must make amends.
D G D
Worked hard all my lifetime, no help from my friends.
A D
So oh Lord, won't you buy me, a Mercedes Benz?
G D
Oh Lord, won't you buy me, a color T V?
A
"Dialing for dollars" is trying to find me.
D G D
I wait for delivery, each day until three.
A D
So oh Lord, won't you buy me, a color T V?
G D
Oh Lord, won't you buy me, a night on the town?
A
I'm counting, on you Lord, please don't let me down.
D G D
Prove that you love me and buy the next round.
A D
Oh Lord, won't you buy me, a night on the town?
D G D
Everybody oh Lord, won't you buy me, a Mercedes Benz?
A
My friends all drive Porsches, I must make amends.
D G D
Worked hard all my lifetime, no help from my friends.
A D
So oh Lord, won't you buy me, a Mercedes Benz?
<spoken> “That’s it.” <silly giggle>
(Janis Joplin) (Artist Index) - (Main Index) - (Song Index) (This Song)
MICHAEL ROW THE BOAT ASHORE
The Highwaymen/Peter, Paul & Mary
(Traditional/Saleton)
https://www.youtube.com/watch?v=jRv-fgfLFTk (Highwaymen) (Capo 0)
https://www.youtube.com/watch?v=WrH2qV8NjHw (Peter, Paul & Mary) (Capo 2)
[Two versions here, first for the Highwaymen, and afterwards one for Peter, Paul & Mary
which add some verses the Highwaymen do not. The music is the same. There's also a
version in G.]
<Highwaymen Version>
INTRO: <whistle> F C, C Em Dm C G C, C
F C
Michael row the boat ashore, hallelu-jah.
Em Dm C G C
Michael row the boat ashore, hallelu–u-jah.
F C
Sister help to trim the sails, hallelu-jah.
Em Dm C G C
Sister help to trim the sails, hallelu–u-jah.
F C
Em Dm C G C
F C
The River Jordan is chilly and cold, hallelu-jah.
Em Dm C G C
Chills the body but not the soul, hallelu-u-jah.
F C
Em Dm C G C
F C
The river is deep and the river is wide, hallelu-jah.
Em Dm C G C
Milk and honey on the other side, hallelu–u-jah.
F C
Em Dm C G C
<whistle> C C F C, C Em Dm C G C
<Peter, Paul & Mary Version - Single strum chords in |brackets| for final chorus.>
INTRO: C C F C, C Em Dm C G C
F C
Em Dm C G C
F C
Em Dm C G C
F C
Jordan's river is deep and wide, hallelu-jah.
Em Dm C G C
And I've got a home on the other side, hallelu–u-jah.
F C
Em Dm C G C
F C
Michael's boat is a music boat, hallelu-jah.
Em Dm C G C
Michael's boat is a music boat, hallelu– u- jah.
F C
Em Dm C G C
F C
The trumpets sound the Jubilee, hallelu-jah.
Em Dm C G C
Trumpets sound for you and me, hallelu– u- jah.
F C
Em Dm C G C
|C|
|Em| |Dm| |C| |G| |C|
Michael row the boat ashore, hallelu – u - jah.
(The Highwaymen) (Peter, Paul and Mary) (Artist Index) (Traditional) (Spiritual) (Folk)
MICHAEL ROW THE BOAT ASHORE
The Highwaymen/Peter, Paul & Mary
(Traditional/Saleton)
https://www.youtube.com/watch?v=jRv-fgfLFTk (Highwaymen) (Capo 5)
https://www.youtube.com/watch?v=WrH2qV8NjHw (Peter, Paul & Mary) (Capo 7)
<Highwaymen Version>
INTRO: <whistle> C G, G Bm, G D G, G
Gadd C G
Bm Am G D G
Gadd C G
Bm Am G D G
Gadd C G
Bm Am G D G
Gadd C G
The River Jordan is chilly and cold, hallelu-jah.
Bm Am G D G
Chills the body but not the soul, hallelu-u-jah.
Gadd C G
Bm Am G D G
Gadd C G
The river is deep and the river is wide, hallelu-jah.
Bm Am G D G
Milk and honey on the other side, hallelu–u-jah.
Gadd C G
Bm Am G D G
<whistle> G Gadd, C G; G Bm, G D G, G

<Peter, Paul & Mary Version - Single strum chords in |brackets| for final chorus.>
INTRO: G Gadd, C G; G Bm, G D G
Gadd C G
Bm Am G D G
Michael row the boat ashore, hallelu-u-jah.
Gadd C G
Bm Am G D G
Sister help to trim the sails, hallelu-u-jah.
Gadd C G
Jordan's river is deep and wide, hallelu-jah.
Bm Am G D G
And I've got a home on the other side, hallelu-u-jah.
Gadd C G
Bm Am G D G
Gadd C G
Michael's boat is a music boat, hallelu-jah.
Bm Am G D G
Michael's boat is a music boat, hallelu-u-jah.
Gadd C G
Bm Am G D G
Gadd C G
The trumpets sound the Jubilee, hallelu-jah.
Bm Am G D G
Trumpets sound for you and me, hallelu-u-jah.
Gadd C G
Bm Am G D G
|Gadd|
|Bm| |Am| |G| |D| |G|
Michael row the boat ashore, hallelu -u- jah.
(The Highwaymen) (Peter, Paul and Mary) (Artist Index) (Traditional) (Spiritual) (Folk)
MICHELLE POST – Hootie and the Blowfish
(Bryan/Felber/Rucker/Sonefeld)
https://www.youtube.com/watch?v=2rxtcjEBgUQ (Capo 0)
TIP: The intro and instrumental bridge emulates the banjo part that appears in the
recording.
INTRO: G C-C-G, Em C-C-G; G C-C-G, Em C-C-G
C G Em C G
I met a girl just the other day. Stopped to talk she had a lot to say.
C G Em C G
She told me all about politics. She told us somethings that made me sick.
G C-C-G, Em C-C-G
C G Em C G
I don't want just to call her up. Tell her I love her and tell her how much.
C G Em C G
She don't need that anyway. And what she don't need is a bigger head.
C G Em C G
Michelle Post knows all about it. What she don’t want is to talk about it.
C G Em C G
She got everything that she believes in. She got something and she won’t let meee in.
G C-C-G, G D Em, Em C-C-G,
G C-C-G C G Em C G
I met a girl just the other day. Stopped to talk she had a lot to say.
C G Em C G
She told me all about politics. She told us somethings that made me sick.
C G Em C G
Michelle Post knows all about it. What she don’t want is to talk about it.
C G Em C G
She got everything that she believes in. She got something and she won’t let me in.
C G C G C G
Won’t let me in. Won’t let me in, woe is me.
MICKEY MOUSE CLUB MARCH/CLOSING THEME - The Mouseketeers
(Dodd)
https://www.youtube.com/watch?v=lGrgWM7gp1s <March> (Capo 1)(MC1)
https://www.youtube.com/watch?v=YnlGnh6e0h4 <Closing Theme> (Capo 1)
TIP: Okay, so this is in two parts. The first is the cartoon opening, the second are
the original Mousketeers singing the closing theme.
TIP: Fun fact, the original Mousketeers appearing in the video are: Darlene Gillespie,
Bobby Burgess, Doreen Tracey, Tommy Cole, Cheryl Holdridge, Sharon Baird, Annette
Funicello, Cubby O'Brien, Karen Pendleton, and Jimmie Dodd.
TIP: This literally took me about 5 hours to piece together and now that I'm done I'm
sitting here with an aching back and a sore butt I'm wondering, "Will anyone ever
actually see this . . . ?" So if you've found it, and are of a certain age that it
results in a smile, how about sending me an email at songbook19@gmail.com to let me it
wasn't a wasted 5 hours. :-)
INTRO: <drum> |G|-|D|-|C|-|D|, |G|-|D|-|C|-|D|; <roman tuba> G – G – G - G

<trombone> |G|-|D|-|C|-|D|, <piccolo> |G|-|D|-|C|-|D|
<saxophone> |G|-|D|-|C|-|D|, <trumpet> |G|-|D|-|C|-|D|
<drum> |G|-|G|,|G|-|G|,|G||G|-|G|
G A7 D7
Who's the leader of the club that's made for you and me?
G C G D7 G
M, I, C; K, E, Y; M, O, U, S, E.
A7 D7
Hey there hi there ho there, you're as welcome as can be.
G C G D7 G
M, I, C; K, E, Y; M, O, U, S, E.
C G
Mickey Mouse (Donald Duck). Mickey Mouse (Donald Duck).
A7 D7
Forever let us hold our banner high (high high high).
G A7 D7
Come along and sing a song, and join the jamboree.
G C G D7 G
M, I, C; K, E, Y; M, O, U, S, E.
G D C D G D C D G D C D G D C D
Mick-ey Mouse Club. Mick-ey Mouse Club. We'll have fun, we'll meet new fa-ces.
G D C D G D C D G D C D G D C D
We'll do things and we'll go pla-ces, all a-round the world we're mar-ching.
G A7 D7
Who's the leader of the club that's made for you and me?
G C G D7 G
M, I, C; K, E, Y; M, O, U, S, E.
A7 D7
Hey there hi there ho there, you're as welcome as can be.
G C G D7 G
M, I, C; K, E, Y; M, O, U, S, E.
C G
Mickey Mouse (Donald Duck). Mickey Mouse (Donald Duck).
A7 D7
Forever let us hold our banner high (high high high).
G A7 D7
Come along and sing a song, and join the jamboree.
G C G D7 G
M, I, C; K, E, Y; M, O, U, S, E.
Yay Mickey, yay Mickey, yay Mickey Mouse Club.
------------
<Closing Theme> <key change> <MUCH slower>
D E7 A7
Come along and sing our song and join our famil-ly.
D G D A7 G D
M, I, C; K, E, Y; M, O, U, S, E.
D E7 A7
Through the years we'll all be friends wherever we may be.
D G D A7 D
M, I, C; K, E, Y; M, O, U, S, E.
G D E7 A7
Mickey Mouse. Mickey Mouse. Forever let us hold our banner high.
D E7 A7
Now it's time to say goodbye to all our company.
D G
M-I-C...see you real soon. K-E-Y. Why? Because we like you.
D A7 G D
M, O, U, S, E.
(The Mousketeers) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
MIDNIGHT GIRL/SUNSET TOWN - Sweethearts of the Rodeo
(Schlitz)
https://www.youtube.com/watch?v=0zzKUtEQF9Y (Capo 3)
TIP: For the intro pluck the top string and strum (G).
INTRO: G, G
D Em
I was born in a small town, mama was a farmer's wife.
C G D
We knew everyone for miles around we lived here all our lives.
G D Em
It never even entered their minds, I might not want to stay.
C G
But I'm young and still got time, I got to get away.
C G C G
And there's one stop light blinkin' on and off,
C G C G
Everyone knows when the neighbors' gone.
C G C D D
They roll up the streets when the sun goes down.
C G D Em Em
I'm a midnight girl in a sunset town.
C G D G G
D Em
Seen places on the TV, where they stay up all night long.
C G D
Around here it's early to bed and they rise before the dawn.
G D Em
They say the old ways are still the best, I cannot de-ny it.
C G D D
But I can't get no rest, 'cause it's just too quiet.
C G C G
C G C G
C G C D D
C G D Em Em
C G D G G
C C D-G G
D G C G
Now I lay me down to sleep. Pray the Lord my soul to keep.
C D
If I should die before the world turns 'round.
C G C G C G C G
Lord don't leave me in this one horse town. (Lord don't leave me in this one horse town.)
C G C G C G C G
Lord don't leave me in this one horse town. (Lord don't leave me in this one horse town.)
C G C G
C G C G
C G C D D
C G D Em Em
C G D G G
C G C G
There's one stop light blinkin' on and off,
C G C G
C G C D D
C G D Em Em
C G D Em Em
C G D G G-C-D-G
(Sweethearts of the Rodeo) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE MIDNIGHT SPECIAL - Creedence Clearwater Revival
(Traditional)
https://www.youtube.com/watch?v=Lrj5Kxdzouc (Capo 0)
TIP: In the intro, chords in brackets are struck one with a sustain and are struck right
at the end of the word. For the first |D| strum down slowly but don't hit the bottom
string.
INTRO: |D| <pause>

|G| |D|
Wellllll you wake up in the mornin', you hear the work bell ring.
|A7| |D|
And they march you to the table, you see the same old thang.
|G| |D|
Ain't no food upon the table, and no fork up in the pan.
|A7| |D| D D
But you'd better not complain boy, you'll get in trouble with the ma-an.
G D
Let the midnight special, shine the light on me.
A7 D
G D
A7 D
Let the midnight special, shine the ever-lovin' light on me.
G D
Yonder come Miss Rosie, how in the world did you know?
A7 D
By the way she wears her apron, and the clothes she wore.
G D
Umbrella on her shoulder, piece of paper in her hand.
A7 D
She come to see the gov'nor. She want to free her man.
G D
A7 D
G D
A7 D
G D
If you're ever in Houston, oh you'd better do right.
A7 D
You'd better not gamble, and you'd better not fight.
G D
Or the sheriff will grab ya, and the boys'll bring you down.
A7 D
The next thing you know boy, oh you're prison bound.
G D
A7 D
G D
A7 D
G D
A7 D
G D
A7 A A7 G D
Let the midnight special, shine the ever-lovin' liii-iight, on, meee-e.

MIGHTY MOUSE THEME
The Terrytooners & Mitch Miller Orchestra
(Sheib/Barer)
https://www.youtube.com/watch?v=fJvM8eYcpL0 (Capo 1)
TIP: In the musical interlude you repeat the chords from the verse.
INTRO: D D7 D D
G E Am
Mister Trouble never hangs around, when he hears this Mighty sound:
D G
“Here I come to save the day!” That means that Mighty Mouse is on the way.
E Am
Yes sir when there is a wrong to right, Mighty Mouse will join the fight.
D7 G
On the sea or on the land, he gets the situation well in hand.
C
So though we are in danger, we never despair,
Am D
‘Cause we know that where there’s danger he is there.
D7
He is there, on the land, on the sea, in the air.
G
We’re not worryin’ at all. We’re just listenin’ for his call:
D G
“Here I come to save the day!” That means that Mighty Mouse is on the way.
G G E Am, Am Am, D7 G
E Am
We’re not worryin’ at all, we’re just listenin’ for his call:
D G |G|
“Here I come to save the day!” That means that Mighty Mouse is on the way!
(The Terrytooners & Mitch Miller Orchestra) (Kid Friendly) (Artist Index)
THE MIGHTY QUINN - Manfred Mann
(Dylan)
https://www.youtube.com/watch?v=9oU2Rc1UzXk (Capo 2)
TIP: For the intro, try picking out the notes (the flute bit) and then begin the song
with a strum of (A).
INTRO: A A D A
E A
Come all without, come all within.
E D A
You'll not see nothing like the mighty Quinn.
E A
E D A A A D A
D A D
Everybody's building, ships and boats.
A D A D
Some are building monuments, others, jotting down notes.
A D A D
Everybody's in despair, every girl and boy.
|A| |E| |D| |A|
But when Quinn the Eskimo gets here, everybody's gonna jump for joy.
A E A
E D A A A D A
D A D
I like to go just like the rest, I like my sugar sweet.
A D A D
But jumping queues and makin' haste just ain't my cup of meat.
A D A D
Everyone's beneath the trees feedin' pigeons on a limb.
|A| |E| |D| |A|
But when Quinn the Eskimo gets here, all the pigeons gonna run to him.
A E A
E D A
E A
E D A
D A D
Let me do what I wanna do, I can't decide 'em all.
A D A D
Just tell me where to put 'em, and I'll tell you who to call.
A D A D
Nobody can get no sleep there's someone on everyone's toes.
|A| |E| |D| |A|
But when Quinn the Eskimo gets here, everybody's gonna wanna doze.
A E A
E D A
E A
E D A
E A
E D A A A D A
(Manfred Mann) (Artist Index) - (Main Index) - (Song Index) (This Song)
MIND YOUR OWN BUSINESS
Hank Williams
https://www.youtube.com/watch?v=RZH2bmbUTl4 (Capo 0)
[Afterwards in the easier to play key of [D] which doesn't have the B7].
TIP: The (B7) follows the (E) so all you need to do is pivot and then place your pinky
on the bottom string/2nd fret.
INTRO: B7 B7 E
If the wife and I are fussin' brother that's our right,

E7
'Cause me and that sweet woman's got a license to fight.
A7 E
Why don't you mind your own business? Mind your own business.
B7 E B7
'Cause if you mind your business then you won't be mindin' mine.
E
Oh the woman on our party line's the nosiest thing.
E7
She picks up her receiver when she knows it's my ring.
A7 E
B7 E
Well if you mind your business then you won't be mindin' mine.
E E7 A7 E B7 E B7
E
I got a little gal that wears her hair up high.
E7
The boys all whistle when she walks by.
A7 E
B7 E
Well if you mind your own business you sure won't be minding mine.
E E7 A7 E B7 E B7
E
If I want to honky tonk around 'til two or three,
E7
Now brother that's my headache don't you worry 'bout me.
A7 E
Just mind your own business. Mind your own business.
B7 E
If you mind your business then you won't be mindin' mine.
E E7 A7 E B7 E B7
E
Mindin' other people's business seems to be high-toned.
E7
I got all that I can do just to mind my own.
A7 E
B7 E |E|
If you mind your own business you'll stay busy all the time.
MIND YOUR OWN BUSINESS
Hank Williams
https://www.youtube.com/watch?v=RZH2bmbUTl4 (Capo 2)
INTRO: A7 A7 D
If the wife and I are fussin' brother that's our right,

D7
'Cause me and that sweet woman's got a license to fight.
G7 D
A7 D A7
'Cause if you mind your business then you won't be mindin' mine.
D
Oh the woman on our party line's the nosiest thing.
D7
She picks up her receiver when she knows it's my ring.
G7 D
A7 D
Well if you mind your business then you won't be mindin' mine.
D D7 G7 D A7 D A7
D
I got a little gal that wears her hair up high.
D7
The boys all whistle when she walks by.
G7 D
A7 D
Well if you mind your own business you sure won't be minding mine.
D D7 G7 D A7 D A7
D
If I want to honky tonk around 'til two or three,
D7
Now brother that's my headache don't you worry 'bout me.
G7 D
Just mind your own business. Mind your own business.
A7 E
If you mind your business then you won't be mindin' mine.
D D7 G7 D A7 D A7
D
Mindin' other people's business seems to be high-toned.
D7
I got all that I can do just to mind my own.
G7 D
A7 D |D|
If you mind your own business you'll stay busy all the time.
THE MINSTREL BOY - Traditional/John McDermott
(Moore)
https://www.youtube.com/watch?v=0ssHxZABrpE (Capo 3)
TIP: Written by Thomas Moore who set it to the melody of The Moreen, an old Irish aire.
Originally consisting of just the first two verses, the third was added by unknown
Irishmen fighting for the union in the U.S. Civil War. All three verses are included
here but only the first two appear in John McDermott's rendition.
TIP: Each line of the verse begins with (C) but the note to begin singing is a bass <g>
so, if you remember, add your pinky to the top string of the 3rd fret and pick the top
string when playing the first (C).
TIP: The (Asus2) in the chorus is a transition chord. Just lift off the index finger
from the preceding (Am).
INTRO: C Am C F, Am Am G C
Am C F Am Dm C
The Minstrel Boy to the war is gone. In the ranks of death you will find him.
Am C F Am Dm C
His father's sword he has girded on, and his wild harp slung behind him.
Am F G Am E Am Asus2 F
'Land of song' said the warrior bard, 'though all the world be-tra-ays thee.
C Am C F Am G C
One sword at least thy rights shall guard. One faithful harp shall praise thee.'
C Am C F, Am Am G C
Am C F Am Dm C
The Minstrel fell but the foeman's chain, could not bring his proud soul un der.
Am C F Am Dm C
The harp he loved never spoke again, for he tore its chords asunder.
And said 'No chains shall sully thee, though soul of love and bra-ver- y.
C Am C F Am G C
Thy songs were made for the pure and free, they shall never sound in slavery.'
'Land of song' said the warrior bard, 'though all the world be-tra-ays thee.
C Am C F Am G C
One sword at least thy rights shall guard. One faithful harp shall praise thee.'
C Am C F, Am Am G C
Am C F Am Dm C
The Minstrel Boy will return we pray. When we hear the news we all will cheer it.
Am C F Am Dm C
The minstrel boy will return one day, torn perhaps in body not in spirit.
Am F G Am E Am F
Then may he play on his harp in peace, in a world such-as Heaven inten-en-ded.
C Am C F Am G C
For all the bitterness of man must cease, and ev'ry battle must be ended.
C Am C F, Am Am G C
(Traditional) (John McDermott) (Artist Index) - (Main Index) - (Song Index) (This Song)
MONTY GOT A RAW DEAL - R.E.M.
https://www.youtube.com/watch?v=w-zWXy9R8Dg (Capo 3)
INTRO: Em Gadd, Em Gadd, Em Gadd, D A Em
Gadd Em Gadd
Monty this seems strange to me. The movies had that movie thing.
Em Gadd D A Em
But nonsense has a welcome ring, and heroes don't come easy.
Gadd Em Gadd
Now nonsense isn't new to me. I know my head I know my feet.
Em Gadd D A Em D A Em
But mischief knocked me in the knees. Said "Just, let, go. Just, let, go."
Gadd Em Gadd
I saw the ocean meet the man. I saw you buried in the sand.
Em Gadd D A Em
A friend was there to hold your hand. Said "Walk, on, by."
Gadd Em Gadd
So-I went walking through the street. I saw you strung up in a tree.
A woman knelt there said to me, said "Hold, your, tongue. Hold, your, tongue."
Em D Em G D Em Em D Em G A Em
You don't owe me an-ything. You don’t want this sympathy.
G A Em G A |Em| Em
Don't you waste your breath. For the silver screen.
Gadd Em Gadd
That nonsense doesn't mean a thing. They tried to bust you in a sting.
Em Gadd D A Em
But virtue isn't everything, so don't, waste, time.
Gadd Em Gadd
Now here's a rhyme that you can steal. Put this on your reel to reel.
Mischief threw a rotten deal. Monty's layin' low. He is layin' low.
D A Em D A Em
Just, let, go. Just, let, go.
Em D Em G D Em Em D Em G A Em
You don't owe me an-ything. You don’t want this sympathy.
G A Em G A Em
Don't you waste your breath. Monty this seems strange to me.

MOODY RIVER – John Fogerty/Pat Boone
(Bruce)
https://www.youtube.com/watch?v=AIwhPkZLRiM (Fogerty)(Capo 3)
https://www.youtube.com/watch?v=4jrhYZw-PFk (Boone)(Capo 3)
TIP: The music is virtually identical between the two versions with just slight
variations in rhythm. The one here is based on Fogerty’s version. Pat has a brief
choral intro and just one chorus at the end.
TIP: Remember to back off the capo to give your room for the (B7).
INTRO (Fogerty): G G-Em, G G-Em, G G-Em, G G-Em
INTRO (Boone): G G-Em, G G-Em, G G-Em G G-Em

Moody River, Moody River.
G Em G Em
Moody river more deadly, than the vainest knife.
G Em C G
Moody river your muddy water, took my baby's life.
Em B7 Em B7
Last Saturday evenin', came to the old oak tree,
Em B7 C G
It stands beside the river, where you were to meet me.
Em B7 Em B7
On the ground your glove I found with a note addressed to me.
Em B7 C G
It read "Dear love I've done you wrong now I must, set you free.
Em B7 Em B7
"No longer can I live, with this hurt and this sin,
Em B7 C G
I just couldn't tell you, that guy was just a friend.”
Em G Em
G Em C G Gadd Gadd-Em
Em B7 Em B7
I looked into the muddy water, and what, could I see?
Em B7 C G
I saw a lonely lonely face just lookin', back at me.
Em B7 Em B7
Tears in his eyes, and a prayer on his lips,
Em B7 C G
And the glove of his lost love was at his fingertips.
Em G Em
G Em C G
Em G Em
G Em C G
G G-Em, G G-Em, G G-Em, G G-Em, G G-Em, G G-Em, |G|
(John Fogerty) (Pat Boone) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE MOON IS DOWN
John Prine
https://www.youtube.com/watch?v=ie43mDJ7Dcw (Capo 3)
INTRO: D D, D G, G A, A D, D |D|
NC D G
The moon is down, all over town.
A D G D
The forecast is gray, now that she's gone away.
G
The stars in the skies, fell out of her eyes.
A D G D
They shattered-when-they-hit the ground. And now the moon is down.
G
The sun will be fine. It'll still shine allll the time.
A D G D
The sky will be blue, and do what it's supposed to do.
G
You see gravity pulls, but it can't keep you around.
A D G D
It'll be one lonnng day, and now the moon is down.
D D, D G, G A, A D G D
G
The moon is down, all over town.
A D G D
The stars in the skies, fell out of her eyes.
G
The gravity pulls, but it can't hold you down.
A D G D
It'll be one lonnng day. Now the moon is down.
A D G D |D|
It'll be one lonnng day. Now the moon is down.
MOONSHADOW
Cat Stevens
https://www.youtube.com/watch?v=8L56rAG5aK0 (Capo 0)
TIP: The (Bm) will follow the (D) so you can just hold position and use the pinky to
cover the 3rd string/4th fret.
INTRO: D G D G A D
G D G A7 D
Yes I'm bein' followed by a moonshadow, moonshadow moonshadow.
A7 D G A7 D
Leapin' on hoppin’ on a moonshadow, moonshadow moonshadow.
G D G D G D Em A
And if I ever lose my hands, lose my plow, lose my land.
G D G D Em A7 D Bm Em A D
Oh if I ever lose my hands, oh if I won't have to work no more.
G D G D G D Em A
And if I ever lose my eyes, if my colors all run dry.
G D G D Em A7 D Bm Em A D
Yes if I ever lose my eyes, oh if I won’t have to cry no more.
G G A7 D
Yes I'm bein' followed by a moonshadow, moonshadow moonshadow.
G D G A7 D
G D G D G D Em A
And if I ever lose my legs, I won't moan, and I won't beg.
G D G D Em D Bm Em A D
Oh if I ever lose my legs, oh if I won’t have to walk no more.
G D G D G D Em A
And if I ever lose my mouth, all my teeth, north and south.
G D G D Em A7 D Bm Em A7 A7 D
Yes if I ever lose my mouth, oh if I won't have to talk.
D G D G A D, D G D G A D
E A E A
Did it take long to find me? I asked the faithful light.
E A E7 A
Oh did it take long to find me? And are you gonna stay the night?
D G D G A7 D
I'm bein' followed by a moonshadow, moonshadow moonshadow.
G D G A7 D
G D G A7 D |D|
Moonshadow moonshadow, moonshadow moonshadow.
MORNING HAS BROKEN - Cat Stevens
(Traditional/Farjeon)
https://www.youtube.com/watch?v=e0TInLOJuUM (Capo 0)
TIP: After each verse there's a nice chord sequence which actually starts with the last
chord in the verse. You'll see what I mean when you play it.
TIP: The single (G7/F) in the first instrumental bridge is a bit cumbersome. You can
just play the bottom two strings and don't strike the top two. Also notice the (F#),
which is just (F) played up one fret, and a single (F#m). The (F#m) is played just once
in the third verse and it's sandwiched between a (D) and a (Bm). If the (F#m) to (Bm)
transition is difficult then stay with the (D) and ignore the (F#m), and then add your
pinky to 3rd fret/3rd string to play the (Bm).
INTRO: D G A F# Bm G7 C F |C|
NC C Dm G F C
Morning has broken, like the first morning.
Em Am D G
Blackbird has spoken, like the first bird.
C F C Am D
Praise for the sing-ing, praise for the morning.
G C F G7 C F G E Am G C G7/F
Praise for the springing, fresh from the word.
NC C Dm G F C
Sweet the rain's new fall, sunlit from heaven.
Em Am D G
Like the first dew, fall, on the first grass.
C F C Am D
Praise for the sweet-ness, of the wet garden.
G C F G C F G E Am F# Bm G D A7 |D|
Sprung in completeness, where his feet pass.
D Em A G D
Mine is the sun, light, mine is the morning.
F#m Bm E A
Born on the one, light, Eden saw play.
D G D Bm F
Praise with ela-tion, praise every morning.
A D G A7 D G A F# Bm G7 C F |C|
God's recrea, tion of the new day.
NC C Dm G F C
Morning has broken, like the first morning.
Em Am D G
Blackbird has spoken, like the first bird.
C F C Am D
Praise for the sing-ing, praise for the morning.
G C F G7 C F G E Am F# Bm G D A |D|
Praise for the springing, fresh from the word.
(Cat Stevens) (Traditional) (Spiritual)

(Artist Index) (Main Index) - (Song Index) (This Song)
MOTHER - Pink Floyd
(Waters)
https://www.youtube.com/watch?v=lX3uCuFKlqw (Capo 0)
TIP: When singing melody on the "Oooooh Babe" part in the chorus you end the previous
line (e.g. "warm") on note <b> but the next word, "Oooooh", is a middle <f#>.
TIP: The final line is a single strummed (G) and (C) - denoted by the |G| and |C|
notation.
INTRO: (Audible exhale)
G C C C D-G, G G
Mother do you think they'll drop the bomb?
C C C D-G, G G
Mother do you think they'll like the song?
C G G G
Mother do you think they'll try to break my balls?
D C G G G
Ooooooooh ahh. Mother should I build the wall?
C C C D-G, G G
Mother should I run for president?
C C C D-G, G G
Mother should I trust the government?
C G G G
Mother will they put me in the firing line?
D C G G G
Oooooooh ahh. Is it just a waste of time?
C C C
Hush now ba-by ba-by, don't you cry.
F C
Mama's gonna make all of your nightmares come true.
F C
Mama's gonna put all of her fears into you.
F C
Mama's gonna keep you right here under her wing.
F C
She won't let you fly but she might let you sing.
F C G G G
Mama's gonna keep baby cozy and warm.
D C D C
Oooooh babe. Oooooh babe.
D C G C C
Ooh babe, of course Mama's gonna help build the wall.
G C, G C C, D D C C, G
C C C G G G
Mother do think she's good enough, for me?
C C C G G G
Mother do think she's dangerous, to me?
C G G G
Mother will she tear your little boy apart?
D C G
Ooooooooh aah. Mother will she break my heart?
C C C
Hush now baby baby, don't you cry.
F C
Mama's gonna check out all your girlfriends for you.
F C
Mama won't let anyone dirty get through.
F C
Mama's gonna wait up until you get in.
F C
Mama will always find out where you've been.
F C G G G
Mamma's gonna keep baby healthy and clean.
D C D C D C G G G
Oooooh babe. Oooooh babe. Ooh babe, you'll always be a baby to me.
|G| |C|
Mother did it need to be so high?
MOVE IT ON OVER
Hank Williams
https://www.youtube.com/watch?v=-Lza3NVH6Ig (Capo 2)
[This is Hank's version. George Thorogood's follows afterwards in the key of [G] with
slightly different lyrics.]
INTRO: A A D A7-D
D7
Came in last night about a half past ten that baby of mine she wouldn't let me in,
G D
So move it on over (move it on over). Move it on over (move it on over).
A7 A A7 D
Move over little dog cause the big dog's movin' in.
D7
She's changed the lock on our front door my door key don't fit no more
G D
So get it on over (move it on over). Scoot it on over (move it on over).
A7 A A7 D
Move over skinny dog cause the fat dog's movin' in.
D7
This dog house here is mighty small but it's sure better than no house at all,
G D
So ease it on over (move it on over). Drag it on over (move it on over).
A7 A A7 D
Move over old dog cause a new dog's movin' in.
D D7 G D A7 A D
D7
She told me not, to play around but I done let the deal go down
G D
So pack it on over (move it on over). Tote it on over (move it on over).
A7 A A7 D
Move over nice dog cause a mad dog's movin' in.
D7
She warned me once, she warned me twice, but I don't take no one's advice
G D
So scratch it on over (move it on over). Shake it on over (move it on over).
A7 A A7 D
Move over short dog cause a tall dog's movin' in.
D D7 G D A7 A D
D7
She'll crawl back-to-me, on her knees, I'll be busy scratching fleas
G D
So slide it on over (move it on over). Sneak it on over (move it on over).
A7 A A7 D
Move over good dog cause a bad dog's movin' in.
D7
Remember pup, before you whine, that side's yours and this side's mine
G D
So shove it on over (move it on over). Sweep it on over (move it on over).
A7 A A7 D D A7-D
Move over cold dog cause a hot dog's movin' in.
MOVE IT ON OVER - George Thorogood
(Williams)
https://www.youtube.com/watch?v=01-5YXVFqQo (Capo 0)
G
Came in last night about a half past ten that baby of mine she wouldn't let me in
C G
So move it on over. Rock it on over.
D C G G D
Move over little dog a mean old dog is movin' in.
G C
She told me not to mess around, but I done let the deal go down so move it on over.
G D C G G D
Rock it on over. Move over nice dog a big bad dog is movin' in.
G
She changed the lock on my back door my door, now my key it won't fit no more
C G
Move it on over. Rock it on over.
D C G G D
Move over nice dog a mean old dog is moving in.
G G C G, D C G D; G G C G, D C G D
G
She threw me out just as pretty as you please, pretty soon I'll be scratchin' fleas.
C G
Move it on over. Slide it on over.
D C G G D
Move over nice dog a mean old dog is movin' in.
G
Yeah listen to me dog before you start to whine, that side's yours and this side's mine
C G
So move it on over. Rock it on over.
D C D G D
Move over little dog a big old dog is movin' in.
G
Yeah she changed the lock on my back door my door, now my key it won't fit no more.
C G
Move it on over. Rock it on over.
D C G G D
Move over little dog a big old dog is moving in.
G C G
Move it on over. Move it on over. Move it on over. Won't you rock it on over?
D |C| G G C-G7
Move over cool dog a hot dog's movin' in.
(George Thorogood) (Artist Index) - (Main Index) - (Song Index) (This Song)
MR. BOJANGLES – Nitty Gritty Dirt Band
(Walker)
https://www.youtube.com/watch?v=e-LVXR6rjXs (Capo 0)
[If you don't mind not singing along with the original - I mean, you can, but have to
capo the 7th fret - afterwards is a version in [C] which is easier to play since it
doesn't have the jump from (G) to (Bm) to (Em).]
TIP: When you get to the (Em7)(C) just lift off the bottom finger of the (Em) and aim
for the 4th string.
TIP: Note the extra chord at the end of some lines (or before and after a word). That
means to strum an extra chord measure.
INTRO: G, Bm, Em
G Bm Em Em7 C D D7
I knew a man Bojangles and he danced for you, in worn out shoes.
G Bm Em Em7 C D D C
Silver hair a ragged shirt and baggy pants. The old soft shoe.
Bm Em Em7 A D D D7
He jumped so high, he jumped so high. Then he lightly touched down.
G Bm Em Em7 C D D7
I met him in a cell in New Orleans I was, down and out.
G Bm Em Em7 C D D C
He looked to me to be, the eyes of age, as he spoke right out.
Bm Em Em7 A D D D7
He talked of life, talked of life. He laughed clicked his heels and stepped.
G Bm Em Em7 C D D7
He said his name Bojangles and he danced a lick, across the cell.
G Bm Em Em7 C
He grabbed his pants and spread his stance oh he jumped so high.
D D C Bm Em Em7 A
And then he clicked his heels. He let go a laugh, let go a laugh.
D
Shook back his clothes all around.
|Em| Em D D |Em| Em D D |Em|

Mister Bojangles. Mister Bojangles.
Em D G Bm Em, G-Em-Bm
Mister Bojangles, dance.
G Bm Em Em7 C D D7
He danced for those at Minstrel shows and county fairs, throughout the south.
G Bm Em Em7 C D D C
He spoke with tears of fifteen years how his dog and him, traveled about.
Bm Em Em7 A D D D7
The dog up and died, he up and died. After twenty years he still grieved.
G Bm Em Em7 C D D7
He said "I dance now at every chance in Honky Tonks, for my drinks and tips.
G Bm Em Em7 C D D C
But most the time I spend behind these country bars, cuz I drinks a bit."
Bm Em Em7 A D
He shook his head, and as he shook his head, I heard someone ask him please.
D7
Pleeeease,
|Em| Em D D |Em| Em D D |Em|

Em D G Bm Em, |G| |Em| |Bm| |G|
(Nitty Gritty Dirt Band) (Artist Index) - (Main Index) - (Song Index) (This Song)
MR. BOJANGLES – Nitty Gritty Dirt Band
(Walker)
https://www.youtube.com/watch?v=e-LVXR6rjXs (Capo 7)
TIP: Note the extra chord at the end of some lines (or before and after a word). That
means to strum an extra chord measure.
INTRO: C Em Am
C Em Am Am7 F G G7
I knew a man Bojangles and he danced for you, in worn out shoes.
C Em Am Am7 F G G F
Silver hair a ragged shirt and baggy pants. The old soft shoe.
Em E7 Am Am7 D7 G G G7
He jumped so high, he jumped so high. Then he lightly touched down.
C Em Am Am7 F G G7
I met him in a cell in New Orleans I was, down and out.
C Em Am Am7 F G G F
He looked to me to be, the eyes of age, as he spoke right out.
Em E7 Am Am7 D7
He talked of life, talked of life.
G G G7
He laughed clicked his heels and stepped.
C Em Am Am7 F G G7
He said his name Bojangles and he danced a lick, across the cell.
C Em Am Am7 F
He grabbed his pants and spread his stance oh he jumped so high.
G G F Em Am Am7 D7
And then he clicked his heels. He let go a laugh, let go a laugh.
G
Shook back his clothes all around.
|Am| Am G G |Am| Am G G |Am|

Am G C Em Am, C-Am-Em
C Em Am Am7 F G G7
He danced for those at Minstrel shows and county fairs, throughout the south.
C Em Am Am7 F G G F
He spoke with tears of fifteen years how his dog and him, traveled about.
Em Am Am7 D7 G G G7
The dog up and died, he up and died. After twenty years he still grieved.
C Em Am Am7 F G G7
He said "I dance now at every chance in Honky Tonks, for my drinks and tips.
C Em Am Am7 F G G F
But most the time I spend behind these country bars, cuz I drinks a bit."
Em Am Am7 D7 G
He shook his head, and as he shook his head, I heard someone ask him please.
G7
Pleeeease,
|Am| Am G G |Am| Am G G |Am|

Am G C Em Am, |C|-|Am|-|Em|-|C|
MR. LONELY - Bobby Vinton
(Vinton/Allen)
https://www.youtube.com/watch?v=djU4Lq_5EaM (Capo 4)
[The second verse is a half-step up but there's a version afterwards where you repeat the
same chords and is much easier to play although it won't match the recording.]
TIP: The chords in the second verse look messy but it's just some familiar chords played
on different frets. I've renamed them based on what they look like and where you play
them but you'll want to include the 4th and 5th strings if possible, especially for the
(D/A1).
INTRO: C Em F G
C Em F G
Lonely. I'm Mister Lonely. I have nobody, for-or my own.
C Em F G7 G
I am so lonely. I'm Mister Lonely. Wish I had someone, to call on the pho-one.
C C7
Now I'm a soldier, a lo-onely soldier.
F Fm G
Away from home, through no wish of my own.
C Em
That's why I'm lonely. I'm Mister Lonely.
F G C
I wish that I, could, go, back, home.
<capo +1>
C Em F G
Letters, never a letter. I get no letters, i-in the ma,-il.
C Em F G7 G
I've been forgotten, yes, forgotten. Oh how I wonder, how is it I fa,-ailed?
C C7
F Fm G
C Em
F G C
I wish that I, could, go, back, home. <end>
<or>
D/A1 Fm F# F4
D/A1 Fm F# F4
I've been forgotten, yes, forgotten. Oh how I wonder, how is it I fa,-iled?
D/A1 Bm1
F# F4
D/A1 Fm
F# F4 D/A1
(Bobby Vinton) (Artist Index) - (Main Index) - (Song Index) (This Song)
MR. LONELY - Bobby Vinton
(Vinton/Allen)
INTRO: C Em F G
C Em F G
Lonely. I'm Mister Lonely. I have nobody, for-or my own.
C Em F G7 G
I am so lonely. I'm Mister Lonely. Wish I had someone, to call on the pho-one.
C C7
F Fm G
C Em
F G C
C Em F G
C Em F G7 G
I've been forgotten, yes, forgotten. Oh how I wonder, how is it I fa,-iled?
C C7
F Fm G
C Em
F G C
(Bobby Vinton) (Artist Index) - (Main Index) - (Song Index) (This Song)
MR. MAN IN THE MOON – Patty Loveless
(Henderson/Wilson)
https://www.youtube.com/watch?v=gyaHXAEvI04 (Capo 3)
INTRO: G G Em Em C C G |G|
G Em
Mr. Man in the moon, are you really blue?
C G
Are you shedding a tear while you shine?
Em
If you feel like I do, Mr. Man in the Moon,
C G
Then your, heart must be, broken like mine.
D C G
Are you lonesome, there's not a star in sight
C D
Well I'll be right here, we're both up-for the night.
G Em
C G
Em
C G
<fiddle> G G Em Em C C G G
D C G
To the whole world, you show a smiling face
C D
I feel like the dark side, that you hide away.
G Em
C G
Em
C G
C G
<fiddle> G G Em Em C C G |G|
MR. TAMBOURINE MAN - The Byrds
(Dylan)
https://www.youtube.com/watch?v=NyOzGPbn2tg&ab_ (Capo 0)
INTRO: D E7-A, D E7-A
G A D G
Hey Mister Tambourine Man, play a song for me.
D G A
I'm not sleepy and, there ain't no place I'm goin' to.
G A D G
D G A D
In the jingle jangle morning I'll come followin' you.
G A D G
Take me for a trip upon your magic swirlin' ship.
D G D G
All my senses have been stripped, and my hands can't feel to grip,
D G
And my toes too numb to step,
D G A
Wait only for, my boot heels to be wanderin.'
G A D G
I'm ready to go anywhere. I'm ready for to fade,
D G D G
Onnnn to my own parade, cast your dancin' spell my way,
A
I-I promise to go under it.
G A D G
D G A
I'm not sleepy and, there ain't no place I'm goin' to.
G A D G
D G A D D E7-A, D E7-A, D E7-A,
In the jingle jangle morning I'll come followin' you.
D E7-A, D E7-A, D E7-A, |D|
(The Byrds) (Artist Index) - (Main Index) - (Song Index) (This Song)
MRS. BROWN YOU’VE GOT A LOVELY DAUGHTER
Herman’s Hermits
(Peacock)
https://www.youtube.com/watch?v=mA1uknS9JgM (Capo 0)
TIP: For the chorus, which is a little tricky, I’ve renamed some chords completely
because they’re otherwise familiar looking chords but played on different frets than
usual. For example, there’s no such chord as (D3), that's (D#) but it looks like (D)
played on the 3rd fret. And notice that note on the 4th string. Play it with your pinky
if you can but if not just strum the bottom 3 strings. 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)-(G) 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).
TIP: In the outro verse Peter kind of fades out with a down-inflection on daughter at
the same time the backing vocals take over so just sort of sing "daugh" and then start
again with "lovely".
INTRO: C Em Dm G, C Em Dm G
C G Dm G C Em Dm G
Mrs. Brown you've got a lovely daughter.
C G Dm G C Em Dm G
Girls as sharp as her are something rare.
Am C Am C
Butttt it's sad, she doesn't love me now.
Am C G
She's made it clear enough, it ain't no good to pine.
C G Dm G C Em Dm G
She wants to return those things I bought her.
C G Dm G C Em Dm G
Tell her she can keep them just the same.
Am C Am C
Things have changed, she doesn't love me now.
Am C G Bb
She's made it clear enough, it ain't no good to pine.
D/A3 Gm F4 F6 F2 Bm1
Walk-in' about, even in a crowd well, you'll pick her out.
Bb G
Makes a bloke feel, so proud.
C G Dm G C Em Dm G
If she finds that I've been round to see you.
C G Dm G C Em Dm G
Tell her that I'm well and feelin' fine.
Am C Am C
Don't let on, don't say she's broke my heart.
Am C G Bb
I'd go down on my knees but it's no good to pine.
D/A3 Gm F4 F6 F2 Bm1
Walk-in' about, even in a crowd well, you'll pick her out.
Bb G
Makes a bloke feel, so proud.
C G Dm G C Em Dm G
If she finds that I've been round to see you.
C G Dm G C Em Dm G
Tell her that I'm well and feelin' fine.
Am C Am C
Don't let on, don't say she's broke my heart.
Am C G Bb
I'd go down on my knees but it's no good to pine.
C G Dm G C Dm G
Mrs. Brown you've got a lovely daugh-lovely daughter.
C G Dm G C Dm G
C G Dm G C Dm G
C G Dm G C Dm G |C|
(Herman's Hermits) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
MRS. ROBINSON - Simon and Garfunkel
(Simon)
https://www.youtube.com/watch?v=9C1BCAgu2I8 (Capo 2)
TIP: <Rake> means to hold the (E) and strum from the base strings down through the
middle strings and end with the bottom strings. The only “requirement” is you start with
the bass <e> (6th string) and include the treble <e> (bottom string) at the end.
TIP: In the intro the second line of doo doos ends with a (Emsus4). From the preceding
(A) just lift off the bottom two fingers. Easy.
INTRO: E <rake>, E <rake>, E <rake>, E <rake>
E
Dee, dee dee-dee, dee dee, dee-dee, dee dee, dee-dee, dee.
A Emsus4
Doo, doo, doo-doo, doo, doo, doo-doo, doo.
D G C Cmaj7 Am
Dee dee dee dee, dee-dee, dee dee, dee dee, dee-dee, dee.
E D7
G Em G Em C D D7
And here's to you Mrs. Robinson. Jesus loves you more than you will know, wo wo wo.
G Em G Em C
God bless you please Mrs. Robinson, Heaven holds a place for those who pray.
Am E7 E <rake>, E <rake>
Hey hey hey. Hey hey hey.
E
We'd like to know a know a little bit about you for our files.
A A7
We'd like to help you learn to help yourself.
D G C Am
Look around you all you see are sympathetic eyes.
E E7 D7
Stroll around the grounds until you feel at home.
G Em G Em C D D7
And here's to you Mrs. Robinson. Jesus loves you more than you will know, wo wo wo.
G Em G Em C
God bless you please Mrs. Robinson, Heaven holds a place for those who pray.
E
Hide it in a hiding place where no one ever goes.
A A7
Put it in your pantry with your cupcakes.
D G C Am
It's a little secret just the Robinsons' affair.
E E7 D7
Most of all you've got to hide it from the kids.
G Em G Em C D D7
Coo coo ca-choo, Mrs. Robinson. Jesus loves you more than you will know, wo wo wo.
G Em G Em C
God bless you please, Mrs. Robinson, Heaven holds a place for those who pray.
E A
Sitting on a sofa on a Sunday afternoon. Going to the candidates debate.
D G C Am
Laugh about it shout about it when you've got to choose.
E D7
Ev'ry way you look at it you lose.
G Em G Em C D D7
Where have you gone Joe DiMaggio? A nation turns its lonely eyes to you. Woo woo woo.
G Em G Em C
What's that you say, Mrs. Robinson? Joltin' Joe has left and gone away.
Am E7
OUTRO: E <rake>, E <rake>, E <rake>, A A7 A A7; E <rake>
MURDER INCORPORATED
Bruce Springsteen
https://www.youtube.com/watch?v=oshU-C5zTWE (Capo 0)
TIP: The rhythm is everything. It’s just a repeating (E)(D)(G)(A) pattern until you get
to the bridge. Just go with it and try and keep up.
TIP: I’ve notated (B7) but (B) is probably more correct. My fingers just prefer the
(B7).
TIP: Coming out of that bridge is abrupt and it leads right into the next verse.
INTRO: <drums> E D G A, E D G A, E D G A, E D G A
E D G A E D G A
Bobby's got a gun that he keeps beneath his pillow.
E D G A E D G A
Out on the street your chances are zero.
E D G A
Take a look around you come on now, it ain't too complicated.
E D G A E D G A
You're messin' with Murder, Incorporated.
E D G A E D G A
Now you check over your shoulder everywhere that you go.
E D G A E D G A
Walkin' down the street there's eyes in every shadow.
E D G A
You better take a look around you come on now that equipment you got's so outdated.
E D G A E D
You can't compete with Murder, Incorporated.
G A E D G A E D G A
Everywhere you look now Murder, Incorporated.
<sax solo> E D G A, E D G A, E D G A, E D G A,
E D G A, E D G A, E D G A, E D G A,
Bm D
So you keep a little secret down, deep inside your dresser drawer
Bm D
For dealing with the heat you're feelin', out on the killin' floor
Bm D
No matter where you step you feel you’re, never out of danger
C B7
So the comfort that you keep's gold plated snub-nose thirty-two I heard that you
E D G A E D G A
You got a job downtown, man that leaves your head cold.
E D G A E D G A
Everywhere you look life ain't got no soul.
G A
That apartment you live in feels like it's just a place to hide
G A
When you're walkin' down the street you won't meet no one eye to eye
E D
Now the cops reported you as just another homicide
G B7 |B7|
But I can tell that you were just frustrated from living with Murder Incorporated.
E D G A E D G A
Incorporated. It’s everywhere you look now,
E D G A E D G A
Murder, Incorporated. Come on now baby,
E D G A E D G A
Incorporated. It’s everywhere you turn,
E D G A E D G A E D G A, E D G A, |E|
It’s Murder, Incorporated. Come on now darlin’,
MUSTANG SALLY - Wilson Pickett
(Rice)
https://www.youtube.com/watch?v=h1FRrZD2y9Y (Capo 3)
INTRO: A A7 A, A A7 A
Mustang Sally, huh, guess you better slow your mustang down. Oh Lord. What I said now.
D D7 D A
Mustang Sally now baby, oh Lord. Guess you better slow your mustang down. Oh yeah.
E7 E E |D|
You been runnin' all over the town now.
NC D A
Oh I guess I'll have to put your flat feet on the ground. What I said now.
Listen all you want to do is ride around Sal-ly ride Sal-ly ride.
All you want to do is ride around Sal-ly ride Sal-ly ride.

D
All you want to do is ride around Sally ride Sally ride huh.
A
E D A
One of these early mornings yeah gonna be wiping your weepin' eyes.
What I said now, look it here.
I bought you a brand new mustang, 'bout nineteen sixty five. Huh.
Now you come around signifyin' a woman, you don't want to let me ride.
D D7 A
Mustannnng Sally now baby, oh Lord, guess you better slow that mustang down. Oh Lord.
E7 E E
Lookit it. You been runnin' all over the town.
|D| NC D A
Owww. I got to put your flat feet on the ground.
What I said now let me say it one more time y'all.
Now all you want to do is ride around Sal-ly ride Sal-ly ride.
|A|
MY BACK PAGES - Bob Dylan and Friends
(30th Anniversary Tribute)
(Dylan)
https://www.youtube.com/watch?v=rGEIMCWob3U (Capo 4)
TIP: Anytime there's a group effort each performer brings their own nuance to the stage
so there are slight differences in the pacing.
TIP: When playing the sing-song (C)(F) it's only important to hit the bottom 2 or 3
strings of the (F).
INTRO: C F, C F, C F, C F, C F, C F, C F, C F
<Roger McGuinn lead>
C Em F G C
Crimson flames tied through my ears rollin' high and mighty trap.
Am Em F G
Pounced with fire on flaming roads using ideas as my maps.
Am Em F G
"We'll meet on edges soon said I, proud 'neath heated brow.
C F C F G C F C F
Ah but I was so much older then, I'm younger than that now.
<Tom Petty lead>
C Em F G C F
Half wracked prejudice, leaped forth, "rip down all hate" I screamed.
C Am Em F G
Lies that life is black and white, spoke from my skull I dreamed.
Am Em F G
Romantic facts of musketeers foundationed deep, somehow.
C F C F G C F C F
<Neil Young lead>
C Am Em F G C
Girls' faces formed the forward path, phony jealousy.
Am Em F G
To memorizing politics, of ancient history.
Am Em F C
Flung down by corpse, evangelists unthought of though somehow.
C F C F G C F C F
<Clapton solo>
C-Am Em Em F G C, C Am Em Em F F G, G Am Am Em Em F G
G C C F C F G C-F C-F
<Eric Clapton lead>
C Am Em F G C F
Self ordained professor's tongue, too serious to fool.
C Am Em F G
Spouted out that liberty, is just equality in school.
Am Em F G
"Equality," I spoke the word, as if a wedding vow.
C F C F G C F C F
<Bob Dylan lead>
C Am Em F G C F
In a soldier's stance I aimed my hand, at the mongrel dogs who teach.
C Am Em F G
Fearing not that I'd become my enemy, in the instant that I preach.
Am Em F G
My existence led by confusion boats, mutiny from stern to bow.
C F C F G C F C F
<George Harrison lead>
C Am Em F G C F
It's my guard stood hard when abstract threats too noble to neglect.
C Am Em F G
Deceived me into thinking I, had something to protect.
Am Em F G
Good and bad I define these terms, quite clear no doubt somehow.
C F C F G C F C F
<Young solo> C-Am Em Em F G C, C Am Em Em F G, Am Em F G
C F C F G C F, C F, C F, C F, |C|
But I was so much older then, I'm younger than that now,
C . . . |C|
MY BACK PAGES - The Byrds
(Dylan)
https://www.youtube.com/watch?v=mKKLIrOGfUo (Capo 4)(MC5)
TIP: The Byrd's version of this Dylan song omits two verses. Those verses are performed
in the Dylan and Friends version above.
TIP: When playing the sing-song (C)(F) it's only important to hit the bottom 2 or 3
strings of the (F).
INTRO: C F, C F, C F, C F
C Am Em F G C F
Crimson flames tied through my ears rollin' high and mighty trap.
C Am Em F G
Countless fire on flaming roads using ideas as my maps.
Am Em F G
"We'll meet on edges soon said I, proud 'neath heated brow.
C F C F G C F C F
C Am Em F G C F
Half wracked prejudice, leap forth, "rip down all hate" I screamed.
C Am Em F G
Lies that life is black and white, spoke from my skull I dreamed.
Am Em F G
Romantic facts of musketeers, foundation deep, somehow.
C F C F G C F C F
C Am Em F G C F
In a soldier's stance I aimed my hand, at the mongrel dogs who teach.
C Am Em F G
Fearing not that I'd become my enemy, in the instant that I preach.
Am Em F G
My existence led by confusion boats, mutiny from stern to bow.
C F C F G C F C F
C-Am Em F G C, C Am Em Em F F G, Am Am Em Em F G
C F C F G C F C F
C Am Em F G C F
My guard stood hard when abstract threats too noble to neglect.
C Am Em F G
Deceived me into thinking, I had something to protect.
Am Em F G
Good and bad I define these terms, quite clear no doubt somehow.
C F C F G C F, C F, C F, C F,
C F, C F, C F, C F, C F, |C|
MY COWBOY SONG
Cowboy Jack Clement
https://www.youtube.com/watch?v=0eKNz65KJXE (Capo 0)
INTRO: D D D D
D G
Into the sunset the old cowboy rides.
A G D
The echo of hoofbeats, fade with the light.
G
As he rides down the canyon and out of my sight,
A G D
I picked up my guitar, and sang to the night.
G
Songwriters and poets have told of your life.
A G D
Sometimes we’re wrong, and sometimes we’re right.
G
If I sang you my sad song and waltzes tonight,
A G D D
You’d be a cowboy before morning’s light.
G
If you meet a true cowboy, then you will know,
D G D
That he don’t need no saddle, or dusty old clothes.
G
What he needs is some freedom, space and some time,
A G D
He’s always a lookin’, for a mountain to climb.
G
Songwriters and poets we’ve told of his life.
A G D
Sometimes we’re wrong and sometimes we’re right.
G
If I sang you my sad songs and waltzes tonight,
A G |D|
Why you’d be a cowboy before morning’s light.
(Cowboy Jack Clement) (Artist Index) - (Main Index) - (Song Index) (This Song)
MY DEAR COMPANION
Emmylou Harris, Dolly Parton, Linda Ronstadt (Trio)
(Ritchie)
https://www.youtube.com/watch?v=TyPaspA66AA (Capo 3)
[Afterwards in [G] which has a little more lilt to it but is also played higher up,
capo'd at the 5th fret.]
INTRO: A, A, A, A, A, A
D A E
Oh have you seen, my dear companion, for he was all, this world to me.
A D A E A
I hear he's gone, to some far country, and that he cares, no more for me.
D/A A E
I wish I were, a swallow flying. I'd fly to a high, and lonesome place.
A D A E A
I'd join the wild, birds in their crying, thinking of you, and your sweet face.
A D, A E, A D, A E A
D A E
A D A E A
But now the stars, have turned against me, and he cares, no more for me.
D A E
Oh when the dark, is on the mountain, and all the world, has gone to sleep.
A D A E A
I will go down, to cold dark waters, and there I'll lay, me down and weep.
D A
Oh have you seen (oh have you seen) my dear companion (my dear companion)?
D A
D A
Oh have you seen (oh have you seen), my dear companion. <pause>
A E A
For he was all, this world, to-oo me.
(E. Harris)(D. Parton)(L. Ronstadt)

MY DEAR COMPANION
Emmylou Harris, Dolly Parton, Linda Ronstadt (Trio)
(Ritchie)
https://www.youtube.com/watch?v=TyPaspA66AA (Capo 5)
INTRO: G, G, G, G, G, G
C G D
G C G D G
I hear he's gone, to some far country, and that he cares, no more for me.
C G D
I wish I were, a swallow flying. I'd fly to a high, and lonesome place.
G C G D G
I'd join the wild, birds in their crying, thinking of you, and your sweet face.
G C, G D, G C, G D G
C G D
G C G D G
But now the stars, have turned against me, and he cares, no more for me.
C G D
Oh when the dark, is on the mountain, and all the world, has gone to sleep.
G C G D G
I will go down, to cold dark waters, and there I'll lay, me down and weep.
C G
C G
C G
Oh have you seen (oh have you seen), my dear companion. <pause>
D G
For he was all, this world, to-oo me.
(E. Harris)(D. Parton)(L. Ronstadt)

MY DING A LING - Chuck Berry
(Bartholomew)
https://www.youtube.com/watch?v=UO8aEdnHpwY (Capo 1)
INTRO: D . . .
G A D
When I was, a little bitty boy, my grandmother bought me a cute little toy.
G A D
Silver bells hangin' on a string, she told me it was my ding a ling a ling.
G A D
My ding a ling, my ding a ling. I want to play with my ding a ling.
G A D
G A D
And then mother took me to Grammer School. But I stopped all in the vestibule.
G A D
Every time that bell would ring, catched me playin' with my ding a ling a ling.
G A D
G A D
G A D
Once I was climbing the garden wall. I slipped and had a terrible fall.
G A D
I fell so hard I heard bells ring, but held on to my ding a ling a ling.
G A D
G A D
G A D
Once I was swimming cross Turtle Creek, man those snappers all around my feet.
G A D
Sure was hard swimming cross that thing, with both hands holdin' my ding a ling a ling.
G A D
G A D
G A D
This here song, it ain't so sad, the cutest little song you ever had.
G A D
Those of you who will not sing, you must be playin' with your own ding a ling.
G A D
G A D
G A D
Your ding a ling. Your ding a ling. We saw you playin' with your ding a ling.
G A D
My ding a ling, everybody sing, I want to play with my ding a ling.
G
My (ding a ling). My (ding a ling).
A D
I want to play with my . . . ding . . . a . . . ling. <strum D quickly> |D|
(Chuck Berry) (Artist Index) - (Main Index) - (Song Index) (This Song)
MY FAVORITE MEMORY
Merle Haggard
https://www.youtube.com/watch?v=hGWG2hclnng (Capo 0)
TIP: For the (D4) just hold (D) and add pinky to the bottom string/3rd fret. Easy
peasy.
INTRO: D D4 D D4 D D4 D
D7 G
The first time we met is a favorite mem'ry of mine.
A7 A D
They say time changes all it pertains to. But your memory, is stronger than time.
G
I guess everything does change except what, you choose to recall.
A7 A
There's a million good daydreams to dream on.
A7 D D4 D
But baby, you are, my favorite mem'ry of all.
D7 G
Like the night we made love in the hallway. Slept all night long on the floor.
A7 A D
Like the winter, we spent at Lake Shasta, alone, and closer, than ever before.
D7 G
And I remember that London vacation. It was you who made the whole thing a ball.
A7 A
There's a million good times I could dwell on.
A7 D
D7 G
The first time we met is a favorite mem'ry of mine.
A7 A D
They say time changes all it pertains to. But your memory, is stronger than time.
G
I guess everything does change except what, you choose to recall.
A7 A
There's a million good daydreams to dream on.
A7 D A D
MY GET UP AND GO – Pete Seeger
(Traditional/Seeger)
https://www.youtube.com/watch?v=Ol5taJE_W2k (Capo 1)
TIP: For the intro form (A) and pick the open 5th string and downstroke three times.
Repeat.
TIP: You can play either the (B7) or the (B) – I just prefer the (B7) – but if you elect
to play the (B) then play the preceding (A) with your bottom fingers as it’ll make
sliding up to play the (B) easier.
INTRO: 5-|A|-|A|-|A|, 5-|A|-|A|-|A|
D A
How do I know my youth is all spent?
E A
My get up and go has got up and went.
D A
But in spite of it all I'm able to grin,
E E7 A
And think of the places my get up has been.
E
Now old age is golden so I've heard said,
A
But sometimes I wonder as I crawl into bed,
D A
With my ears in a drawer my teeth in a cup,
B7 E
My eyes on the table until I wake up.
A E
As sleep dims my vision I say to myself,
A
“Is there anything else I should lay on the shelf?”
D A
But though nations are warring and business is vexed,
E E7 A
I’ll still stick around to see what happens next.
D A
E A
D A
E E7 A A
E
When I was young my slippers were red.
A
I could kick up my heels right over my head.
D A
When I was older my slippers were blue,
B7 E
But still I could dance the whole night thru.
A E
Now I am older my slippers are black.
A
I huff to the store and I puff my way back.
D A
But don’t you laugh I don't mind at all.
E E7 A
I'd rather be huffing than not puff at all.
D A
E A
D A
E E7 A A A
E
Now I get-up in the morning and dust off my wits.
A
Open the paper and read the obits.
D A
If I'm not there I know I'm not dead,
E E7 A
So I eat a good breakfast and go back to bed.
D A
E A
D A
E E7 A |A|
(Pete Seeger) (Folk) (Artist Index) - (Main Index) - (Song Index) (This Song)
MY GIRL - The Temptations
(Robinson/White)
https://www.youtube.com/watch?v=bZh7nRw6gl8 (Capo 0)
[Afterwards there's a version in [G].]
INTRO: C C-C, C C-C, C C-C, C C-C
|C|, |C|-|C|-|C|-|C|-|C|; |C|, |C|-|C|-|C|-|C|-|C|
NC C F C F
I've got sunshine, on a cloudy day.
C F C F
When it's cold outside, I've got the month of May.
C Dm F G C Dm F G
I, guess, you'd, say, what can make me feel this way?
C Dm7 G7
My girl, (my girl, my girl). Talkin' 'bout my girl, (my girl).
C F C F
I've got sooooo, much honey the bees envy me.
C F C F
I've got a sweeter song, than the birds, in the trees.
C Dm F G C Dm F G
Well-ell I, guess, you'd, say, what can make me feel this way?
C Dm7 G
C, C-C C C-C, C C-C, C C-C
Ooooo- -ooooh.
|C|, |C|-|C|-|C|-|C|-|C|; |C|, |C|-|C|-|C|-|C|-|C|; C F
C C F Dm G Em A
Hey hey hey. Hey hey hey. Ooooh yeah.
D G D G
I don't need no money, for-tune or fame.
D G D G
I've got, all the riches baby, one man can claim.
D Em G A D Em G A
D Em A7
D
Talkin' 'bout my girl.
G
I've got sunshine on a cloudy day with my girl.
D
I've even got the month of May with my girl.
G
Talkin' bout talkin' bout talkin' bout my girl.
D G |D|
Oooh talkin' bout my girl. It's all I can talk about, my girl.
MY GIRL - The Temptations
(Robinson/White)
https://www.youtube.com/watch?v=bZh7nRw6gl8 (Capo 5)
INTRO: G G-G, G G-G, G G-G, G G-G
|G|, |G|-|G|-|G|-|G|-|G|; |G|, |G|-|G|-|G|-|G|-|G|
NC G C G C
I've got sunshine, on a cloudy day.
G C G C
When it's cold outside, I've got the month of May.
G Am C D G Am C D
I, guess, you'd, say, what can make me feel this way?
G Am7 D7
G C G C
I've got sooooo, much honey the bees envy me.
G C G C
I've got a sweeter song, than the birds, in the trees.
G Am C D G Am C D
G Am7 D
G G-G G G-G, G G-G, G G-G
Ooooo- -ooooh.
|G|, |G|-|G|-|G|-|G|-|G|; |G|, |G|-|G|-|G|-|G|-|G|; G C
G G C Am D Bm E
Hey hey hey. Hey hey hey. Ooooh yeah.
A D A D
I don't need no money, for-tune or fame.
A D A D
I've got, all the riches baby, one man can claim.
A Bm D E A Bm D E
A Bm E7
A
Talkin' 'bout my girl.
D
I've got sunshine on a cloudy day with my girl.
A
I've even got the month of May with my girl.
D
Talkin' bout talkin' bout talkin' bout my girl.
A D |A|
Oooh talkin' bout my girl. It's all I can talk about, my girl.
MY GUY - Mary Wells
(Robinson)
https://www.youtube.com/watch?v=4WT7nBGX5eU (Capo 3)
TIP: There's a little (G)(NC)(Gb)(NC) that looks scarey but it's easy. From the (G) the
(NC) means just that, no chord, so come completely off the fingerboard and relax for a
moment. Now use whatever finger you want to cover the bottom string/2nd fret for the
(Gb) and release again. Now with a free hand you come back to either the (G) or (B7).
TIP: There's also a transition from (Am) to (Bm), followed by the sequence above. If
you don't play the (Bm) that often you may want to try moving smoothly back and forth.
; - - - / ;
INTRO: <Emphasize bass (top 3) strings> G G G, <pause> Am-D
G NC Gb NC G
Nothing you could say can tear me away from my guy.
G NC Gb NC B7
Nothing you could do 'cause I'm stuck like glue to my guy.
Am Bm Am Bm
I'm stickin' to my guy like a stamp to a letter
Am Bml Am D
Like the birds of a feather we, stick together
G Gb Am D7 G Am-D
I'm tellin' you from the start I can't be torn apart from my guy.
G NC Gb NC G
Nothing you can do could make me untrue to my guy (my guy).
G NC Gb NC B7
Nothing you could buy could make me tell a lie to my guy (my guy).
Am Bm Am Bm Am Bm Am D
I gave my guy my word of honor, to be faithful and I'm gonna.
G Gb Am D7 G
You best be be-lieving I won't be deceiving my guy.
Am D Am D Am D G
As a matter of opinion I think he's tops. My opinion is he's the cream of the crop.
Em Bm Em Bm A7 D7
As a matter of taste to be exact, he's my ideal as a matter of fact.
G NC Gb NC G
No muscle bound man could take my hand from my guy (my guy).
G NC Gb NC B7
No handsome face could ever take the place of my guy (my guy).
He may not be a movie star but when it comes to being happy, we are.
G Gb Am D7 G Am-D
There's not a man today who could take me away from my guy.
G G G, <pause> Am-D
G NC Gb NC G
No muscle bound man could take my hand from my guy (my guy).
G NC Gb NC B7
No handsome face could ever take the place of my guy (my guy).
He may not be a movie star but when it comes to being happy, we are.
G Gb Am D7 G Am D
There's not a man today who could take me away from my guy. What’d you say?
G Gb Am D7 G Am D
There's not a man today who could take me away from my guy. Tell me more.
G Gb Am D7 G
There's not a man today who could take me away from my guy.
(Mary Wells) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
MY HEROES HAVE ALWAYS BEEN COWBOYS
Willie Nelson/Waylon Jennings
(Vaughn)
https://www.youtube.com/watch?v=vFDq0VMV-Vc Willie (Capo 0)
https://www.youtube.com/watch?v=JMv2wTOLnlc Waylon (Capo 0)
TIP: Waylon's version is nearly identical to Willie's except he doesn't sing the refrain
at the end, "Sadly in search of . . ."
TIP: You can play either the (E7)(A7) as shown or (E)(A) if you'd rather. Both sound
fine.
INTRO: D
G D
I grew up a-dreamin', of bein' a cowboy, and lovin' the cowboy ways.
E7 A
Pursuin' the life, of my high-ridin' heroes, I burned up my childhood days.
D
I learned all the rules, of the modern-day drifter.
G D
Don't you hold on to nothin' too long.
G D G
Just take what you need, from the ladies then leave them,
D A7 D D7
With the words, of a sad country song.
G D E7 A7
My heroes have always been cowboys. And they still are it seems.
G D G D A7 D
Sadly in search of, and one step in back of, themselves, and their slow-movin' dreams.
G D
Cowboys are special, with their own brand of misery, from being alone too long.
You could die from the cold, in the arms of a nightmare,

E7 A
Knowin' well, that your best days are gone.
D G D
Pickin' up hookers, instead of my pen, I let the words of my youth fade away.
G D G D A7 D D7
Old worn-out saddles, and old worn-out memories, with no one, and no place to stay.
G D E7 A7
My heroes have always been cowboys. And they still are it seems.
G D G D A7 D
Sadly in search of, and one step in back of, themselves, and their slow-movin' dreams.
G D G
Sadly in search of, and one step in back of,
D A7 G G D
Themselves, and their slow-movin’ dreams.
MY HOMETOWN
Bruce Springsteen
https://www.youtube.com/watch?v=z6LABdHtkUA (Capo 0)
[Here in the key of [A], and afterwards in [G] which you may find easier to play.]
INTRO: A A, D A E; E E, E E, A E D
A D A E
I was eight years old, and running with, a dime in my hand.
A E D
Into-the-bus- stop-to-pick, up a paper, for my old man.
A D A E
I'd sit on his lap, in that big old Buick, steer as we drove through town.
A E D A
He'd tous-le my hair, and say son take, a good look around, this is your hometown.
D A E A E D
This is your hometown. This-is-your hometown. This is your hometown.
A D A E
In Sixty-Five tension-was running high, at my high school.
A E D
There was a lot of fights between the black and white. There was nothing you could do.
A D A E
Two cars at a light, on a Saturday night, in the back-seat there was a gun.
A E D A
Words were passed, a shotgun blast, troubled times had come, to my hometown.
D A E A E D A
To my hometown. My hometown. My hometown.
D A
Now Main Street's whitewashed windows, and vacant stores.
D A
Seems-like-there-ain't nobody, wants to come down here no more.
D A
They're closing down, the textile mill, 'cross the railroad tracks.
D A E A
Foreman-says these jobs, are going boys, and they ain't coming back, to your hometown.
D A E A E D A
To your hometown. Your hometown. Your hometown.
D A E
Last night me and Kate, we laid in bed, talkin' about getting out.
A E D
Packing up, our bags maybe heading south.
A D A E
I'm thirty-five, we got a boy, of our own now.
A E D
Last night I sat him up, behind the wheel, said “Son take a good look around,
A A D A E; E E, E E, A E D
This is your hometown.”
A A, A A, D A E; E E, E E, A E D; A A, A A, D A E; |A|
MY HOMETOWN
Bruce Springsteen
https://www.youtube.com/watch?v=z6LABdHtkUA (Capo 2)
INTRO: G, C G D; D D; G D C
G C G D
I was eight years old, and running with, a dime in my hand.
G D C
Into-the-bus- stop-to-pick, up a paper, for my old man.
G C G D
I'd sit on his lap, in that big old Buick, steer as we drove through town.
G D C G
He'd tousle my hair, and say son take, a good look around, this is your hometown.
C G D G D C
This is your hometown. This-is-your hometown. This is your hometown.
G C G D
In Sixty-Five tension-was running high, at my high school.
G D C
There was a lot of fights between the black and white. There was nothing you could do.
G C G D
Two cars at a light, on a Saturday night, in the back-seat there was a gun.
G D C G
Words were passed, a shotgun blast, troubled times had come, to my hometown.
C G D G D C G
To my hometown. My hometown. My hometown.
C G
Now Main Street's whitewashed windows, and vacant stores.
C G
Seems-like-there-ain't nobody, wants to come down here no more.
C G
They're closing down, the textile mill, 'cross the railroad tracks.
C G D G
Foreman-says these jobs, are going boys, and they ain't coming back, to your hometown.
C G D G D C G
To your hometown. Your hometown. Your hometown.
C G D
Last night me and Kate, we laid in bed, talkin' about getting out.
G D C
Packing up, our bags maybe heading south.
G C G D
I'm thirty-five, we got a boy, of our own now.
G D C
Last night I sat him up, behind the wheel, said “Son take a good look around,
G G C G D; D D, D D, G D C
This is your hometown.”
G G, G G, C G D; D D, D D, G D C; G G, G G, C G D; |G|
MY KIND OF WOMAN/MY KIND OF MAN
Vince Gill & Patty Loveless
(Gill)
https://www.youtube.com/watch?v=hn3SE7kzxkE (Capo 1)
INTRO: C G D G, D
G C G
You don't need diamonds, or big fancy cars.
D D
You say you're happy, right where you are.
C C G G
We're bound together, by a little gold band.
C G D G G
You're my kind of woman, and you're my kind of man.
C G
Oh living without you, is my only fear.
D D
You still drive me crazy, when I hold you near.
C C G G
My body trembles, with the touch of your hand.
C G D G G
C G G
You're my kind of woman, you're my kind of man.
A D D
A match made in Heaven, by God's gentle hands.
C G G
I'll love you forever, together we'll stand.
C G D G
<steel guitar> G G C G, G G G D
<fiddle> C C C G G, C G D G G
C G G
You're my kind of woman, you're my kind of man.
A D D
A match made in Heaven, by God's gentle hands.
C G G
I'll love you forever, together we'll stand.
C G D G
C G D C |C|-|G|-|D|-|G|
(Vince Gill) (Patty Loveless) (Artist Index) - (Main Index) - (Song Index) (This Song)
MY MY HEY HEY (OUT OF THE BLUE)
Neil Young
https://www.youtube.com/watch?v=cawk2cMTnGo (Capo 3)
TIP: Neil tends to hit the lead-in chord early so it may appear at the back-end of the
previous line.
INTRO: Em D C C, Em D C C, Em D C C, Em D C C, Em
D C C D C C, G
My my hey hey. Rock and roll is here to stay.
Bm Em C Em D C C
It's better to burn out, than to fade away. My my hey hey.
D C C, Em
Out of the blue and into the black.
D C C, G
They give you this but you pay for tha-at.
Bm Em C
And once you're gone you can never co-ome back,
Em D C C, Em D C C; Em D C C
When you're, out of the blue, and into the black.
<harmonica> G D Em C Em <guitar> Em D C C, Em
D C C, Em
The king is gone but he's not forgotten.
D C C, G
This is the story of a Johnny Rotten.
Bm Em C Em
It's better to burn out, than it is to rust.
D C C, Em D C C, Em
The king is gone but he's not forgotten.
D C C, Em D C C
Hey hey my my. Rock and roll can never die.
G Bm Em C Em D C
There's more to the picture, than meets the eye. Hey hey, my my.
<harmonica/guitar> Em D C C, Em D C C
G Bm Em C Em D C |Em|
Hey hey my my.
MY RIFLE, MY PONY, AND ME (In C)
Dean Martin & Rick Nelson
(Tiomkine/Webster)
https://www.youtube.com/watch?v=u709T25IyNk (Dean & Rick from Rio Bravo)(Capo 0)
https://www.youtube.com/watch?v=AigXBl3hdcg (Just Dean)(Capo 1)
TIP: Afterwards is a version in (G) and after that is a version from Don Williams.
TIP: The version from Rio Bravo is uncapo’d while Dean’s studio version is capo’d at the
first fret. The lyrics are nearly identical with just some differences in the background
singers and the duet has no intro as Dean sings the opening verse acapella. What appears
here has all the nuances of the studio version.
INTRO <studio>: C F C, C F |C|
NC |Em| |Am| |G|

The sun is sinking in the west. The cattle go down to the stream.
|C| |Em| |Am| C C C
The redwing settles in the nest. It's time, for a cowboy, to dream.
F C F
Purple light, in the canyons, that's where I, long to be.
C F C F
With my three, good companions, just my rifle, pony, and me.
C F
Gonna hang (gonna hang), my sombrero (my sombrero).
C F
On the limb (on the limb), of a tree (of a tree).
C F
Comin’ home (comin’ home), sweetheart darlin’ (sweetheart darlin’).
C F C F C
Just my rifle, pony, and me. Just my rifle, my pony, and me.
F C F
Whippoorwill, in the willow, sings a sweet, melody.
C F C F
Ridin’ to (ridin’ to), Amarillo (Amarillo). Just my rifle, pony, and me.
C F
No more cows (no more cows), to be ropin’, (to be ropin’).
C F
No more strays (no more strays), will I see.
C F
Round the bend (round the bend), she'll be waitin’ (she'll be waitin’).
C F C |F| |C| |F| |C|
For my rifle, pony, and me. For my rifle, my pony, and me.
(Dean Martin) (Rick Nelson) (Artist Index) - (Main Index) - (Song Index) (This Song)
MY RIFLE, MY PONY, AND ME (In G)
Dean Martin & Rick Nelson
(Tiomkine/Webster)
https://www.youtube.com/watch?v=u709T25IyNk (Dean & Rick from Rio Bravo)(Capo 5)
https://www.youtube.com/watch?v=AigXBl3hdcg (Just Dean)(Capo 6)
TIP: The version from Rio Bravo is capo’d at the 5th fret while Dean’s studio version is
capo’d at the 6th. The lyrics are nearly identical with just some differences in the
background singers and the duet has no intro as Dean sings the opening verse acapella.
TIP: The (Bm) appears only in the intro verse.
INTRO <Just Dean>: G C G, G C |G|
NC |Bm| |Em| |D7|

|G| |Bm| |Em| G G G
The redwing settles in the nest. It's time, for a cowboy, to dream.
C G C
G C G C
With my three, good companions, just my rifle, pony, and me.
G C
Gonna hang (gonna hang), my sombrero (my sombrero).
G C
On the limb (on the limb), of a tree (of a tree).
G C
Comin’ home (comin’ home), sweetheart darlin’ (sweetheart darlin’).
G C G C G
Just my rifle, pony, and me. Just my rifle, my pony, and me.
C G C
G C G C
Ridin’ to (ridin’ to), Amarillo (Amarillo). Just my rifle, pony, and me.
G C
No more cows (no more cows), to be ropin’, (to be ropin’).
G C
No more strays (no more strays), will I see.
G C
Round the bend (round the bend), she'll be waitin’ (she'll be waitin’).
G C G |C| |G| |C| |G|
For my rifle, pony, and me. For my rifle, my pony, and me.
(Dean Martin) (Rick Nelson) (Artist Index) - (Main Index) - (Song Index) (This Song)
MY RIFLE, MY PONY, AND ME – Don Williams
(Tiomkine/Webster)
https://www.youtube.com/watch?v=mA8FAYzrqcw (Capo 2)
TIP: This version from Don is very similar to the one above except Don omits the “gonna
hang” verse in favor of an instrumental. He also sings the “my rifle . . .” line
differently.
TIP: The (Bm) is only played in the intro verse.
INTRO: |G|
NC |Bm| |Em| |G| |D7|

|G| |Bm| |C| G G G
The redwings settles in their nest. It's time, for a cowboy, to sing.
C G C
G C G C G
With my three, good companions, just my rifle, my pony, and me.
C G C
G C G C G
Ridin’ to, Amarillo. Just my rifle, my pony, and me.
<harmonica> G C G C, G C, G C G
C G C
No more cows, to be ropin’. No more strays, will I see.
G C G C G
Round the bend, she'll be waitin’, for my rifle, my pony, and me.
|C| G G G |G|
For my rifle, my pony . . . and me.
MY SWEET LADY
John Denver
https://www.youtube.com/watch?v=_3p1KFxzT5M (Capo 0)
TIP: Strum sparingly through the verse, maybe once per chord, and normally through the
chorus. The weird (Em2) chord in the chorus is just (Em) with pinky added to the bottom
string/2nd fret.
INTRO: D G D G
D Dmaj7 G D Dmaj7 Gadd Gm

Lady, are you crying? Do the tears, belong, to me?
D Dmaj7 D Em Em A7
Did you think, our time together, was all gone?
Lady, you've been dreaming. I'm as close as I can be.
D Dmaj7 Em A D D7
And I swear to you, our time has just begun.
G A D D7
Close your eyes and rest, your weary mi-ind.
G A D D7
I promise, I will stay right here beside you.
G A D
Today, our lives were joined, became entwined.
Bm Em2 A7
I wish, that you could know, how much I love you.

Lady, are you happy? Do you feel the way I do?
D Dmaj7 D Em Em A7
Are there meanings, that you've never, seen before?
Lady, my sweet lady. I just can't believe it's true.
D Dmaj7 Em A D D7
And it's like, I've never ever loved before.
G A D D7
Close your eyes and rest your weary mi-ind.
G A D D7
I promise, I will stay right here beside you.
G A D
Today, our lives were joined, became entwined.
Bm Em2 A7
I wish, that you could know, how much I love you.
Lady, are you crying? Do the tears, belong, to me?
D Dmaj7 D Em Em A7
Did you think, our time together, was all gone?
Lady, you've been dreaming. I'm as close as I can be.
D Dmaj7 Em A D
And I swear to you, our time has just begun.
MY WAY - Frank Sinatra
(Anka)
https://www.youtube.com/watch?v=6E2hYDIFDIU (Capo 2)
TIP: For the intro, form (C) and slowly hit each string - from 4th string down to 2nd
string – and then back up. Repeat 4 times, ending at the 3rd string for the word "And",
and then strum (C) to begin the song.
INTRO <Form (C)>: 4 – 3 – 2 - 3, 4 – 3 – 2 - 3, 4 – 3 – 2 - 3
Em C A7
And now, the end is near, and so I face, the final curtain.
Dm Dm7 G C
My friend, I'll say it clear. I'll state my case, of which I'm certain.
F Fm
I've lived, a life that's full. I traveled each, and, every highway.
C G C
And more, much more than this, I did it my way.
Em C A7
Regrets, I've had a few. But then again, too few to mention.
Dm Dm7 G C
I did, what I had to do, and saw it through, without exemption.
F Fm
I planned, each charted course, each careful step, along the byway.
C G C
And more, much more than this, I did it my way.
F
Yes there were times, I'm sure you knew, when I bit off, more than I could chew.
Dm7 G E7 Am
But through it all, when there was doubt, I ate it up, and spit it out.
Dm7 G C
I faced it all, and I stood tall, and did it my way.
Em C A7
I've loved, I've laughed and cried, I've had my fill, my share of losing.
Dm Dm7 G C
And now, as tears subside, I find it all, so amusing.
F Fm
To think, I did all that, and may I say, not in a shy way.
C G C
Oh no, oh no not me. I did it my way.
F
For what is a man? What has he got? If not himself, then he has not.
Dm7 G E7 Am
To say the things, he truly feels, and not the words, of one who kneels.
Dm7 G C
The record shows, I took the blows, and did it my way.
C C F Fm C G C
Yes, it was my, way.
(Frank Sinatra) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE NEEDLE AND THE DAMAGE DONE
Neil Young
https://www.youtube.com/watch?v=Hd3oqvnDKQk (Capo 0)
[This is essentially the same version as the one from Harvest but that one is so dry and
sterile I went with Neil's live version.]
TIP: In the live version Neil sings the final verse slightly differently than the one
before it which accounts for the lone (Bb).
INTRO: D, C, G, Gm; C Am-C; E
D, C, G, Gm; C Am-C; E
D C G
I caught you knockin' at my cellar door.
Gm C
I love you baby can I have some more.
F E
Ohhhh oh the damage done.
D C G
I hit the city and I lost my band.
Gm C
I watched the needle take another man.
F E
Gonnne gone, the damage done.
D, C, G, Gm; C Am-C; E
D C G
I sing the song because I love the man.
Gm C
I know that some of you don't understand.
F E
Milllk blood to keep from runnnnnin' out.
D C G
I've seen the needle and the damage done.
Gm C
A little part of it in everyone.
F E
But every junkie's like a setting suu-uu-un.
D C G
I've seen the needle and the damage done.
Bb C
A little part of it in everyone.
F E D, C, G, Gm |Gm|
Every junkie's like a setting suu-uu-un.
NEVER BEEN TO SPAIN - Three Dog Night
(Axton)
https://www.youtube.com/watch?v=dm6qw_yeo6o (Capo 2)
TIP: The first verse is sung (almost) a cappella. After "Spain" and "insane there"
you'll see the notation 7 5 |G|. The numbers are the fret number (if you're capo 2 then
the frets will be marked) where you pluck the bottom string. Then you strum |G| once.
If you use your ring finger you'll be ready for the |G|. After "music" and "use it" it's
the same thing, so pick the bottom string/2nd fret and then the Open bottom string, and
then strum |D| once. Resume normal strum pattern in the next line at "England".
TIP: Strum (D) and hum the Mmmhmm part (last line/first verse) to find the opening note.
NC 7 – 5 - |G| 2 – O - |D|
Well I've never been to Spain, but I kinda like the music.
7 – 5- |G| 2 – O - |D|
Say the ladies are insane there, and they sure know how to use it.
|A| |G| |D|
They don't abuse it; never gonna lose it. I can't refuse it. Mmm-hmm.
NC G D
Well I've never been to England, but I kinda like the Beatles.
G D
Well I headed for Las Vegas, only made it out to Needles.
A G D
Can you feel it? Must be near it. Feels so good. Oh it feels so good.
G D
Well I've never been to heaven, but I've been to Oklahoma.
G D
Oh they tell me I was born there, but I really don't remember.
A G D
In Oklahoma, not Arizona? What does it matter? What does it matter?
G G D D G G D D A G D D |D|
NC G D
Oh I've never been to Spain, but I kinda like the music.
G D
Say the ladies are insane there, and they sure know how to use it.
A G D
They don't abuse it; never gonna lose it. I can't refuse it. Oh-oh oh.
G D
Well I've never been to heaven, but I've been to Oklahoma.
G D
Oh they tell me I was born there, but I really don't remember.
A G D
In Oklahoma, not Arizona? What does it matter? What does it matter?
G G D D G G D D A G D
NEVER DID NO WANDERIN’ – The Folksmen
(McKean/Shearer)
https://www.youtube.com/watch?v=wFt_W8bVYSQ (Capo 0)
TIP: There's a very easy strum voicing that serves as the intro and as a pacing device
which appears several times during the song. It's one beat of (Em), then you lift off
the ring finger momentarily for one beat of the (Emsus2) and then two more beats of the
(Em). Thing is, it always follows an (Em) and that (Em) is the first (Em) in the
sequence. Super easy.
INTRO: Em, Emsus2-Em Em; Em, Emsus2-Em Em
Em, Emsus2-Em Em; Em, Emsus2-Em Em
D
My mama was the cold north wind.
Em G Em D
My-daddy was the sonnnnn of a railroad man from west of hell,
C D Em
Where the trains don’t even run.
G Em
Never heard the whistle of a southbound freight,
G B7
Or the singin' of its driving wheeeel no I,
Em D Em G
Never did no wanderin’. Never did no wanderin’.
Em D Em Emsus2-Em Em; Em, Emsus2-Em Em
Never did no wanderin’ after all.
D
They-say-the-highway’s just one big road.
Em G Em D
And it goes, from here to therrrre and they say you carry a heavy load,
C D Em
When you’re rolling down the line somewhere.
G Em
Never seen the dance of the telephone poles,
G B7
As they go whizzin’ byyyyyy no I,
Em D Em G
Em D Em Emsus2-Em Em; Em, Emsus2-Em Em
Am Em Am B7
Never did no wanderin’, high. Never did no wanderin’ low.
Em, Emsus2-Em-Em; Em, Emsus2-Em-Em; Em, Emsus2-Em-Em; Em, Emsus2-Em-Em
D Em G
Now a sailor’s life is a life for him, but it never was for me.
Em D
And I never soared where the hawk may soar,
Em
Or see what the hawk might see.
G Em
Never hiked to heaven on a mountain trail,
G B7
Never rode on a river’s raaa-aaage no I,
Em D Em G
Em D Em Emsus2-Em-Em; Em, Emsus2-Em-Em
Em D Em G
Em D Em Emsus2-Em-Em; Em, Emsus2-Em-Em
|Em| |D| |E|

<One strum each> Never did no wanderin’ after all.
(The Folksmen) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
NEVER ENDING SONG OF LOVE
Delaney & Bonnie/John Fogerty
(Bramlett)
https://www.youtube.com/watch?v=GBMtWjCPW1c (Fogerty)(Capo 0)
https://www.youtube.com/watch?v=WCrZ5CN7ymc (D & B)(Capo 0)
TIP: Presented here in (A) and capo’d at the 3rd fret to avoid the (F) but can also be
played uncapo’d in (C). To do so “add” two chords to what you see, so (A) becomes (C),
(E) becomes (G), and (D) becomes (F).
TIP: The two versions are very similar with only minor differences. This is based on
John’s more upbeat tempo which has a distinct down, down-up-down pattern.
INTRO: A A A |A|
NC A E A
I've got a never ending love for you. From now on, that's all I want to do.
E A |A|
From the first time we met I knew, I'd have a never ending love for you.
NC A E A
E A
From the first time we met I knew, I'd have a never ending love for you.
D D A
After all this time of being alone. We can love one another, feel for each other
D D D D E E E
From now on, feels so good I can, hardly stand it.
A E A
E A
From the first time we met I knew, I'd sing my never ending song of love for you.
<fiddle> A A E E, E E A A, A A E E, E E E A
<steel> A A E E, E E A A, A A E E, E E E A
D D A
After all this time of being alone. We can love one another, feel for each other
D D D D E E E E E
From now on, feels so good I can, hardly stand it.
A E A
E A
From the first time we met I knew, I'd sing my never ending song of love for you.
E A A A A |A|
I've got a never ending love for you.
(John Fogerty) (Delaney & Bonnie) (Artist Index)

THE NIGHT BEFORE - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=7tD40D7jk-Q&ab_&ab_ (Capo 0)
INTRO: D F G A
D C G A
We said our good bye-eye-eye the night before.
D C G A
Love was in your eye-eye-eye the night before.
Bm Em Bm G
Now today I find, you would change your mind.
D G D F, F-G
Treat me like you did the night before.
D C G A
Were you telling lie-i-ies the night before?
D C G A
Was I so unwi-i-ise the night before?
Bm Em Bm G
When I held you near, you were so sincere.
D G D D
Am D G
Last night is a night I will remember, you by.
Bm E A
When I think of things we did it, makes me want to cryyyyy.
D C G A
We said our good bye-eye-eye the night before.
D C G A
Love was in your eye-eye-eye the night before.
Bm Em Bm G
Now today I find, you would change your mind.
D G D F, F-G
D C G A D C G A
Bm Em Bm G
D G D D
Am D G
Last night is a night I will remember, you by.
Bm E A
When I think of things we did it, makes me want to cryyyyy.
D C G A
Were you telling lie-i-ies the night before?
D C G A
Was I so unwi-i-ise the night before?
Bm Em Bm G
D G D D
F D D |D|
Like the night before.
THE NIGHT THEY DROVE OLD DIXIE DOWN – Joan Baez
(Robertson)
https://www.youtube.com/watch?v=wanJQC5KAfo (Capo 1)
TIP: Robbie Robertson and The Band perform quite differently and in a different key than
Joan with slightly different lyrics. I know Robbie wrote it and you can hate me but the
lyrics and cadence presented here are Joan's.
TIP: At the end of the chorus there's a little step-down instrumental piece. You want
to emphasize the base notes so concentrate on the top 4 strings.
INTRO: G-C, G-C, Am
C F Am
Virgil Cain is my name and I drove on the Danville train.
C Am F Am
Till so much cavalry came and tore up the tracks again.
F C Am F
In the winter of Sixtey-Five, we were hungry just barely alive.
Am F C Am D
I took the train to, Richmond it fell it was a time, I remember oh so well.
C Am F C Am
The night they drove old Dixie down, and all the bells were ringin’.
C Am F C Am C
The night they drove old Dixie down, and all the people were singin’ they went:
Am D F
“Naa na-na na na na, na-na na-naa na na na na-na.”
C Em Am G, C Em Am G
Am C F Am
Back with my wife in Tennessee, when one day she called to me:
C Am F Am
“Virgil quick come see, there goes Robert E. Lee.”
F C Am F
Now I don’t mind I’m choppin’ wood, and I don’t care if the money’s no good.
Am F
Just take what you need and leave the rest,
C Am D
But they should never, have taken the very best.
C Am F C Am
C Am F C Am C
Am D F
C Em Am G, C Em Am G
Am C F Am
Like my father before me, I’m a workin’ man.
C Am F Am
And like my brother before me, I took a rebel stand.
F C Am F
Well he was just eighteen, proud and brave. But a Yankee laid him in his grave.
Am F C Am D
I swear by the blood below my feet, you can’t raise a Cain back up when it’s in defeat.
C Am F C Am
C Am F C Am C
Am D F |Am|
(Joan Baez)(The Band) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
NIGHTS IN WHITE SATIN – The Moody Blues
(Hayward)
https://www.youtube.com/watch?v=9muzyOd4Lh8 (Capo 0)
TIP: For the flute solo (B) is actually the correct chord but I find (B7) easier to play
and it works as well. Whichever you prefer.
or
INTRO: Em D Em D Em
D Em D
Nights in white satin, never reaching the end.
C G F Em
Letters I've written, never meaning to send.
D Em D
Beauty I'd always missed, with these eyes before.
C G F Em
Just what the truth is I can't say anymore.
A C Em D Em D
'Cause I love you. Yes I love you. Oh, how I love you.
Em D Em D
Gazing at people, some hand in hand.
C G F Em
Just what I'm going through, they can’t understand.
D Em D
Some try to tell me, thoughts they cannot defend.
C G F Em
Just what you want to be, you will be in the end.
A C Em D
And I love you. Yes I love you. Oh, how I love you.
Em D Em |Em| <brief pause>
Oh how I love you.
<flute solo> Em D C B7, Em D C B7, Em C, Em C Am B7 Am B7
Em D C Em D Em D Em
D Em D
Nights in white satin, never reaching the end.
C G F Em
Letters I've written, never meaning to send.
D Em D
Beauty I'd always missed, with these eyes before.
C G F Em
Just what the truth is I can't say anymore.
A C Em D
‘Cause I love you. Yes I love you. Oh, how I love you.
Em D Em
Oh how I love you.
Em-Em A C Em D
Yes I love you. Yes I love you. Oh, how I love you.
Em D Em Em
Oh how I love you.
1982 - Randy Travis
(Blackmon/Vipperman)
https://www.youtube.com/watch?v=EJRl5GrW_34 (Capo 2)
INTRO: G-D D C D G
NC C
Operator please connect me, with nineteen eighty-two.
D D7 C D G
I need to make apologies for what I didn't do.
C Am
I sure do need to tell her that I've thought the whole thing through,
D D7 G
And now it's clear that she is what I should have held on to.
D G C G
They say hindsight's 20/20, but I'm nearly going blind,
A D
From staring at her photograph and wishing she was mine.
G C Am
It's that same old lost love story. It's sad but it's true.
D D7 G D D C D G, E
There was a time when she was mine in nineteen eighty two.
A D
Postman can you sell me a special kind of stamp?
E D E A
One to send a letter from this crazy lonely man.
D
Back into the wasted years of my living past.
E A
I need to tell her now I know how long my love will last.
E A D A
They say hindsight's 20/20, but I'm nearly going blind,
B B7 E
From staring at her photograph and wishing she was mine.
A D
It's that same old lost love story. It's sad but it's true.
E E7 A
There was a time when she was mine in nineteen eighty two.
E E7 A D A E A
Losing my mind going back in time to nineteen eighty two.
19TH NERVOUS BREAKDOWN - The Rolling Stones
(Jagger/Richards)
https://www.youtube.com/watch?v=DEseb6-hssc (Capo 2)
TIP: The intro is quite quick with one strum per chord. (D4) is just (D) with your
pinky added to the bottom string/3rd fret. You don't have to break the (D) form, just
on/off.
INTRO: D-D4-D4-D, D-D4-D4-D, D-D4-D4-D, D-D4-D4-D
You're the kind of person you meet at certain, dismal dull affairs.
Center of a crowd talkin' much too loud runnin' up and down the stairs.
G
Well it seems to me that you have seen too much in too few years.
D
And though you've try you just can't hide your eyes are edged with tears.
A G G C
You better stop, look around.
D G
Here it comes, here it comes. Here it comes, here it comes.
D D
Here comes your nineteenth nervous breakdown.
When 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.
G
Your mother who neglected you owes a million dollars tax.
D
And your father's still perfecting ways of making sealing wax.
A G G C
D G
D D
A D
Oh, who's to blame, that girl's, just insane.
G A
Well nothing I do don't seem to work it, only seems to make the matters worse.
D
Oh ple-e-e-ase.
You were still in school when you had that fool who really messed your mind.
And after that you turned your back on treating people kind.
G
On our first trip I tried so hard to rearrange your mind.
D
But after awhile I realized you were disarranging mine.
A G G C
D G
D D
D-D4-D4-D, D-D4-D4-D, D-D4-D4-D, D-D4-D4-D
A D
Oh, who's to blame, that girl's, just insane.
G A
Well nothing I do don't seem to work it, only seems to make the matters worse.
D
Oh ple-e-e-ase.
When 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.
G
Your mother who neglected you owes a million dollars tax.
D
And your father's still perfecting ways of making sealing wax.
A G D D
You better stop, look around. Here it comes.
NOBODY HOME - Pink Floyd
(Waters)
https://www.youtube.com/watch?v=TIEma4NAc9w (Capo 0)
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 it's sort of a cross-over move as you
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: There are some double chords both at the end and beginning of the lines. These are
necessary for pacing.
TIP: You'll have a tendency to play too quickly; don't. Play slowly. Roger Waters, you
magnificent bastard.
INTRO: Am Ab+ C D7, F Fm
C
I've got a little black book with my poems in.
E
I've got a bag, got a toothbrush and a comb.
F C
When I'm a good dog they sometimes throw me a boney.
F C E E7
I got elastic bands keeping my shoes on. Got those, swollen hand blues.
F C
I got thirteen channels of shit on the TV to choose from.
C C7
I've got electric light. And I got second sight.
F Fm C E7 Am D G E
I've got amazing, powers of observation. And that is how I know.
Am Am Ab+ D Fm
When I try to get through, on the telephone to you,
C C F C
There'll be nobody home.
F C E E7
I've got the obligatory, Hendrix perm. And the inevitable, pinhole burns,
F C
All down the front of my favorite satin shirt.
F C E
I've got nicotine stains on my fingers, I've got a silver spoon, on a chain.
F C
I've got a grand piano to prop up my mortal remains.
C7 C7 F
I've got wild staring eyes, and I've got a strong urge to fly.
Fm C G Am D G E
But I've got nowhere to fly to fly to fly to fly to fly to fly to fly to fly to.
Am C D F C C F C
Oooooooh Babe, when I pick up the phone, there's still nobody home.
F C E E7
I've got a pair of Gohills boots, and I've got, fading roots.
NOWHERE MAN – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=RiTwf45cH6M (Capo 2)
TIP: The voicing in the chorus is a bit cumbersome. It goes (Em/D)(A)(Em) but all you
do is to add your pinky to the 2nd string/3rd fret when playing that first (Em/D).
NC
He's a real nowhere man, sitting in his Nowhere Land,
Em Gm D D
Making all his nowhere plans for nobody.
A G D
Doesn't have a point of view, knows not where he's going to.
Em Gm D D
Isn't he a bit like you and me?
F#m G F#m G
Nowhere Man please listen. You don't know what you're missing.
F#m Em/D A Em A
Nowhere Man, the wor-r-r-ld is at your command.
D A G D Em Gm D D
A G D
He's as blind as he can be, just sees what he wants to see.
Em Gm D D
Nowhere Man can you see me at all?
F#m G F#m G
Nowhere Man, don't worry. Take your time, don't hurry.
F#m Em/D A Em A
Leave it all till somebody else lends you a hand.
D A G D
Doesn't have a point of view, knows not where he's going to.
Em Gm D D
Isn't he a bit like you and me?
F#m G F#m G
Nowhere Man please listen. You don't know what you're missing.
F#m Em/D A Em A
Nowhere Man, the wor-r-r-ld is at your command.
D A G D
He's a real nowhere man, sitting in his Nowhere Land,
Em Gm D D Em Gm D
Making all his nowhere plans for nobody. Making all his nowhere plans for nobody.
Em Gm D D
Making all his nowhere plans for nobody.
OBJECTS IN THE REAR VIEW MIRROR
MAY APPEAR CLOSER THAN THEY ARE
Meat Loaf
(Steinman)
https://www.youtube.com/watch?v=r7WVi-7me4I (Capo 5)
TIP: The version from the studio album is slightly different than the one from the music
video. This is based on the album.
TIP: The second instrumental bridge is a bit messy. In the middle there’s an
accentuation where you strum hard and “less hard”, e.g., |Am|(Am) |Em|(Em) etc.
INTRO <gently>: C Am Em F, Am Em Am-F-G
C Am Em F
The skys were pure and the fields were green. The sun was brighter than it's ever been.
Am Em Am F G
When I grew up with my best friend Kenny we were close as any brothers that you ever knew
C Am
It was always summer and the future called.
Em F
We were ready for adventures and we wanted them all.
Am Em Am F G
There was so much left to dream, and so much time to make it real.
Am Em F G
But I can still recall the sting of all the tears when he was gone.
Am Em F G
They say he crashed and burned I know I'll never learn why any boy should die so young.
F G Am F
We were racing we were soldiers of fortune. We got in trouble but we sure got around.
G
There are times-I-think-I-see-him-peeling out of the dark.
Am Em F F
I think he's right behind me now and he's gaining ground.
Em Am F G
But it was long ago and it was far away oh God it seems so very far.
Em Am F G |G7| |C|-|Gadd|
And if life is just a highway, then the soul is just a car.
C Am G C
And objects in the rear view mirror may appear closer than they are.
Am G F C
Am G C
Am G F C C Am
F G C Am F G, C Am F G, C Am F |G| . . . G
They are. They are.
C Am
And when the sun descended and the night arose
Em F
I heard my father cursing everyone he knows.
Am Em Am F G
He was dangerous and drunk and defeated and corroded by failure and envy and hate.
C Am
There were endless winters and the dreams would freeze.
Em F
Nowhere to hide and no leaves on the trees.
Am Em Am F G
And my father's eyes were blank as he hit me again and again and again.
Am Em F G
I know I still believe he'd never let me leave I had to run away alone.
Am Em F G
So many threats and fears so many wasted years before my life became my own.
F G Am F
And though the nightmares should be over, some of the terrors are still intact.
G
I'll hear that ugly coarse and violent voice
Am Em |F| F
And then he grabs me from behind and then he pulls me back.
Em Am F G
Em Am F G |G7| |C|-|Gadd|
C Am G C
Am G F C
Am G C
Am G F C Am F G
C Am F G
They are.
Am G Am F Dm7 G, |Am| Am |Em| Em |Am| Am |Em| Em |Am| Am |Em| Em| |Am| Am
Em G C Am Em F, Am Em F |G|
C Am
There was a beauty living on the edge of town.
Em F
She always put the top up and the hammer down.
Am Em Am F G
And she taught me everything I'll ever know about the mystery and the muscle of love.
C Am
Stars would glimmer and the moon would glow.
Em F
I'm in the back seat with my Julie like Romeo.
Am Em Am F G
And the signs along the highway all said “Caution! Kids at play.
Am Em F G
Those were the rights of spring and we did everything. There was salvation every night.
Am Em F G
We got dreams reborn and our upholstery torn but everything we tried was right.
F G Am F
She used her body just like a bandage, she use my body just like a wound.
G
I'll probably never know where she disappeared
Am Em
But I can see her rising up out of the back seat now
Am F F
Just like an angel rising out of a tomb.
Em Am F G
Em Am F G
|G7| |C|-|Gadd| |G7| |C|-|Gadd|
C Am G C
Am G F C
Am G C
Am G F C
Am G C
Am G F C
Am G C
Objects in the rear view mirror may appear closer than they are.
Am G F C
Am G C
Am G F C
C Am G G, C Am G F C
Am G C
Am G F C
Am G C
Am G F C
Am G C
Am G F C
F G Am F
She used her body just like a bandage, she use my body just like a wound.
G
I'll never know where she disappeared
Am Em |Em|
But I can see her rising up out of the back seat now.
OB-LA-DI, OB-LA-DA - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=_J9NpHKrKMw (Capo 3)
TIP: Start the intro with a rapid strum sequence of (D) for a full measure and then jump
to the first (G). From there it's a rhythmic three-note cadence of <g>,<b>-<d> (which
are the top three strings) from within the strum of (G). The tempo is: (1, 2-3); (1, 2-
3), etc. So it’s down, down-up; down, down-up, etc.
INTRO: D . . . G, G-G; G, G-G; G, G-G; G, G-G; G, G-G; G, G-G; G, G-G
D D7 G G
Desmond had a barrow in the market place. Molly is the singer in a band.
G7 C
Desmond says to Molly "Kid I like your face"
G D7 G
And Molly says this as she takes him by the hand:
D Em G D G
Ob-la-di, ob-la-da, life goes on, brah. La la how the life goes on.
D Em G D G
D D7 G G
Desmond takes a trolley to the jeweler’s store. Buys a twenty carat golden ring.
G7 C
Takes it back to Molly waiting at the door
G D7 G
And as he gives it to her she begins to sing.
D Em G D G
D Em G D G
Ob-la-di, ob-la-da, life goes on, brah. La la how the life goes on. Yeah.
C G D-Em-F-C
In a couple of years they have built a home sweet home.
G D
With a couple of kids running in the yard, of Desmond and Molly Jones. (Ha ha ha ha ha)
G D D7 G G
Happy ever after in the market place, Desmond lets the children lend a hand.
G7 C
Molly stays at home and does her pretty face,
G D7 G
And in the evening she still sings it with the band. Yes.
D Em G D G
D Em G D G
C G D-Em-F-C
In a couple of years they have built a home sweet home.
G D
With a couple of kids running in the yard, of Desmond and Molly Jones. (Ha ha ha ha ha)
G D D7 G G
Happy ever after in the market place, Molly lets the children lend a hand.
G7 C
Desmond stays at home and does his pretty face,
G D7 G
And in the evening she’s a singer with the band. Yes.
D Em G D G
D Em G D Em
D G |G|
Well if you want some fun. Take Ob-la-di bla da ahh, thank you ooh ah-ha-ha.
OCEAN FRONT PROPERTY – George Strait
(Cochran)
https://www.youtube.com/watch?v=ioPa1URjZ_Y (Capo 0)
INTRO: D-D, D F#m G-A-G-A D G G-A-D
G D G D A A D
If you leave me, I won't miss you. And I won't ever take you back.
G D G D
Girl your mem’ry, won't ever haunt me, 'cause I don't love you,
G A D D |D|
And-now-if you'll buy that.
NC D F#m G A G A D
I got some, ocean front property in Ar i zon a.
F#m G A
From my front porch you can see the sea.
D F#m G A G A
I got some, ocean front property in Ar I zon a.
D G A D
If you’ll buy that I’ll throw the Golden Gate in free.
D F#m G-A-G-A D F#m G A; D F#m G-A-G-A D G G-A-D
G D G D A D
I don't worship, the ground you walk on. I never have and that's a fact.
G D G D
I won't follow, or try to find you, ' cause I don't love you,
G A D D |D|
Now if you'll buy that.
NC D F#m G A G A D
F#m G A
D F#m G A G A
D G A D
D F#m G A G A D
F#m G A
D F#m G A G A
D G A D
G A D D F#m G-A-D
Yeah if you’ll buy that I’ll throw the Golden Gate in free.
(George Strait) (Artist Index) - (Main Index) - (Song Index)(This Song)

ODE TO BILLY JOE
Bobbi Gentry
https://www.youtube.com/watch?v=cJZ_ViDADOE (Capo 0)
INTRO: D
It was the third of June another sleepy dusty Delta day.
I was out choppin' cotton and my brother was balin' hay.

G
And at dinner time we stopped and walked back to the house to eat.
D
And Mama hollered out the back door 'Y'all remember to wipe your feet.'
G
And then she said "I got some news this mornin' from Choctaw Ridge.
|D| |C| D7
Today Billy Joe MacAllister jumped off the Tallahatchie Bridge."
D
And Papa said to Mama as he passed around the blackeyed peas.
"Well Billy Joe never had a lick of sense -- pass the biscuits please.
G
There's five more acres in the lower forty I've got to plow."
D
And Mama said it was shame about Billy Joe anyhow.
G
Seems like nothin' ever comes to no good up on Choctaw Ridge.
|D| |C| D7
And now Billy Joe MacAllister's jumped off the Tallahatchie Bridge.
D
And brother said he recollected when he and Tom and Billie Joe,
Put a frog down my back at the Carroll County picture show.

G
And wasn't I talkin' to him after church last Sunday night?
D
"I'll have another piece-a apple pie -- you know it don't seem right.
G
I saw him at the sawmill yesterday on Choctaw Ridge.
|D| |C| D7
And now ya tell me Billie Joe's jumped off the Tallahatchie Bridge."
D
And Mama said to me "Child what's happened to your appetite?
I've been cookin' all mornin' and you haven't touched a single bite.
G
That nice young preacher Brother Taylor dropped by today.
D
Said he'd be pleased to have dinner on Sunday. Oh by the way,
G
He said he saw a girl that looked a lot like you up on Choctaw Ridge,
|D| |C| D7
And she and Billy Joe was throwin' somethin' off the Tallahatchie Bridge.
D
A year has come and gone since we heard the news 'bout Billy Joe.
And brother married Becky Thompson 'n they bought a store in Tupelo.
G
There was a virus going 'round Papa caught it and he died last spring.
D
And now Mama doesn't seem to want to do much of anything.
G
And me I spend a lot of time pickin' flowers up on Choctaw Ridge,
|D| |C| D |D|
And drop them in to the muddy water off the Tallahatchie Bridge.
(Bobbi Gentry) (Artist Index) - (Main Index) - (Song Index)(This Song)

OH BOY – Buddy Holly
(West/Tilghman/Petty)
https://www.youtube.com/watch?v=YwHrx0r0t2s (Capo 0)
TIP: Strike chords in |brackets| just once.
|A| |A|
All of my love, all of my kissin'.
A D
You don't know what you been a missin' oh boy (oh boy),
A
When you're with me oh boy (oh boy).
E A D-A-E
The world can see that you, were meant, for me.
|A| A
All of my life, I been a waitin'.
D
Tonight there'll be no, hesitatin' oh boy (oh boy),
A
E A D-A-E
E A
Stars appear and the shadows are fallin'. You can hear, my heart a callin'.
D E E7
A little bit of lovin' makes everything right. And I'm gonna see my baby tonight.
A
D
A
E A D-A-E
A
Dum, de-dum-dum, oh boy. Dum, de-dum-dum, oh boy.
D A E A
Ah... Ah... Ah... Ah...
|A| |A|
A D
A
E A D-A-E
A
All of my life, I been a waitin'.
D
Tonight there'll be no, hesitatin' oh boy (oh boy),
A
E7 A D-A-E
E A
Stars appear and the shadows are fallin'. You can hear, my heart a callin'.
D E E7
A little bit of lovin' makes everything right. And I'm gonna see my baby tonight.
A
D
A
E A A D-A
OH, LONESOME ME
Don Gibson/Kentucky Headhunters
(Gibson)
https://www.youtube.com/watch?v=Xc-2eO8FJzk Don Gibson (Capo 3)
https://www.youtube.com/watch?v=72kPrYNoQOw Kentucky Headhunters (Capo 4)
TIP: The performances of Don Gibson's original and the Kentucky Headhunters cover are
nearly identical except for the capo settings, intro/outro, and instrumental bridge.
Annotated as such.
TIP: (C7) will follow (C) so just add your pinky to the 3rd string/3rd fret.
INTRO (Don Gibson): <strum> C C C C
INTRO (Kentucky Headhunters): C C F F G G C C
G G7
Everybody's going out and havin’ fun.
C
I'm just a fool for staying home and having none.
C7 F G G7 C
I can't get over how she set me free. Oh-oh lonesome me.
G7
A bad mistake I'm making by just hanging round.
C
I know that I should have some fun and paint the town.
C7 F G G7 C
A lovesick fool is blind and just can't see. Oh-oh lonesome me.
G D
I'll bet she's not like me. She's out and fancy free.
D7 G
Flirtin' with the boys with all her charms.
D7
But I still love her so, and brother don't you know,
D D7 G
I'd welcome her right back here in my arms.
C G G7
Well there must be some way I can lose these lonesome blues.
C
Forget about the past and find somebody new.
C7 F G G7 C
I've thought of everything from A to Z. Oh-oh lonesome me.
DG: C C G7, G7 G7 C, C7 C7 F, G G C
KHH: C C F F G G C C
G D
I'll bet she's not like me. She's out and fancy free.
D7 G
Flirtin' with the boys with all her charms.
D7
But I still love her so, and brother don't you know,
D D7 G
I'd welcome her right back here in my arms.
C G G7
Well there must be some way I can lose these lonesome blues.
C
Forget about the past and find somebody new.
C7 F
I've thought of everything from A to Z.
DG: G G7 C G G7 C G G7 C
Oh-oh lonesome me. Oh-oh lonesome me.
KHH: G G7 C G G7 C G G7 C C F G C |C|
Oh-oh lonesome me. Oh-oh lonesome me. Oh-oh lonesome me.
(Don Gibson) (Kentucky Headhunters) (Artist Index)

OH, MY DARLING CLEMENTINE - Traditional
(Montrose)
G D7
In a cavern, in a canyon, excavating for a mine,
G D7 G
Dwelt a miner, forty-niner, and his daughter, Clementine.
D7
Oh my Darling, oh my darling, oh my darling Clementine.
G D7 G
You are lost and gone forever, dreadful sorry, Clementine.
D7
Light she was, and like a fairy, and her shoes were number nine.
G D7 G
Herring boxes, without topses. Sandals were for Clementine.
D7
Drove she ducklings to the water, every morning just at nine.
G D7 G
Hit her foot against a splinter, fell into the foaming brine.
D7
G D7 G
D7
Ruby lips above the water, blowing bubbles soft and fine.
G D7 G
But alas, I was no swimmer, so I lost my Clementine.
D7
How I missed her, how I missed her, how I missed my Clementine.
G D7 G
But I kissed her little sister, and forgot my Clementine.
D7
G D7 G
D7
Then the miner, forty-niner, soon began to peak and pine.
G D7 G
Thought he oughter join his daughter, now he's with his Clementine.
D7
In a churchyard, near the canyon, where the myrtle does entwine.
G D7 G
There grow roses and the posies, fertilized by Clementine.
D7
G D7 G
D7
In my dreams she, still does haunt me, robed in garments, soaked in brine.
G D7 G
Then she rises from the water and I kiss my Clementine.
D7
G D7 G

OH PRETTY WOMAN
Roy Orbison
https://www.youtube.com/watch?v=3KFvoDDs0XM (Capo 0)
TIP: There's a lot going on here but if you're patient you can get through it with
little difficulty. Of course Roy plays that classic bass riff but I've included how to
play that riff with chords. It's all about alternating between regular (E7) shown in the
3rd diagram, and something I'm calling (E7D) shown in the 2nd diagram which is (E7) with
you pinky covering the 2nd string/3rd fret note <d>. During the entire riff the index
and middle finger stay fixed - only the ring finger and pinky move. Okay, for the short
riff you play four strums of (E). Now place your pinky on the 2nd string/3rd fret while
lifting off the ring finger. It's like a pivot, pinky down/ring finger up. That's the
shorter 5-note and you play the sequence twice. Now for the longer 8-note riff you play
the 5-note riff, which ends on (E7D) with your pinky down/ring finger up, now just lift
off the pinky as well and you're at (E7). Put the pinky back down and you're back to
(E7D). So after you lift the ring finger it's pinky down/pinky up/pinky down/pinky up.
That's the long riff and it's played four times.
TIP: Toward the end there is an (E)(Esus)(E) sequence in which you hold the (E) and just
tuck/remove your pinky under your ring ring finger on the 3rd string/2nd fret. On/off,
on/off. If you don't like it play (E) straight on through.
TIP: One last thing and then I'll shut up. You'll have a tendency to jump from the
trailing (E7) to the (A) prematurely on "Pretty". Don't. Hold the (E7) for "Pretty" and
hit the (A) on "woman".
INTRO: |E|-|E|-|E|-|E|-|E7D|, |E|-|E|-|E|-|E|-|E7D|
|E|-|E|-|E|-|E|-|E7D|-|E7|-|E7D|-|E7|, |E|-|E|-|E|-|E|-|E7D|-|E7|-|E7D|-|E7|
A F#m A F#m
Pretty woman, walking down the street. Pretty woman, the kind I'd like to meet.
D
Pretty woman.
E E7 E E7 E
I don't believe you, you're not the truth. No one could look as good as you.
|E|-|E|-|E|-|E|-|E7D|-|E7|-|E7D|-|E7| |E|-|E|-|E|-|E|-|E7D|-|E7|-|E7D|-|E7|
Mercy.
A F#m A F#m D
Pretty woman, won't you pardon me. Pretty woman, I couldn't help but see. Pretty woman.
E E7 E E7 E
That you look lovely as can be. Are you lonely just like me?
|E|-|E|-|E|-|E|-|E7D|-|E7|-|E7D|-|E7| |E|-|E|-|E|-|E|-|E7D|-|E7|-|E7D|-|E7|
<Growl>
|E|-|Dm| Dm G7 C Am
Pretty woman, stop a while. Pretty woman, talk a while.
Dm G7 C C
Pretty woman, give your smile to me.
Dm G7 C Am
Pretty woman, yeah yeah yeah. Pretty woman, look my way.
Dm G7 C A
Pretty woman, say you'll stay with me.
F#m Dm E
'Cause I need you, I'll treat you right.
A F#m D E E7 E
Come with me baby, be mine toni - i - ight.
A F#m A F#m
Pretty woman, don't walk on by. Pretty woman, don't make me cry.
D E
Pretty woman, don't walk away hey.
E7 E
Okay. If that's the way it must be, okay.
Esus E Esus E
I guess I'll go on home, it's late.
E
There'll be tomorrow night, but wait. What do I see?
|E|-|E|-|E|-|E|-|E7D|, |E|-|E|-|E|-|E|-|E7D|
E7 E
Is she walking back to me? Yeahhhh. She's walking back to me.
E E7 |A| |A|
Oh, oh, pretty wo - man.
OH WHAT A THRILL - The Mavericks
(Winchester)
https://www.youtube.com/watch?v=UYHOfd-wP3Y (Capo 2)
TIP: For the (Am7) you're already playing an (Am) so just lift off the middle finger.
INTRO: G, G, G, G
G Em G Em Em
Oh girl, any moment, I may, kiss your lips.
G Em Am Am7 D D
Oh it's, been a while, since I, felt like this.
G Em Am Am7 D |D|-|D|
Oh girl please, don't refuse me. Oh I'm so, scared you will.
NC |G| NC D D7 G |G|
Oh what a thrill. Oh what a thrill, stars in the sky.
NC D D7 G
Stars stand still, oh what a thrill.
G Em G Em Em
Woman, wor-ords fail me. Your skin is, sweet and warm.
G Em Am Am7 D D
I want, to console you, and hold you, in my arms.
G Em Am Am7 D |D|-|D|
Oh once you, you were my baby. Oh you're my, my baby still.
NC |G| NC D D7 G |G|
Oh what a thrill. Oh what a thrill, stars in the sky.
NC D D7 G
Stars stand still, oh what a thrill.
Oh what a thrill, oh what a thrill. Oh what a thrill, oh what a thrill.
Oh what a thrill, oh what a thrill. Oh what a thrill, oh what a thrill.
Oh what a thrill, oh what a thrill.
OKIE FROM MUSKOGEE
Merle Haggard
https://www.youtube.com/watch?v=D5K5l89mpV8 (Capo 0)
TIP: There's a key shift after the chorus in which all the chords are sharped. Capo the
1st fret to continue playing with the recording.
TIP: In many of Merle's live performances the song is capo'd at the 1st fret to begin
with but not in the album version which is the link above.
INTRO: A7 A7 D
We don't smoke marijuana in Muskogee.

A7
We don't take our trips on L.S.D.
We don't burn our draft cards down on Main Street.
Cuz we like livin' right, and bein' free.
We don't make a party out of lovin'.

A7
But we like holdin' hands and pitchin' woo.
A
We don't let our hair grow long and shaggy,
D
Like the hippies out in San Francisco do.
And I'm proud to be an Okie from Muskogee.

A
A place where even squares can have a ball.
A7
We still wave Old Glory down at the courthouse,
A D
And white lightnin's still the biggest thrill of all.
<capo +1>
Leather boots are still in style for manly footwear.

A7
Beads and Roman sandals won't be seen.
A
Football's still the roughest thing on campus,
D
And the kids here still respect the college dean.
And I'm proud to be an Okie from Muskogee.
A
A place where even squares can have a ball.
A7
We still wave Old Glory down at the courthouse,
A D
A D
A D
In Muskogee, Oklahoma, U. S. A.
OLD FRIENDS/BOOKENDS - Simon and Garfunkel
(Simon)
https://www.youtube.com/watch?v=6YpK-qrGQrg (Capo 4)
TIP: There are a few uncommon chords here. (Fmaj7) is just (F) without the bottom
string. (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 string set and don't play the index
finger. Strum once for each chord.
INTRO: |Fmaj7| |Cmaj7|, |Fmaj7| |Cmaj7|, |Fmaj7| |Cmaj7|, |Fmaj7| |Cmaj7|
|Fmaj7| |Cmaj7| |Fmaj7| |Cmaj7|

Old friends. Old friends.
Dm G7 C Am
Sat on their park bench like bookends.
Dm Gadd
A newspaper blown through the grass,
Am G F Am Am
Falls on the round toes, of the high shoes, of the old friends.
|Fmaj7| |Cmaj7| G G7 C G
Old friends. Winter companions the old men.
Dm G7 C Am
Lost in their overcoats waiting for the sun.
Dm G7 Em7 Am
The sounds of the city sifting through trees,
G F Am
Settles like dust, on the shoulders, of the old friends.
G G7 C F G C
Can you imagine us years from today, sharing a park bench quietly?
Dm G Am Am
How terribly strange to be seventy.
|Fmaj7| |Cmaj7| G G7 C G
Old friends. Memory brushes the same years.
G7 C Am
Silently sharing the same fears.
Dm Dm Dm C, C Dm F, F C
Dm C
Time it was and what a time it was it was.
Dm C
A time of innocence. A time of confidences.
Dm C
Long ago it must be, I have a photograph.
F C Dm Dm Dm C
Preserve your memories, they’re all that’s left you.
OLD JOE’S PLACE – The Folksmen
(Guest/McKean/Shearer)
https://www.youtube.com/watch?v=Z4xHzqV3Ct (Capo 0)
TIP: For the “Pick it” there are three lines. Notice they all begin with a series of
chords strums and a final single strum of |G|. Also notice they all end with two quick
strums of |G|-|C|. Okay, so all that's left is to pick which one to play. The first is
to play the part with individual chord strums. Lines two and three are individual notes
(it says "pick it" so you might as well pick it! All the notes are on the bottom two
strings and frets 1 and 3). Lines two and three are identical, just the notations is
different. Line two refers to <string #/fret #>. Line three is the individual <note>.
It's a simple little walk up/down. So off the strum of |G| immediately go to the 2nd
string/1st fret <c>. Practice it first before playing the song. Sweet!
INTRO: C F G F, C F C F
C F C F
Whenever I'm out a wanderin, chasing a rainbow dream.
C Am D7 G
I often stop and think about a place I've never seen.
Am Em Am G
Where friendly folks can gather and raise the rafters high.
C Am C F G C
With songs and tales of yesteryear, until they say goodbye.
NC F C F C
Well-ell. There's a puppy in the parlor and skillet on the stove
F C G C
And a smelly old blanket that a Navajo wove.
F C F C
There's a chicken on the table but you gotta say grace.
F C G C F C G
There's always something cooking at Old Joe's Place.
C F C F
Now folks come by round evening time, soon as the sun goes down.
C Am D7 G
Some drop in from right next door and some from out of town. Pick it.
<chords>
Am Em Am G |G|, |C| |Gadd| |C| |F| |C| - |G| - |C| - |G| - |C| |G|-|C|
<strings>
Am Em Am G |G|, 2/1, 2/3, 1/O, 1/1 1/0 - 2/3 - 2/1 - 2/0 - 2/1 |G|-|C|
<notes>
Am Em Am G |G|, c, d, e, f, e - d - c - b – c |G|-|C|
NC F C F C
F C G C
F C F C
There’s popcorn in the popper and a porker in the pot.
F C G C
There’s pie in the pantry and the coffee’s always hot.
F C F C
There's a chicken on the table but you gotta say grace.
F C G C F C G
There's always something cooking at Old Joe's Place.
C F C F
Now they don't allow no frowns inside. Leave 'em by the door.
C Am D7 G
There's apple brandy by the keg, and sawdust on the floor.
Am Em Am G
So if you've got a hankerin', I'll tell you where to go.
C Am C |F|
Just look for the busted neon sign that flashes . . . E, AAH, OH's.
NC F C F C
F C G C
F C F C
There’s popcorn in the popper and a porker in the pot.
F C G C
There’s pie in the pantry and the coffee’s always hot.
F C F C
There’s sausage in the morning and a party every night,
F C G C
There’s a nurse on duty if you don’t feel right.
F C F C
There's a chicken on the table but you gotta say grace . . . Whew.
F C G C F C |G|-|C|
There's always something cooking at Old, Joe's Place.
(The Folksmen) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
OLD TIME ROCK AND ROLL
Bob Seger
https://www.youtube.com/watch?v=SoaAb5MnKtY (Capo 2)
[Three versions, this first version is capo'd at the 2nd fret and has the (B7) which some
don't like. Afterwards is a version without the (B7) capo'd at the 4th fret. And after
that is the bassiest, in [G], but doesn't match the recording (capo too high).]
TIP: The notes for the intro are easy to pick out. Start with with the neck resting in
your palm and all four fingers parallel to the fretboard with the index finger aligned
over the 2nd fret (4th fret with capo 2). Play all the notes with your index finger
except for the 6th <c#> note which is played with the pinky. Okay, so the first 4 notes
are <e> which is 4th string/2nd fret. The next note is open 4th string <d> so just lift
off your index finger. Next comes the <c#> so place your pinky on the 5th string/4th
fret and pick. Last is the <b> so back to the index finger but this time one string
higher, on the 5th string/2nd fret. Easy! Now repeat this sequence. The song starts
acapella (NC) so you have plenty of time to get to the (E) at "off".
TIP: The second refrain has bracketed chords |B7| |E| and |A| and is sung acapella so
strike the chord once and resume normal chord strumming with the next refrain.
INTRO: e - e - e - e – d - c# - b, e - e - e - e – d - c# - b
NC E A
Just take those old records off the shelf. I'll sit and listen to 'em by myself.
B7 E B7
Today's music ain't got the same soul. I like that old time rock 'n' roll.
E A
Don't try to take me to a disco. You'll never even get me out on the floor.
B7 E B7
In ten minutes I'll be late for the door. I like that old time rock 'n' roll.
E A
Still like that old time rock 'n' roll. That kind of music just soothes the soul.
B7 E B7
I reminisce about the days of old. With that old time rock 'n' roll. Owww.
E E A A B7 B7 E
B7 E A
Won't go to hear 'em play a tango. I'd rather hear some blues or funky old soul.
B7 E
There's only one sure way to get me to go. Start playin' old time rock 'n' roll.
A
Call me a relic call me what you will. Say I'm old-fashioned say I'm over the hill.
B7 E B7
E A
B7 E B7
E E A A B7 B7 E
B7 E A
B7 E
I reminisce about the days of old. With that old time rock 'n' roll.
|B7| E |A|
|B7| |E|
B7 E A
B7 E B7
E E A B7 E
Still like that old time rock 'n' roll.
Bob Seger
https://www.youtube.com/watch?v=SoaAb5MnKtY (Capo 4)
your palm and all four fingers parallel to the fretboard so your middle finger is poised
over the 5th string/3rd fret (7th fret if capo 4). Okay, so the first 4 notes are open
4th string <d>. Now drop your middle finger to cover the 5th string/3rd fret <c>. Now
with your index finger cover the 5th string/2nd fret <b>, and finish with the open 5th
string <a>. Easy! Now repeat this sequence. The song starts acapella (NC) so you have
plenty of time to get to the (D) at "off".
TIP: The second refrain has bracketed chords |A7| |D| and |G| and is sung acapella so
strike the chord once and resume normal chord strumming with the next refrain.
INTRO: d - d - d - d – c - b - a, d - d - d - d – c - b - a
NC D G
A7 D A7
D G
A7 D A7
D G
A7 D A7
D D G G A7 A7 D
A7 D G
A7 D
G
A7 D A7
D G
A7 D A7
D D G G A7 A7 D
A7 D G
A7 D
|A7| |D| |G|

|A7| |D|
A7 D G
A7 D A7
D D G A7 D
Bob Seger
your palm and all four fingers parallel to the fretboard so your middle finger is poised
over the 4th string/3rd fret. Okay, so the first 4 notes are open 3rd string <g>. Now
drop your middle finger to cover the 4th string/3rd fret <f>. Now with your index finger
cover the 4th string/2nd fret <e>, and finish with the open 4th string <d>. Easy! Now
repeat this sequence. The song starts acapella (NC) so you have plenty of time to get to
the (G) at "off".
TIP: The second refrain has bracketed chords |D7| |G| and |C| and is sung acapella so
strike the chord once at that location and resume normal chord strumming with the next
refrain.
INTRO: g - g - g - g – f - e - d, g - g - g - g – f - e - d
NC G C
D7 G D7
G C
D7 G D7
G C
D7 G D7
G G C C D7 D7 G
D7 G C
D7 G
C
D7 G D7
G C
D7 G D7
G G C C D7 D7 G
D7 G C
D7 G
|D7| |G| |C|

|D7| |G|
D7 G C
D7 G D7
G G C D7 G
OLD WEAKNESS (COMING ON STRONG) – Patty Loveless
(Dipiero/Nicholson)
https://www.youtube.com/watch?v=c_QlK_7k3sU (Capo 0)
INTRO: C C C C G G C C
Two in the mornin’, too hot to sleep, tossin' and turnin’ and twistin' the sheets
G C C
I feel an ollllld weakness comin’ on strong.
Window wide open in the back bedroom, smell of sweet honeysuckle in full bloom.
G C C
F G C
Feel like I'm running real low on, willpower.
F G C
Can't get you out of this heart of mine.
F G Am
From the break of dawn till the midnight hour,
G C
I keep fightin’ to let you go, but your love is beyond my control-ol.
<electric guitar/piano> C C C C C-F G G G G C C
Took down that picture of you and me, but every time I look up where it, used to be
G C C
Still got your number next to the phone, just when I believe I can leave it alone
G C C
F G C
Feel like I'm running real low on, willpower.
F G C
Can't get you out of this heart of mine.
F G Am
From the break of dawn till the midnight hour,
G
I keep fightin’ to let you go, but your love is beyond my control.
G C C
It’s an ollllld weakness comin’ on strong.
G
I feel an olllld weakness, an olllld weakness,
C C C-|C|
ON THE BORDER
Al Stewart
https://www.youtube.com/watch?v=z2L_OyS21lM (Capo 2)
TIP: The opening of the intro is the piano stacatto. Just twiddle the (Em) rapidly for
four measures. Then comes the (Em)(Em/D)-(Em) bit which is an easy five-beat lick. Just
lift and replace your pinky finger on the 2nd string/3rd fret (Em/D) while playing the
(Em). The beat is: (Em) 1-2-3, (Em/D) 4, (Em) 5, with a just a brief hesitation between
4 and 5, and the last two strums being upstrokes. Try it and you'll get the hang of it
right away. Yeah, Al plays it 20 times before beginning the song but play as many as you
want.
INTRO: <rapidly> Em Em Em Em; Em Em/D-Em x 20
Em
The fishing boats go out across the evening water.
C
Smuggling guns and arms across the Spanish border.
Am D G F
The wind whips up the waves so loud, the ghost moon sails among the clouds,
Em D Em Em Em/D-Em x 5
And turns the rifles into silver on the border.
Em
On my wall the colors of the maps are running.
C
From Africa the winds they talk of changes coming.
Am F
The torches flare up in the night, the hand that sets the farms alight,
Em D Em Em E7-Em
Has spread the word to those who're waiting on the border.
G Dm
In the village where I grew up nothing seems the same
C G
Still you never see the change from day to day.
C B7
No one notices the customs slip away.
Em, Em Em/D-Em, Em Em C G
G
Late last night the rain was knocking on my window.
C
I moved across the darkened room and in the lamp-glow.
Am D G F
I thought I saw down in the street, the spirit of the century,
Em D Em Em
Telling us that we're all standing on the border.
G Dm
In the islands where I grew up nothing seems the same.
C G
It's just the patterns that remain an empty shell.
C B7
But there's a strangeness in the air you feel too well.
Em, Em Em/D-Em, Em Em C G
Em
The fishing boats go out across the evening water.
C
Smuggling guns and arms across the Spanish border.
Am D G F
The wind whips up the waves so loud, the ghost moon sails among the clouds,
Em D Em Em
And turns the rifles into silver on the border.
C C Em Em C C, Em Em Em |Em|
On the border, on the border. On the border.
(Al Stewart) (Artist Index) - (Main Index) - (Song Index) (This Song)
ON THE TURNING AWAY - Pink Floyd
(Gilmour)
https://www.youtube.com/watch?v=ojf18wT_Xtk (Capo 0)
TIP: As performed, the first verse is sung acapella and the chords start with the second
verse. But, as a suggestion, for the first verse try a single strum where indicated and
begin your regular strum at "how" in the second verse.
INTRO: <One thump of |G| and let sustain>
NC |D| |G| |C| |G|

On the turning away, from the pale and downtrodden.
|D| |G| |C|
And the words that they say which we won’t understand.
|Em| |C| |G| |G| |G| |C|
Don’t accept that what’s happening, is just a case of all the suffering.
|G| |C| |D| |G|
All you’ll find is you’re joining in, the turning away.
|Em| |D| G C G
It's a sin that somehow, light is changing to shadow.
D G C
And casting its shroud over all we have known.
Em G C G Em G C
Unaware how the ranks have grown, driven on by a heart of stone.
G C G D G
We could find that we're all alone in the dream of the proud.
Em D G C G
On the wings of the night. As the daytime is stirring,
D G C
Where the speechless unite in a silent accord.
Em G C G Em G C
Using words you will find as strange, mesmerized as they light the flame.
G C Em D G G
Feel the new wind of change, on the wings of the night.
G-D-Em Em, D C; C C D-Em Em, D Am
Am G-C C, D Am; C D-Em <sustain and linger til fade>
NC D G C G
No more turning away, from the weak and the weary.
D G C
No more turning away from the coldness inside.
Em G C G
Just a world that we all must share.
Em G C
It's not enough just to stand and stare.
G C G D G G G
Is it only a dream that there'll be no more turning away.
G-D-Em Em-C-Em, Em Em D-G, Em Em-C Em, Em Em-D-G, D Em Em C-Em
Em Em D-G, G Em C-Em, Em Em G D G, G G Em C-Em, Em G Em
Em Em D-G, G G Em C-Em, Em Em D-G, G G Em C-Em, D G
ON YOUR WAY HOME – Patty Loveless
(Berg/Samoset)
https://www.youtube.com/watch?v=xV7Q1IXxTpo (Capo 2)
INTRO: D D D D
I heard you slippin' down the hall.

G D D
Tell me did your shadow trip and fall over you babe, movin' that slowly?
Did you think you could waste my time,

G D
Come a-messin' round with my mind? Did you think you could? You don't know me.
A
Where'd you get that alibi?
G D
Did it fall out of a midnight sky or did you find it, on the side of the road?
A
And tell me, did you have to make a deal,
G A
Or wrestle for control of the wheel from your conscience? I'd like to know.
Bm G D D D
Where do you go - oh on your way home?
You know someday I'd like to fly,

G D D
Like a bat outta Nashville why don't you help me? And tell me the truth.
'Cause the truth is gonna set you free,

G D
If you keep on lyin' to me I might stay right here, just to spite you.
A
G D
Did it fall out of a midnight sky or did you find it on the side of the road?
A
And tell me, did you have to make a deal
G A
Or wrestle for control of the wheel from your conscience? I'd like to know.
Bm G D Bm G D D D
Where do you go – oh- oh, where do you go- oh on your way home?
G D G D
On your way home? Mmmmmm. Mmmmmmmmmmm- hmmmmmm- mmmm.
A
G D
Did it fall out of a midnight sky or did you find it, on the side of the road?
A
Was it ever a long long drive?
G A
Did you ever stop once to cry or was I worth it? I think I'd like to know.
Bm G D Bm G D
Where do you go – oh- oh, where do you go-oh- oh- oh.
Bm G D D D D D |D|
Where do you go- oh on your wayyyyy home? On your way home.
ONE - Three Dog Night
(Nilsson)
https://www.youtube.com/watch?v=d5ab8BOu4LE (Capo 1)
TIP: For the intro just pluck the bottom string eight times.
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|-|Em|-|Em|-<f#>-|G|. Using downstrokes strum |Em| three times,
then reach up with your middle finger and cover the top string/2nd fret <f#> and
strum/pick the top string once on the way to one strum of |G|. Then resume normal chord
strumming with the (G). At the coda you end with at single strum of |G|.
INTRO: e x 8
Em G A C-B7
One is the loneliest number that you'll ever do.
Em G A C B7 Em G A C-B7
Two can be as bad as one, it's the loneliest number since the number one-un.
Em G A C-B7
No is the saddest experience you'll ever know.
Em G A C-B7
Yes, it's the saddest experience you'll ever know.
Am G Am C B7
'Cause one is the loneliest number, that you'll ever do.
Em G A C B7
One is the loneliest number, whoa-oh worse than two.
|Em|-|Em|-|Em|- f# -|G| G Bm Em
It's just no good anymore since you went away-ay.
C Am Em <Em trill>
Now I spend my time just making rhymes of yesterday.
G A C B7
One is the loneliest a number one is the loneliest number
Em G A C-B7
Onnnne is the loneliest number that you'll ever do.
Em G A C B7
One is the loneliest. One is the loneliest.
Em G A C B7
Onnne is the loneliest number that you'll ever do.
Em G Bm Em |Em|
It's just no good anymore since you went away. Number.
Em G A C B7
One is the loneliest number. One is the loneliest number
Em G A C B7
Onnne is the loneliest number that you'll ever do number
Em G A C B7
One is the loneliest number. One is the loneliest number
Em G A C B7
One is the loneliest number that you'll ever do number
Em G A C B7
Onnnne number.
Em G A C B7
One is the loneliest number that you'll ever do number
Em G A C B7
One is the loneliest number that you'll ever do.
|Em|-|Em|-|Em|-<f#>-|G|
ONE TIN SOLDIER – Coven
(Lambert/Potter)
https://www.youtube.com/watch?v=tPNDBEuKCdY (Capo 0)
TIP: The song is sharped after the second verse, which means if you want to play along
with the recording you'll have to slap a capo on the first fret where indicated and keep
playing the chords shown since I didn't mess with the new sharped chords.
TIP: At the end of the intro just roll your index finger down to cover the bottom
string/1st fret <f> to get to (CaddF) and then lift off to get back to (C). Easy.
Notice it also sneaks in again at the end of the second chorus.
TIP: The (C)(F)(C) at the end of the verse is the horn. It's played again at the end
but much softer.
BONUS: In case you're hankerin' for a good face-wopping-->

https://www.youtube.com/watch?v=aVX-voqWuwY
INTRO: C C-G, Am Am-Em, F C F Dm7 C, C CaddF C, C CaddF C
G Am Em
Listen children to a story, that was written long ago.
F C Am G
About a kingdom on a mountain, and the Valley Folk below.
C G Am Em
On the mountain was a treasure, buried deep beneath a stone,
F C F C C F C
And the Valley People swore, they'd have it for their very own.
Em F C
Go ahead and hate your neighbor. Go ahead and cheat a friend.
Em F C
Do it in the name of heaven, you can justify it in the end.
Em F C
There won't be any trumpets blowin,' come the Judgement Day.
F Em F
On the bloody morning after who who.
Em F C C F C, C F C
One tin soldier rides away.
G Am Em
So the people of the valley, sent a message up the hill.
F C F G
Asking for the buried treasure, tons of gold for which they'd kill.
C G Am Em
Came an answer, from the kingdom: "With our brothers, we will share,
F C F C C F C
All the secrets of our mountain, all the riches buried there."
<capo +1> C F C
G Am
Now the valley cried with anger, "Mount your horses, draw your sword."
F C F G
And they killed the mountain people sure they’d won their just reward.
C G Am Em
Now they stood beside the treasure, on the mountain dark and red.
F C |F| C F C F
Turned the stone and looked beneath it. "Peace on earth," was all it said.
Em F C
Em F C
Em F C
F Em F
Em F C C F C, C F C
Em F C
Em F C
Em F C
F Em F
Em F C C F C
<softly> C C C-C, G G G-G, F F F-F, |C|
(Coven) (Artist Index) - (Main Index) - (Song Index) (This Song)

THE ONLY ONE – Roy Orbison
(W. Orbison/Wiseman)
https://www.youtube.com/watch?v=S9C6gAjPDxE (Capo 0)
INTRO: D G D G D G D G D
G D G
Everyone you know's been through it. You bite the bullet, then you chew it.
D G Em A
Ties a knot at the end of your rope. Buy a book, to help you cope but,
G D A D
No consolation, gonna come, you're the only one.
G D G
Take a look through history. Recant some bits, of poetry.
D G
You'll find the words, still ring true.
Em A
Some things don't change some things do and you’re the
D Bm D Bm
Only one with a broken heart. The only one who's afraid of the dark.
D G Em A D
The only one in a crowded room. The only one who sees the blue-ue moon.
D G D G D G Em A
Bm G
What you wouldn't give right now,
Bm Em C A
To be another face in the crowwww-owdd. And you’re the
D Bm D Bm
Only one who is all alone. The only one who's love is gone.
D G Em A
The only one who has given in. The only one who will give again and you’re the
D Bm D Bm
Only one with a broken heart. The only one who’s afraid of the dark.
D G Em A D
The only one in a crowded room. The only one who sees a blue-ue moon.
D G D G D G Em A D, D G D G D G Em A |D|
ONLY THE LONELY - Roy Orbison
(Orbison/Melson)
https://www.youtube.com/watch?v=kjq4wYuwgxs (Capo 3)
TIP: The "dum, dum dum..." and "Oooh, yay yay..." parts outside parenthesis are
generally sung, the ones inside parentheses generally are not (unless you have an
armchair choir).
TIP: Note the full (E7) is played, which is just (E) with your pinky added to the 2nd
string/3rd fret.
TIP: Also notice Roy begins most lines acapella, indicated by (NC = no chord), with the
chord picked up as single strums, indicated by the chord in brackets, i.e., |D|-|D|-|D|-
|D|.
INTRO: NC D Em
Dum dum dum dumdy-do-wah. Oooh yay yay yay-yeah.
G A7 D A7 D |D|
Oh whoa whoa whoa-wah-ah. Only the lonely. Only the lonely.
NC D
Only the lonely (dum dum dum dumdy-do-wah),
Em
Know the way I feel tonight. (Oooh yay yay yay-yeah).
A7
G D
Know this feeling ain't right. (Dum dum dum dumdy-do-wah).
|D| |D|-|D|-|D|-|D| NC |D7|-|D7|-|D7|-|D7|

There goes my baby. There goes my heart.
NC |G|-|G|-|G|-|G| NC |E7full|-|E7full|-|E7full|-|A|
They're gone forever. So far apart.
D G A
But only the lonely, know why-y-y, I cry.
A7 D Em
Only the lonely dum dum dum dumdy-do-wah. Oooh yay yay yay-yeah.
G A7 D A7 D |D|
Oh whoa whoa whoa-wah. Only the lonely. Only the lonely.
NC D
Em
Know the heartaches, I've been through (oooh yay yay yay-yeah).
A7
G D
Know I cry and cry for you (dum dum dum dumdy-do-wah).
|D| |D|-|D|-|D|-|D| NC |D7|-|D7|-|D7|-|D7|
Maybe tomorrow. A new romance.
NC |G|-|G|-|G|-|G| NC |E7full|-|E7full|-|E7full|-|A|
No more sorrow. But that's the chance.
NC G A7
Youuuuu gotta take, is you're lonely, heart break.
D
Only the lonely dum dum dum dumdy-do-wah.
OOBY DOOBY - Roy Orbison
(Moore/Penner)
https://www.youtube.com/watch?v=3TSktJeimjE (Capo 2)
TIP: In earlier versions Roy sings in a slightly different key. This version is from
the "Black and White Night" album and includes (fakes) the star-studded jam session
instrumental bridges.
TIP: Note all the chords in brackets - |D| - which means strum just once at that point.
TIP: In most cases in the instrumental you can play either a (D) or a (D7). For the
(DaddA) play a regular (D) and extend your pinky way over to the bottom string/5th fret
(don't blame me, blame Springsteen).
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.
INTRO: |D7|
|D| |D| |D7|

Well a hey baby, jump over here when you do the ooby dooby, I want to be near.
G G7 D A7 G D
Ooby dooby. Ooby dooby. Ooby dooby ooby dooby. Ooby dooby do wah do wah do wah.
|D| |D|
Well you wiggle to the left, you wiggle to the right.
|D| D7 G G7 D
You do the ooby dooby with all of your might ooby dooby. Ooby dooby.
A7 G7 D
Ooby dooby ooby dooby. Ooby dooby do wah do wah do wah.
D D-D7, D D7 G G7 D7 D7 A7 G7 D7 D
DaddA Dm7 D D7 G G D D A7 G D
DaddA-D, D D G G D D A7 G D, D7 D D7 D
D G7 G7 D7 D7 A7 G7 D7 D7
|D| |G| |D| G G D D A7 A7 D D, |D| |D| |D| |D| G G D D A7 G D7 D
|D| |D|
Yeah you wriggle and you shake like a big rattle snake.
|D| D7 G G7 D
You do the ooby dooby 'till you think you wanna break ooby dooby. Ooby dooby.
A7 G7 D
Ooby dooby ooby dooby. Dooby dooby do wah do wah do wah.
|D| |D| |D| |D| G G D D A7 G D, |D| |D| |D| |D| G G D D A7 G D
|D| |D| |D| |D| G G D D A7 G D
|D| |D|
Well you've been struttin' 'cause a now you know
|D| D7 G G7 D
How to do the ooby dooby now baby let's go ooby dooby. Ooby dooby.
A7 G7 D G A7 D |D|
Ooby dooby ooby dooby. Ooby dooby do wah do wah do wah.
(Roy Orbison) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
THE OTHER SIDE OF TOWN
John Prine
https://www.youtube.com/watch?v=W22vyBpnKiI (Capo 0)
INTRO: D A, A D; D G, A D
A
Why must you always seem, to criticize me?
A D
Seems like everything I do just turns out wrong.
G
Why don't you come on out, and depise me?
A D
So I could pack my bag and baby, I'd be gone.
A
Remember when you used to call me honey?
A D
Well I'd turn around and call you, honey too.
G
You might think it's a joke, but it ain't funny,
A D
To hurt someone who's so in love with you.
A
A clown puts his makeup on, upside down,
A D
So he wears a smile even when, he wears a frown.
G
You might think I'm here, when you put me down,
A D
But actually, I'm on, the other side of town.
A
My body's in this room with you just catchin' hell,
A D
While my soul is drinkin' beer down the road a spell.
G
You might think I'm listening to your grocery list,
A D
But I'm leaning on the jukebox, and I'm about half ... way there.
A
A D
G
A D
D A, A D, D G, A D
A
I'm sittin' on a chair, just behind my ear,
A D
Playing dominoes and drinking, some ice cold beer.
G
When you get done talking I'll come back downstairs,
A D
And assume the body of the person you presume who cares.
A
A D
G
A D
A D
I'm across the river on, the other side of town.
A D G D D A-D |D|
In my mind I'm goin' to the dog racin' side of town.
OVER THE RAINBOW - Judy Garland
(Arlen/Harburg)
https://www.youtube.com/watch?v=PSZxmZmBfnU (Capo 1)
TIP: Most studio recordings of the song have a quite lengthy intro. I've truncated it
to the little sing-song right before Judy begins singing.
TIP: There's a (C#m) in the bridge. It's just like a (D7) played up one string-set.
INTRO: G D, G D7 <brief pause>
G Bm G C Gadd
Some, where, over the rainbow, way up high.
C G C Am D7 G
There's a land that I heard of, once in a lullaby.
G Bm G C Gadd
Somewhere over the rainbow, skies are blue.
C G E7 Am D7 G
And the dreams that you dare, to dream really do come true.
C D7
Some, day I'll wish upon a star and wake up where the clouds are far behind, me.
G C#m
Where troubles melt like lemon drops away above the chimney tops,
D C
That's where, you'll, find, me.
G Bm G C Gadd
Somewhere over the rainbow, blue birds fly.
C G C Am D7 G
Birds fly over the rainbow, why then, oh why, can't I?
G . . . C . . . G . . . If happy little bluebirds fly,

C D Gadd
Beyond the rainbow, why oh why, can't, I?
(Judy Garland) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE PAIN OF LOVING YOU – Patty Loveless
Dolly Parton/Emmylou Harris/Linda Ronstadt (Trio)
(Waggoner/Parton)
https://www.youtube.com/watch?v=cObTOzfGALs (Patty)(Capo 2)
https://www.youtube.com/watch?v=hu5xqgHfvs8 (Trio)(Capo 2)
TIP: Patty’s version is a bit slower and their intro’s and instrumental bridges are
different but otherwise the music is pretty much the same.
INTRO (Patty): A A A A
INTRO (Trio): A, A E-A
E A E A
Oh the pain of loving you. Oh the misery I go through.
D A D A E A
Never knowing what to do, oh the pain of loving you.
E A E A
You just can't stand to see me happy. Seems you hurt me all you can.
D A D A E A
Still I go on loving you, but I'll never understand.
E A E A
D A D A E A
<Patty> D-A E A
<Trio> A A A A E E A A, A A-D-A, A D-A, A E-A
E A E A
To love and hate at the same time. The lines between the two is fine.
D A E A
But too has bound my heart and soul, so strong that I can't let you go.
E A E A
D A D A E A
D A E A A |A|
Oh the pain of loving you.
(Patty Loveless) (Emmylou Harris) (Dolly Parton) (Linda Ronstadt)

PAINT IT BLACK - The Rolling Stones
(Richards/Jagger)
https://www.youtube.com/watch?v=O4irXQhgMqg (Capo 3)
INTRO: Dm Dm Dm-A A, Dm Dm
A
I see your red door and I want it painted bla-ack.
Dm A
No colors anymore I want them to turn bla-ack.
Dm C F C Dm
I see the girls walk by dressed in their summer clothes.
C F C Dm A A7
I have to turn my head until my darkness goes.
Dm A
I see the line of cars and they’re all painted bla-ack.
Dm A
With flowers and my love both never to come ba-ack.
Dm C F C Dm
I see people turn their heads and quickly look away.
C F C Dm A A7
Like-a newborn baby it just happens every day.
Dm A
I look inside myself and see my heart is bla-ack.
Dm A
I see my red door I must have it painted bla-ack.
Dm C F C Dm
Maybe then I'll fade away and not have to face the facts.
Dm C F C Dm A A7
It's-not easy facing up when your whole world is black.
Dm A
No more will my green sea go turn a deeper blue.
Dm A
I could not forsee this thing happening to you-ou.
Dm C F C Dm
If I look hard enough into the setting sun.
Dm C F C Dm A A7
My love will laugh with me before the morning comes.
Dm A
I see your red door and I want it painted bla-ack.
Dm A
No colors anymore I want them to turn bla-ack.
Dm C F C Dm
I see the girls walk by dressed in their summer clothes.
C F C Dm A A7
I have to turn my head until my darkness goes.
<hum>
Dm Dm Dm Dm-A A Dm Dm Dm Dm-A A
Hmmm . . . Hmmm . . .
Hmmm . . . Hmmm . . .
Dm A Dm
I want to see your face, painted black, black as night. Black as coal.
A
I want to see the sun, blotted out from the sky.
Dm A
I want to see it painted, painted, painted, painted black. Yeah.
<hum>
Hmmm . . . Hmmm . . .
Hmmm . . . Hmmm . . .
Hmmm . . . Hmmm . . .
Hmmm . . . Hmmm . . .
PANCHO AND LEFTY – Willie Nelson & Merle Haggard
(Van Zandt)
https://www.youtube.com/watch?v=AbZ3VdYb90o (Capo 2)
TIP: Each chord in the intro is strummed once. And several chord changes come prior to
the next word.
INTRO: |C| |G| |F| |G| |F| |G|-|C|, |C| |F| |C| |F| |C| |G|-|C|
|C| |G| |F| |G| |F| |G|-|C|, |C| |F| |C| |F| |C| |G|-|C|, (C)
G
Living on the road my friend, is gonna keep you free and clean.
F C G
Now you wear your skin like iron, your breath as hard as kerosene.
F C F Am
You weren't your mama's only boy, but her favorite one it seems.
F C G G F Am Am, Am G-C
She began to cry when you-said, goodbye, and-sank into your dreams.
G
Pancho was a bandit boys, his horse was fast as polished steel.
F C G
He wore his gun outside his pants, for all the honest world to feel.
F C F
Pancho met his match you know, on the deserts down in Mexico.
Am F C G G F Am Am
Nobody heard his dy in' words, ah but that's the way it goes.
C F
All the Federales say, they could have had him any day.
Am F C G G F Am Am
They only let him slip a way, out of kindness I suppose.
C G
Lefty he can't sing the blues, all night long like he used to.
F C G
The dust that Pancho bit down south, ended up in Lefty's mouth.
F C F
The day they laid poor Pancho low, Lefty split for Ohio.
Am F C G F Am Am-G-F
Where he got the bread to go, there ain't nobody knows.
C F
Am F C G G F Am
Am G F C C, F F C F, Am F-C-G G F Am, Am G-C

G
The poets tell how Pancho fell, and Lefty's livin', in a cheap hotel.
F C G
The desert's quiet, Cleveland's cold, and so the story ends we're told.
F C F
Pancho needs your prayers it's true, but save a few for Lefty too.
Am F C G F Am Am Am-G-F
He only did what he had to do, and now he's growing old.
C F
Am F C G G F Am Am-G-F
C F
A few grey Federales say, they could have had him any day.
Am F C G G F Am Am Am Am F C
They only let him go so long, out of kindness I suppose.
(Willie Nelson) (Merle Haggard) (Artist Index) - (Main Index) - (Song Index) (This Song)
PAPERBACK WRITER – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=yYvkICbTZIQ (Capo 0)
INTRO: C G G . . .
Paperback writer writer writer.
Dear Sir or Madam will you read my book?

G7 G
It took me years to write will you take a look?
It's based on a novel by a man named Lear

G7 G C G
And I need a job so I wanna be a paperback writer. Paperback writer.
G7 G
It's a dirty story of a dirty man and his clinging wife doesn't understand.
G7
His son is working for the Daily Mail it's a steady job
G C |G||G|
But he wants to be a paperback writer. Paperback writer.
C G G . . .
Paperback writer writer writer.
G7 G
It's a thousand pages give or take a few I'll be writing more in a week or two.
I could make it longer if you like the style

G7 G C G
I can change it 'round and I wanna be a paperback writer. Paperback writer.
If you really like it you can have the rights

G7 G
It could make a million for you overnight.
If you must return it you can send it here

G7 G C |G||G|
But I need a break And I wanna be a paperback writer. Paperback writer.
C G G . . .
Paperback writer wri-ter writer.
Paperback writer paperback writer. Paperback writer paperback writer.
Paperback writer paperback writer. Paperback writer paperback writer.
Paperback writer paperback writer. < fade or |G| >
PARADISE
John Prine
https://www.youtube.com/watch?v=DEy6EuZp9IY&t=2s (Capo 0)
INTRO: D D G D, D D A D; D D G D, D D A D, A D
G D
When I was a child the family would travel,
A D
Down to Western Kentucky where my parents were born.
G D
And there's a backwards old town that's often remembered,
A D
So many times that my memories are worn.
G D
And daddy won't you take me back to Muhlenberg County,
A D
Down by the Green River where Paradise lay.
G D
Well I'm sorry my son but you're too late in askin’.
A D D D
Mister Peabody's coal train has hauled it away.
G D
Well sometimes we'd travel right down the Green River,
A D
To the abandoned old prison down by Airdrie Hill.
G D
Where the air smelled like snakes and we'd shoot with our pistols.
A D
But empty pop bottles was all we would kill.
G D
A D
G D
A D D D
D D G D, D D A D; D D G D, D D A D, A D
G D
Then the coal company came with the world's largest shovel,
A D
And they tortured the timber and stripped all the land.
G D
Well they dug for their coal 'til the land was forsaken,
A D
Then they wrote it all down as the progress of man.
G D
A D
G D
A D D D
G D
When I die let my ashes float down the Green River.
A D
Let my soul roll on up to the Rochester Dam.
G D
I'll be halfway to Heaven with Paradise waitin',
A D
Just five miles away from wherever I am.
G D
A D
G D
A D D D
D D G D, D D A D; D D G D, D D A D
PASSING TRAIN - Sawyer Brown
(Hubbard)
https://www.youtube.com/watch?v=VUv_YSQV0c4 (Capo 2)
[Also in [G] which may be easier to play without the (Bm) but capo 9 to play along.]
INTRO: D A, G A; D A, G A
D G A D
I hear you in the distance, and I see you in my mind.
D G A
I wonder where you're goin' to, when you leave me behind.
D G A Bm
I wonder who waits for you, dreaming just like I.
G A D D
And talkin' to that passin' train in the night.
C G D
And tell me just how far that I should go.
C G D A
And tell me leavin ain't meaning, I'll always be gone.
D G A Bm
Can you promise me tomorrow, when today's no longer mine.
G A D A G A
And talking to that passin' train in the night.
D G A D
The world lies out before you, yet you keep comin' back.
G D G A
And tellin' no secrets, and never losin' track.
D G A Bm
This place you're goin', do you have to go alone?
G A D D
And tell me passin' train I gotta know.
C G D
C G D A
D G A Bm
And can you promise me tomorrow, when today's no longer mine.
G A Bm
G Bm D E A
I see the wheels turnin', and I feel a fire inside me burnin', am I learnin'?
D G A Bm
Guess I'll never find tomorrow, till today's no longer mine.
G A Bm E7
And just like that passin' train in the night whoa whoa,
G A D A G A, D A G A7 D |D|
Just like that passin' train in the night.
PASSING TRAIN - Sawyer Brown
(Hubbard)
INTRO: G D, C D; G D, C D
G C D G Gadd C
I hear you in the distance, and I see you in my mind.
G C D
I wonder where you're goin' to, when you leave me behind.
G C D Em D C
I wonder who waits for you, dreaming just like I.
D G G
And talkin' to that passin' train in the night.
F C G
F C G D
G C D Em D C
Can you promise me tomorrow, when today's no longer mine.
D G D C D
G C D G Gadd C
The world lies out before you, yet you keep comin' back.
G C D
And tellin' no secrets, and never losin' track.
G C D Em D C
This place you're goin', do you have to go alone?
D G G
And tell me passin' train I gotta know.
F C G
F C G D
G C D Em D C
And can you promise me tomorrow, when today's no longer mine.
D Em
C D Em G A D
I see the wheels turnin' and I feel a fire inside me burnin', am I learnin'?
G C D Em D C
Guess I'll never find tomorrow, till today's no longer mine.
D Em A7
And just like that passin' train in the night whoa whoa,
C D G D C D, G D C D7 G |G|
Just like that passin' train in the night.
PEACEFUL EASY FEELING – Eagles
(Tempchin)
https://www.youtube.com/watch?v=NjofshOBV5s (Capo 2)
TIP: In the intro, play (D), then add your pinky to the bottom string/3rd fret for (D4).
INTRO: D D4, D D4 D D4 D D4
D G D G D G A A7
I like the way your sparklin' earrings lay, against your ski-in so brown.
D G D G D G A7 A
And I wanna sleep with you in the desert tonight, with a billion stars all around.
G D G Em A
Cuz I got a peaceful easy feeling, and I know you won't let me down.
D Em G A D D G D
Cuz I'm allllllready standing, on the ground.
G D G D G A A7
And I found out a long tiiime ago, what a woman can do to your sou-oul.
D G D G D G A7 A
Ah but she can't take you anyway, you don't already know how to go.
G D G A A7
And I got a peaceful easy feeling, and I know you won't let me down.
D Em G A D Em G A
Cuz I'm allllllready standing, on the ground.
D G D G D G D A, D G D G D G D A A
D G D G D G D A A, D Em G A
D G D G D G A A7
I get this feeling I may knowww you, as a lover and a friend.
D G D G D G A7 A
But this voice keeps whispering in my other ear, tells me I may never see you again.
G D G A A7
Cuz I get a peaceful easy feelin', and I know you won't let me down.
D Em G A D G Em A
Cuz I'm alllllready standin', I'm all-alllready standin',
D Em G A D D
Yes I'm all-allready standin', on the ground.
G A7 D D G A7 D D G A7 |D|
Oooh ooh ooh. Whoa oh oh. Woo hoo hoo ooh ohh. Woo hoo ooh-ooh.

PEGGY SUE – Buddy Holly
(Holly/Allison/Petty)
https://www.youtube.com/watch?v=OUesbTObC9A (Capo 0)
TIP: The intro is four quick evenly spaced strums for each chord. The outro verse “I
want you Peggy Sue” is sung “down-voice.”
TIP: The instrumental can be a bit tricky. Either you know it or you don’t.
INTRO: A D A E, A D A E
A D A D A D
If you knew, Peggy Sue, then you’d know why I feel blue without Peggy.
A D A E D A D A E
My Peggy Sue. Oh well I love you gal yes I love you Peggy Sue.
A D A D A D
Peggy Sue, Peggy Sue. Oh how my heart yearns for you oh Peggy,
A D A E D A D A E
My Pe-heggy Sue. Oh well I love you gal yes I love you Peggy Sue.
A F A D
Peggy Sue, Peggy Sue. Pretty pretty pretty pretty Peggy Sue oh oh-ho Peggy,
A D A E D A D A E
My Peggy Sue. Oh well I love you gal and I need you Peggy Sue.
A D A D A D
I love you, Peggy Sue, with a love so rare and true oh-oh Peggy,
A D A
My Peggy Sue ooh-ooh, ooh-ooh hoo hoo-hoo
E D A D A E
Well I love you gal, I want you Peggy Sue.
A D, A-D-A-D-A, D D D, A D A, |E| E |D| D, A D A E
A F A D
Peggy Sue, Peggy Sue. Pretty pretty pretty pretty Peggy Sue oh oh-ho Peggy,
A D A E D A D A E
My Peggy Sue-u-hoo. Oh well I love you gal yes I need you Peggy Sue.
A D A D A D
I love you, Peggy Sue, with a love so rare and true oh-oh Peggy,
A D A E D A D A
My Peggy Sue-u-hoo hu ha-hu. Oh well I love you gal, I want you Peggy Sue.
E D A D A
Oh well I love you gal and I want you Peggy Sue.
PENCIL NECK GEEK - Fred Blassie
(Margulies/Cicero)
https://www.youtube.com/watch?v=b1LmuCf3aJY (Capo 1)
INTRO: Am
E
Back when I was a kid, life was going swell.
Am
Til something happened, blew every thing to hell.
|Dm| |Am|
That night my daddy stumbled in, all pale and weak,
|E| Am
Said "A woman up the block, just gave birth to a geek."
E
Mom said "Sell it to the circus, what the heck."
Am
Dad said "Nope, this one's a pencil neck.
Dm Am
And if there's one thing lower than a side show freak,
E Am Am C
It's a grit-eatin', scum-suckin', pencil neck geek."
F C
You see if you take a pencil that won't hold lead,
G C
Looks like a pipe cleaner, attached to a head,
F Am
Add a buggy-whipped body, with a brain that leaks,
E Am
You got yourself a grit-eatin' pencil neck geek.
F C
Pencil neck geek, grit-eatin' freak,
G C
Scum-suckin' pea head with a lousy physique.
F Am
He's a one-man no-gut losing streak.
E Am Am E Am
Nothin' but a pencil neck geek. Pencil neck geek.
E
Soon the geeks were poppin' up all over town.
Am
You couldn't hardly sneeze without knockin' one down.
Dm Am
After a nice juicy steak, if you need a toothpick,
E |E|
Just reach for a geek, they'll do the trick.
Am E
One day we cut one up for fish bait.
Am
Learned our lesson just a little bit late.
Dm Am
Soon as the geek hit the drink, the water turned red.
E Am
Next day sure enough, all the fish were dead.
F C
G C
F Am
E Am Am |C|-|E|-Am E Dm Am
Nothin' but a pencil neck geek.
Dm Am E E-E-Am
Ahhh ahhh.
E
Most any night you know where I can be found.
Am
Yeah stomping some geek's head into the ground.
Dm Am
So keep the faith 'cause in Blassie you can trust,
E Am
I won't give up 'til the last geek bites the dust.
F C
G C
F Am
E Am Am E Am
Nothin' but a pencil neck geek. Pencil neck geek.
G Am
They say these geeks come a dime a dozen. Pencil neck geek.
G Am
I'm lookin' for the guy who's supplin' the dimes. Pencil neck geek.
E
It’s gonna be real hard times for all of these grit-eatin,' scum-suckin' boot-lickin'
Am
Drop-kickin' gut-grindin' nail-bitin' glue-sniffin' scab-pickin' butt-scratchin'
E Dm E
Egg-hatchin' sleezy smelly pepper-bellied dirty lousy rotten stinkin' freaks.
Am E Am E Am
Nothin' but a pencil neck geek. Pencil neck geek. Pencil neck geek.
E Am |Am|
<slower> Pencil neck geek.
"Okay?"
"Uh, not too shabby Mr. Blassie, let's uh, go for one more."
"Hey, I'm Blassie."
"Right, I, I realize that, I just uh thought perhaps we could improve on uh the . . ."
"You know something, Engineer?"
"Yeah?"
"I've been wondering about you all afternoon. Here it is, the middle of summer, and
you're sitting there with that thick collar, all the way up to your chin."
"Yeah, I realize the . . ."
"I wonder . . . Here, let's get a good look at you . . . I knew it, I knew it, I knew
it."
"Ahhhhhhhhhhhhh."
"Fred . . . watch it Fred, that deck holds 10,000 volts . . ."
"Let's plug you in and see how you like it."
"Ahyahyahyahyahyahyahyahyahyahyahyahyah . . . "
"Come on, geek, boogie!" (sizzle) "Nothing but a pencil neck geek."
(Fred Blassie) (Artist Index) - (Main Index) - (Song Index) (This Song)
PEOPLE ARE CRAZY - Billy Currington
(Braddock/Jones)
https://www.youtube.com/watch?v=PKpQRjj_WbU (Capo 5)
TIP: Billy plays this with capo 3 but that means playing the (Bm) and (F#m) so here it
is in a higher capo 5 but it sounds just fine with (I think) easier, cleaner chords and
no barres.
TIP: Most of the time, in order to keep the cadence instead of playing the lead-in chord
to begin the line you'll play it at the end of the previous line. This will become
obvious.
TIP: In the "God is great..." line you'll see "beer is (G) good (G)|G|," which means
play a second half-measure of (G) after "good" and then strum (G) once - that's the |G|
in brackets - followed by no chord until "crazy".
INTRO: C G, C G, C
G Am
This old man and me, were at the bar and we,
F C
Were having us some beers and, swappin' I don’t cares.
G Am
Talkin' politics, blonde and red-head chicks,
F C
Old dogs and new tricks and, habits we ain't kicked.
G Am
We talked about God's grace, and all the hell we raised.
F
Then I heard the ol' man say:
C G G |G| NC C
"God is great, beer is good, and people are cra-zy.
C G, C G, C
G Am
He said "I fought two wars, been married and divorced."
F C
What brings you to Ohio? He said "Damned if I know."
G Am
We talked an hour or two, ‘bout every girl we knew.
F C
What all we put ‘em through, like two old boys'll do.
G Am
We pondered life and death, he lit a cigarette.
F F
He-said "These damn things will kill me, yet.”
C G G |G| NC C
But God is great, beer is good, and people are cra-zy.
F Em Dm
Last call it's two a.m., I said goodbye to him.
G G |G|
I never talked, to him again.
C G Am
Then one sunny day, <brief pause, spoken>
I saw the old man's face.
F C
Front page obituary, he was a millionaire he,
G Am
He left his fortune to, some guy he barely knew.
F
His kids were mad as hell. But me, I’m doin' well.
C G Am
And I dropped by today, to just say thanks and pray.
F
And I left a six-pack, right there on his grave.
C G C Gadd F C
And I said, "God is great, beer is good, and people are crazy."
G Am Gadd F C
God is great, beer is good, and people are cra-zy.
G G |G| C
God is great, beer is good, and people are cra-zy.
C G, C G; C G, C G, |C|
(Billy Currington) (Artist Index) - (Main Index) - (Song Index) (This Song)
PEOPLE ARE STRANGE - The Doors
(Morrison/Krieger)
https://www.youtube.com/watch?v=GJY8jJkDoMY (Capo 0)
TIP: You want to find and get familiar picking out four notes on the 5th and 6th
strings. They form the intro and a little voicing bridge between verses. Those notes
are: The 5th string/2nd fret note <b>, the open 5th string note <a>, the 6th string/3rd
fret is note <g>, and the 6th string/2nd fret note <f#>. These three notes will then be
followed by an (Em). The first three notes are played as the intro. The same three
notes, plus the last one, the <f#>, is played between verses. For the intro try forming
(Em) since that will be the first chord played and then pick the covered 5th string, then
lift off and pick the 5th string again, then use your pinky to pick the <g> on the top
string and then strum (Em). For the four in between the verses you'll end with a (B7) so
your middle finger will already be on the <b> so hold form and pick the 5th string and
move on from there. Sounds complicated but it's not. Just try it a few times.
INTRO: b – a - g
Em Am Em Am Em B7 Em
People are strange, when you're a stranger, faces look ugly, when you're alone.
Am Em Am Em B7 Em
Women seem wicked, when you're unwanted, streets are un, even, when you're down.
B7 G B7 |B7| E7
When you're strange, faces come out of the rain. When you're strange.
G B7 |B7| B7
No one remembers your name, when you're strange. When you're strange.
When you're, stra-ange.
b – a – g – f#
Em Am Em Am Em B7 Em
People are strange, when you're a stranger, faces look ugly, when you're alone.
Am Em Am Em B7 Em
Women seem wicked, when you're unwanted, streets are un, even, when you're down.
Em Am Em Am Em B7 Em |Em|
B7 G B7 |B7| E7
When you're strange, faces come out of the rain. When you're strange.
G B7 |B7| B7
When you're, stra-ange. Alright yeah.

Em Am Em Am Em B7 Em, Em Am Em Am Em B7 Em
B7 G B7
When you're stra-a-ange, faces come out of the rain. When you're strange.
G B7
|B7|
When you're, strange.
(The Doors) (Artist Index) - (Main Index) - (Song Index) (This Song)
PIANO MAN
Billy Joel
https://www.youtube.com/watch?v=gxEPV4kolz0 (Capo 0)
TIP: The first part of the intro consists of two piano chords followed by a piano run.
We'll fake it by a single strum of |Dm| followed by a light strum of (Dm). Then do the
same with the |Ddim| which will follow the (D) so hold fast on the ring finger and barre
the lower 3 strings of the 1st fret with your index finger. The |Dmin| won’t appear again
after the intro.
INTRO: <piano> |Dm| Dm . . . |Ddim| Ddim . . .
<harmonica> C Em Am C, F C D G, C Em Am C
F G7 C, F G; G7 C F G, G7
C Em Am C F C D G
It's nine o'clock on a Saturday. The regular crowd shuffles in.
C Em Am C F G7 C
There's an old man, sittin' next to me, makin' love to his tonic and gin.
C Em Am C, F G7 C C F F
C Em Am C F C D G
He says "Son can you play me a memory, I'm not really sure how it goes.
C Em Am C F G7 C
But it's sad and it's sweet and I knew it complete, when I wore a younger man's clothes."
Am D F Am G F G Gadd Em G7
La la la la de da. La la le de daaaaad da dum.
C Em F C F C D G
Sing us a song, you're the piano man. Sing us a song tonight.
C Em Am C F G7 C
Well we're all in the mood for a melody, and you've got us feelin' alright.
C Em Am C, F G7 C F G, G7 C F G, G7
C Em Am C F C D G
Now John at the bar is a friend of mine, he gets me my drinks for free.
C Em Am C
And he's quick with a joke, or to light up your smoke,
F G7 C C F G
But there's someplace that he'd rather be.
C Em F C F C D G
He says "Bill, I believe this is killing me," as the smile ran away from his face.
C Em Am G F G7 C
"But I'm sure that I could be a movie star, if I could get out of this place."
Am D F Am G F G F C G
Oh la la la la de da. La la le de daaaaaah da dum.
C Em Am C F C D G
Now Paul is a real estate novelist, who never had time for a wife.
C Em F Am F G7 C
And he's talkin' with Davy, who's still in the navy, and probably will be for life.
C Em Am C, F G7 C C F F
C Em Am C F C D G
And the waitress is practicing politics, as the businessmen slowly get stoned.
C Em Am F G7 C
Yes they're sharing a drink they call loneliness, but it's better than drinkin' alone.
Am C D F Am C D F Am C D D, G F Em G7
C Em F C F C D G
C Em Am C F G7 C
C Em Am C, F G7 C F G, G7 C F G, G7
C Em Am C F C D G
It's a pretty good crowd for a Saturday, and the manager gives me a smile.
C Em Am C
'Cause he knows that it's me they've been coming to see,
F G7 C C F F
To forget about life for a while.
C Em F C F C D G
And the piano, it sounds like a carnival, and the microphone smells like a beer.
C Em F C F G7 C C
And they sit at the bar and put bread in my jar and say "Man what are you doin' here?"
Am D F Am G F G Gadd Em G7
Oh la la la la de da. La la le de daaaaaah da dum.
C Em F C F C D G
C Em Am C F G7 C
C Em Am C, F G7 C F G, G7 C F G <One strum each> |F|-|C|-|Gadd|-|C|
(Billy Joel) (Artist Index) - (Main Index) - (Song Index) (This Song)
PICASSO'S LAST WORDS/RICHARD CORY
Paul McCartney & Wings
(McCartney/Simon)
https://www.youtube.com/watch?v=OoqcLmwI2iY (Capo 0)
TIP: These are two separate songs, one written by McCartney and the other by Paul Simon.
What's presented here is the combined version performed by McCartney & Wings from their
live double album "Wings Over America," which, yes, has the reference to John Denver.
TIP: The transition from one song to the other is a little messy but just play the
chords shown and you'll be fine. Chords in |brackets| means strum just once.
[PICASSO'S LAST WORDS]
INTRO: <gently> G C-G, G C-G
D F G D
A grand old painter died last night, his paintings on the wall.
Am D G
Before he went, he bade us well, and said goodnight to us all.
Bm Em Am7 G D G D
So drink to me, drink to my health. You know I can't drink anymore.
G Bm Em Am7 G D C G
Drink to me, drink to my health. You know I can't drink anymore.
Bm Em Bm Em
Three o'clock in the morning. I'm getting ready for bed.
Am G Bm
It came without a warning, but I'll be waiting for you babe.
Am D
I'll be waiting for you there.
G Bm Em Am7 G D G D
So drink to me, drink to my health. You know I can't drink anymore.
G Bm Em Am7 G D C G
Drink to me, drink to my health. You know I can't drink anymore.
A7 D7 Bm1 F4 Bm1 F4 F F6 F
< transition to Richard Cory . . . >
|F6|-|F6|, |G|-|G|, |Em|-|Em| Em Em Em Em

[RICHARD CORY]
Em D
They say that Richard Cory, owns one half of this whole town.
Em B7
With political connections, he spread his wealth around.
A7
He was born into society, a banker's only child.
Em D G A B7 B7
He had everything a man could want: money praise and style.
Em Em Em Em
D
The papers print his picture almost everywhere he goes:
Em B7
Richard Cory at the opera, Richard Cory at the shows.
A7
And the rumor of his parties and the orgies on his yacht.
Em D G A B7
He really must be happy with everything he's got.
G Em Am Em Am Em
But I, work in his factory. And I curse the life I'm living. I curse my poverty.
Am Em Am Em
I wish that I could be, I wish that I could be,
Am B7 Em Em Em
Oh I wish that I could be . . . John Denver. (Oh no yeah, I can't wait!)
D
He really gave to the charities - had the common touch.
Em B7
And they were thankful for his patronage so they, "Thank you very much."
A7
So my mind was filled with wonder when the evening headlines read:
|Em| |D| |G| NC |Em| Em
"Richard Cory went home last night . . . And put a bullet through his head."
G Em Am Em Am Em
But I, work in his factory. And I curse the life I'm living. I curse my poverty.
Am Em Am Em
I wish that I could be, I wish that I could be,
Am B7 Em Em Em Em |Em|
Oh I wish that I could beeeeee Richard Cory.
(Paul McCartney & Wings) (Artist Index) - (Main Index) - (Song Index) (This Song)
PINK HOUSES
John Mellencamp
https://www.youtube.com/watch?v=qOfkpu6749w (Capo 0)
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. Try
to focus on a two downstroke, one upstroke pattern (the same pattern Bob Seger uses on
Night Moves).
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

F C G
You know he thinks he's, got it so good.
And there's a woman, in the kitchen, cleanin' up evenin' slop.

F C G
And he looks at her and says "Hey darlin', I can remember when you could, stop a clock."
C G C G
Oh but ain't that America, for you and me. Ain’t that America, something to see baby.
C D C
Ain't that America, home of the free yeah. Little pink houses for you and me.
G G C-G, G C-G
Oh yeah for you and me.
Well there's a young man, in a T-shirt, listenin' to a rock 'n' roll station.
F C G
He's got a, greasy hair, greasy smile. He says "Lord this must be, my destination."
'Cause they told me, when I was younger, said "Boy you're gonna be, President."
F C G
But just like everything else those old crazy dreams just kinda came and went.
C G C G
C D C
G C-G, G C-G, G C-G, C C G G
Oh built for you and me.
F C G G, F C G G, F C G G G G
Well there's people, and more people. What do they know know know?
C G
Go to work in some high rise, and vacation down at the Gulf of Mexico. Oooh yeah.
And there's winners, and there's losers. But they ain't no big deal.
F C G
'Cause the simple man baby pays the thrills, the bills, the pills that kill.
C G C G
C D C
G
Ooooh. Ooooh yeah.
C G C G
Ain't that America, for you and me. Ain’t that America, something to see baby.
C D C
Ain't that America, home of the free yeah yeah yeah yeah yeah yeah.
G C G C G G C G, G G C |G|
Little pink houses for you and me. Oooh yeah. Ooooh yeah.
(John Mellencamp) (Artist Index) - (Main Index) - (Song Index) (This Song)
PLAY WITH FIRE - The Rolling Stones
(Jagger/Richards)
https://www.youtube.com/watch?v=KvONpTA1qK8 (Capo 0)
TIP: After you get through the intro it's just (Em) and (Emsus2) in which you just lift
the ring finger for one count.
INTRO: G D G C Em Em
Emsus2 Em Emsus2 Em Emsus2 Em

Well you've got your diamonds, and you've got your pretty clo- -othes.
Emsu2 Em Emsus2 Em
And the chauffeur drives your car- -ar. You let everybody kno- -ow.
G D G C Em Em
But don't play with me cause you're playing with fire.
Emsus2 Em Emsus2 Em
Your mother she's an heir- -ess, owns a block in Saint Johns Wo- -od.
Emsus2 Em Emsus2 Em
And your father'd be there with her, if he only co- -ould.
G D G C Em Em
But don't play with me cause you're playing with fire.
G D G C Em Em
Emsus2 Em Emsu2 Em
Your old man took her diamonds, and tiaras by the scor- -ore.
Emsu2 Em Emsus2 Em
Now she gets her kicks in Step- ney, not in Knightsbridge any mor- -ore.
G D G C Em Em
So don't play with me cause you're playing with fire.
Emsus2 Em Emsus2 Em
Now you've got some diamonds, and you will add some oth- -ers.
Emsus2 Em Emsus2 Em
But you'd better, watch your step girl, or start living with your moth- -er.
G D G C Em Em
G D G C |Em|
THE PONY MAN
Gordon Lightfoot
https://www.youtube.com/watch?v=YUHl9YktTHE (Capo 0)
[Presented afterwards in (G) with capo 2]
TIP: A great bedtime song for youngsters.
TIP: In the intro aim for the 2nd string on the first (A) and the 3rd string for the
second (A).
INTRO: A A . . . A A . . .
D A
When it's midnight on the meadow and the cats are in the shed.
D E
And the river tells a story at the window by my bed.
A D A
If you listen very closely be as quiet as you can.
D E A
In the yard you'll hear him it is the Pony Man.
D A
We're always there to greet him when he tumbles into town.
D E
He leads a string of ponies some are white and some are brown.
A D A
And they never seem to kick or bite, they only want to play.
D E A
They live on candy apples instead of oats and hay.
D A
And when we are assembled he gives a soft command.
D E
And we climb aboard our ponies as in a row they stand.
A D A
Then down the road we gallop and across the field we fly.
D E A
And soon we all go sailing off into the midnight sky.
A D A, A D E A
D A
And as we gaily rock along beside a ripplin' sea.
D E
There's Tom and Dick and Sally and Mary Jo and me.
A D A
The Pony Man is leading 'cause he's traveled here before.
D E A
And he gives a whoop and a holler at Mister Moon's front door.
D A
And then we stop to rest a while where the Soda River glides.
D E
Up to the slip comes a pirate ship to take us for a ride.
A D A
And the Pony Man's the captain and the children are the crew.
D E A
And we go in search of treasure and laugh the whole night through.
D A
And when the hold is filled with gold and the sails begin to strain.
D E
And the deck's piled high with apple pie we head for port again.
A D A
Then down the whirling stair case so swift our ponies fly.
D E A
And we're safely in our beds again when the sunbeams kiss the sky.
A D A, A D E A
D A
D E
A D A
D E A
(Gordon Lightfoot) (Folk) (Kid Friendly) (Artist Index)

THE PONY MAN
Gordon Lightfoot
https://www.youtube.com/watch?v=YUHl9YktTHE (Capo 2)
TIP: In the intro aim for the 2nd string on the first (G) and the 3rd string for the
second (G).
INTRO: G G . . . G G . . .
F C G
C D
G F C G
C D G
F C G
We're always there to greet him when he tumbles into town.
C D
He leads a string of ponies some are white and some are brown.
G F C G
And they never seem to kick or bite, they only want to play.
C D G
They live on candy apples instead of oats and hay.
F C G
And when we are assembled he gives a soft command.
C D
And we climb aboard our ponies as in a row they stand.
G F C G
Then down the road we gallop and across the field we fly.
C D G
And soon we all go sailing off into the midnight sky.
G C G, G C D G
F C G
And as we gaily rock along beside a ripplin' sea.
C D
There's Tom and Dick and Sally and Mary Jo and me.
G F C G
The Pony Man is leading 'cause he's traveled here before.
C D G
And he gives a whoop and a holler at Mister Moon's front door.
F C G
And then we stop to rest a while where the Soda River glides.
C D
Up to the slip comes a pirate ship to take us for a ride.
G F C G
And the Pony Man's the captain and the children are the crew.
C D G
And we go in search of treasure and laugh the whole night through.
F C G
And when the hold is filled with gold and the sails begin to strain.
C D
And the deck's piled high with apple pie we head for port again.
G F C G
Then down the whirling stair case so swift our ponies fly.
C D G
And we're safely in our beds again when the sunbeams kiss the sky.
G C G, G C D G
F C G
C D
G F C G
C D G
(Gordon Lightfoot) (Kid Friendly) (Folk) (Artist Index)

PROUD MARY - Creedence Clearwater Revival
(Fogerty)
https://www.youtube.com/watch?v=XfyEpmQM7bw (Capo 0)(MC1)
TIP: In the intro and in various places in the song there’s a sequence of (F) chords
with a (NC) sandwiched in between. All you do at this point is lift up off the (F) for
one strum and come right back down to the (F) before finishing with the (D). Easy.
Strike chords in |brackets| once.
INTRO: C A, C A, C |A|-|G|, |F|-|F|-|F|-|NC|-|F|- D, D
Left a good job in the city. Workin' for The Man every night and day.
But I never lost a minute of sleepin,' worryin' 'bout the way things might have been.
A Bm
Big wheel keep on turnin'. Proud Mary keep on burnin'.
D D D
Rollin', rollin', rollin' on the river.
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 city, ‘til I hitched a ride on the river boat queen.
A Bm
D D D
C A, C A, C |A|-|G|, |F|-|F|-|F|-|NC|-|F|- D, D D D D A A Bm Bm
D D D
C A, C A, C |A|-|G|, |F|-|F|-|F|-|NC|-|F|- D, D D
If you come down to the river. Bet you're gonna find some people who live.
You don't have to worry, 'cuz you have no money. People on the river are happy to give.
A Bm
D
<If playing live> C A, C A, C |A|-|G|, |F|-|F|-|F|-|NC|-|F|-|D|

P.S. I LOVE YOU – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=MA5DkiVKSlM (Capo 0)
TIP: 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 string/1st fret.
G D G D
As I write this letter, send my love to you.
G D A D
Remember that I'll always, be in love with you.
Em D A Bm
Treasure these few words 'til we're together. Keep all my love forever.
A Bb C D
P.S., I love you. You you you.
Em D A Bm
I'll be coming home again to you love. And ‘til the day I do love.
A Bb C D
G D G D
As I write this letter, send my love to you.
G D A D
Remember that I'll always, be in love with you.
Em D A Bm
Treasure these few words 'til we're together. Keep all my love forever.
A Bb C D
G D G D
As I write this letter, (ohhh-oh), send my love to you (you know I want you to),
G D A D
Remember that I'll always, (yeah), be in love with you.
Em D A Bm
I'll be coming home again to you love. And ‘til the day I do love.
A Bb C D Bb C D C A D D
P.S., I love you. You you you. You you you. I love you.
PUFF, THE MAGIC DRAGON - Peter, Paul & Mary
(Yarrow/Lipton)
https://www.youtube.com/watch?v=Y7lmAc3LKWM (Capo 2)
TIP: One of the great children’s songs (along with their "Marvelous Toy" and Gordon
Lightfoot's "Pony Man"). 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.
INTRO: G D C G, C G Em C D G D
G D C C G
Puff the magic dragon lived by the sea,
C G Em C D
And frolicked in the autumn mist in a land called Honah Lee.
G D C G
Little Jackie Paper, loved that rascal Puff,
C G Em C D G D
And brought him strings and sealing wax, and other fancy stuff. Oh,
G D C G
C G Em C D
G D C G
C G Em C D G D
G D C G
Together they would travel, on a boat with billowed sail.
C G Em C D
Jackie kept a lookout perched on Puff's gigantic tail.
G D C G
Noble kings and princes would bow when e'er they came.
C G Em C D G D
Pirate ships would lower their flags when Puff roared out his name. Oh,
G D C G
C G Em C D
G D C G
C G Em C D G D
G D C G
A dragon lives forever but not so little boys.
C G Em C D
Painted wings and giants' rings make way for other toys.
G D C G
One gray night it happened, Jackie Paper came no more,
C G C D G D
And Puff that mighty dragon, he ceased his fearless roar.
G D C G
His head was bent in sorrow, green scales fell like rain.
C G Em C D
Puff no longer went to play along the Cherry Lane.
G D C G
Without his lifelong friend, Puff could not be brave.
C G Em C D G D
So Puff that mighty dragon sadly slipped into his cave. Oh,
G D C G
<softly> Puff the magic dragon lived by the sea,
C G Em C D
G D C C G
<boldly> Puff the magic dragon LIVES by the sea,
C G Em C D G G |G|
And frolicks in the autumn mist in a land called Honah Lee.
(Peter, Paul & Mary) (Kid Friendly) (Artist Index)

THE PURPLE PEOPLE EATER
Sheb Wooley
https://www.youtube.com/watch?v=m1th_v9cwRU (Capo 2)
TIP: Sheb wrote the song in ascending keys so to sing along with the recording move the
capo forward one fret where indicated.
INTRO: G . . . . G7
C
Well I saw the thing comin' out of the sky,
G7 C
It had the one long horn, one big eye.
F
I commenced to shakin' and I said "ooh-eee,"
G G7 C
It looks like a purple people eater to me.
It was a one-eyed one-horned flyin' purple people eater.

G7
One-eyed one-horned flyin' purple people eater.
C
A one-eyed one-horned flyin' purple people eater,
G7 C
Sure looks strange to me. (one eye?)
<capo +1>
Well he came down to earth and he lit in a tree,

G7 C
I said Mr. Purple People Eater don't eat me.
F
I heard him say in a voice so gruff,
NC
"I wouldn't eat you 'cause you're so tough."
It was a one-eyed one-horned flyin' purple people eater.

G7
One-eyed one-horned flyin' purple people eater.
C
A one-eyed one-horned flyin' purple people eater,
G7 C
Sure looks strange to me. (one horn?)
<capo +1>
I said Mister Purple People Eater what's your line?

G7 C
He said "eatin' purple people and it sure is fine.
F
But that's not the reason that I came to land,
NC
I wanna get a job in a rock and roll band."
C
Well bless my soul rock and roll flyin' purple people eater.
G7
Pigeon-toed under-growed flyin' purple people eater.
C
We wear short shorts friendly little people eater,
G7 C
What a sight to see. (oh!)
And then he swung from the tree and he lit on the ground,
G7 C
And he started to rock, really rockin' around.
F
It was a crazy ditty with a swingin' tune,
NC
Sing a boop-boop a-boopa lopa lum bam boom.
C
Well bless my soul rock and roll flyin' purple people eater.
G7
Pigeon-toed under-growed flyin' purple people eater.
C
We wear short shorts friendly little people eater,
G7 C
What a sight to see. (purple people?)
<capo +1>
Well he went on his way and then what do ya know?

G7 C
I saw him last night on a TV show.
F
He was blowing it out really knockin' em dead,
|G7| F C, F C |C|
Playin' rock and roll music through the horn in his head. (Tequila)
(Sheb Wooley) (Folk) (Kid Friendly) (Artist Index)

PUT A LITTLE LOVE IN YOUR HEART – Jackie DeShannon
(Holiday/Myers/DeShannon)
https://www.youtube.com/watch?v=RCXu6LRxzV4 (Capo 0)
TIP: The song sharps midway through. To continue singing with the video capo the 1st
fret where indicated.
TIP: Play (A) with the bottom three fingers, it'll make the slide up to (Bb) easier.
INTRO: D
Think of your fellow man, lend him a helping hand.

G D
Put a little love in your heart.
You see it's getting late, oh please don't hesitate.

G D
D Em A D Em A
And the world, will be a better place. And the world, will be a better place,
For you, and me. You just wait, and see.
D
Another day goes by, and still the children cry.
G D
If you want the world to know, we won't let hatred grow.

G D
Em A D Em A
And the world, will be a better place. And the world, will be a better place,
Bb
For you, and me. You just wait, and see. Wait and see.
<capo +1>
D
Take a good look around, and if you're lookin' down.
G D
I hope when you decide, kindness will be your guide.

D D
Em A
And the world will be a better place.
D Em A
And the world will be a better place,
For you, and me. You just wait and see, people now.
G D
Put a little love in your heart, each and every day.
G D
Put a little love in your heart, there's no other way.
G D
Put a little love in your heart, it's up to you.
G D
G D |D|
Come on and put a little love in your heart.
(Jackie DeShannon) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
QUE SERA SERA – Doris Day
(Livingston/Evans)
https://www.youtube.com/watch?v=xZbKHDPPrrc (Capo 0)(MC0)
INTRO: E E7, E7 A A
D
When I was just a little girl, I asked my mother, what will I be?
E E7 E A
Will I be pretty, will I be rich? Here's what she said to me.
D A E7 E
Que Sera, Sera. Whatever will be will be. The future's not ours to see.
A E7 E A
Que Sera, Sera. What will be will be.
D
When I grew up and fell in love. I asked my sweetheart, what lies ahead?
E E7 E A
Will we have rainbows, day after day? Here's what my sweetheart said.
D A E7 E
A E7 E A
Que Sera, Sera. What will be will be.
D
Now I have children of my own. They ask their mother, what will I be?
E E7 E A
Will I be handsome, will I be rich? I tell them tenderly.
D A E7 E
A E7 E A E7 A |A|-|A|
Que Sera, Sera. What will be will be. Que Sera, Sera.
(Doris Day) (Artist Index) - (Main Index) - (Song Index) (This Song)
QUEEN OF MY HEART
Hank Williams Jr.
https://www.youtube.com/watch?v=07EkVFsMqHM (Capo 0)
TIP: The (A)(Asus4)(A)(Asus2) in the intro is easy to play and is all on/offs. Play (A)
with your middle three fingers, add your pinky to the 2nd string/3rd fret for (Asus4),
then lift your pinky to get back to (A), lift off the bottom/ring finger to get to
(Asus2), and replace to get back to (A). Easy as Sunday morning but the sequence moves
quickly so don't dawdle. Also notice it forms the outro as well with the first (A) in
the sequence beginning with the last word of the song.
INTRO: A Asus4 A Asus2, A Asus4 A Asus2
A Asus4 A Asus2, A Asus4 A Asus2
A D A Asus4 A Asus2, A Asus4 A Asus2

I just wanted to tell you what I think about you.
A E E
And I don't wanna leave out some important part.
Cuz you know I love you and I can't live without you.
A E A Asus4 A Asus2, A Asus4 A Asus2
You know that you are the queen of my heart.

I've had ladies of passion and women of beauty.
A E E
But you're the only girl I've opened up to.
But I closed up tight when you left for another.
And that's the part I've never gotten used to.
G D
And the Queen's still in England, the King's still in Spain.
A E
My love for you, is still the same.
D A D D
You know that I want you till death do us part.
You know that you are the queen of my heart.

If you get this letter, please let me know somethin'.
A E
If you’re comin' back, or is it all through?
Hey just tell me yes or no, don't keep me hangin'.
Cause that's the part I could never get used to.
G D
And the Queen is in England, and the King is in Spain.
A E
And all the King's horses, and all the Queen's men,
D A D D
Could never do one thing to keep us apart.
If you'll just come back to me queen of my heart.

I'm telling' you you are the queen of my heart.
A Asus4 A Asus2 |A|
(Hank Williams Jr.) (Artist Index) - (Main Index) - (Song Index) (This Song)
RADIO LAND – Michael Martin Murphey
(Murphey/Norman/Rains)
https://www.youtube.com/watch?v=NhXvHlI9hbE (Capo 3)
INTRO: G G
C Am
I remember a country evening, when the sun was goin’ down.
D C G
Sittin' on the front porch, listenin' to the sounds.
C Am
While Mama did the dishes, Daddy rolled a smoke,
D C D G G
From a can of old Prince Albert, his hands as strong as oak.
C G
And the sounds of the Grand Old Opry came out of Ryman Hall.
D G G
Roy Acuff played the fiddle, and sang “Wabash Cannonball.”
C G Em
Hank Williams whispered, “I Saw the Light,”
G D G G
And people everywhere, sat listening in the night.
C Em
Out in radio land, out in radio land,
D B7 Em G
We all closed our eyes, listen to the ba-and.
C G
Em D G G
We all dreamed of radio land.
C Am
Then Wolfman Jack came a’ howlin,' from across the Rio Grande.
D C G
Layin' down the sounds that all the kids could understand.
C Am
Mama and Daddy was sleepin', but the kids were wide awake,
D C D G
Listenin' to Bill Haley, rattle roll and shake.
C G
Ol' Jerry Lee banged on the keys and screamed, “Great Balls of Fire!”
D D7 G
Elvis crooned out “Don't Be Cruel” the girls swooned with desire.
C Em
D B7 Em G
We all closed our eyes, listen to the ba-and.
C G
Em D G G
We all dreamed of radio land.
C Am
I remember summer evenings, late night rock and roll.
D C G
Miles and miles of highway, with just my radio.
C G Em
I remember a night when it felt so right, a lover's moon above.
G D |G|
And the songs that they were playin', the night we fell in love.
NC C Em
D B7 Em G
We both closed our eyes, listen to the ba-and.
C G
Em D G G
We fell in love in radio land.
C Em
D B7 Em G
We still close our eyes, listen to the ba-and.
C G
Em D G |G|
We still dream of radio land.
(Michael Martin Murphy) (Artist Index) - (Main Index) - (Song Index) (This Song)
RAINBOW STEW
Merle Haggard
https://www.youtube.com/watch?v=yRDOrCFIY4c (Capo 0)
TIP: The first four notes for the intro are open top string <e>, top string/2nd fret
<f#>, top string 4th fret <g#>, and open 5th string <a>. If you cover the <f#> with your
index finger and the <g#> with your pinky the (A) will come naturally.
INTRO: e – f# - g# - a A A A A D D A E A A
D A
There's a big brown cloud in the city, and the countryside’s a sin.
D A E
And the price of life is too high to give up; gotta come down again.
A E7 A D
When the world wide war is over and done and the dream of peace comes true,
A E A
We'll all be drinkin' free bubble-up, eatin' that rainbow stew.
D A
When they find out how to burn water, and the gasoline car is gone.
D A E
When an airplane flies without any fuel and the sunlight heats our home.
A E7 A D
One of these days when the air clears up and the sun comes shinin' through.
A E A
We'll all be drinkin' free bubble-up, and eatin' that rainbow stew.
D A
Eatin' rainbow stew in a silver spoon underneath that sky of blue.
D A E7 A
All be drinkin' free bubble-up and eatin' that rainbow stew.
A A D A D A A E7 A E7 A A D D A E7 A A
D A
You don't have to get high to get happy. Just think about what's in store.
D A E
When people start doin' what they oughta be doin' then they won't be booin' no more.
A E A D
When a President goes through the White House door and does what he says he'll do,
A E A
We'll all be drinkin' free bubble-up, eatin' that rainbow stew.
D A
D A E7 A
D A
D A E7 A A D D A
RAINY DAY PEOPLE
Gordon Lightfoot
https://www.youtube.com/watch?v=JnmFPFQd9CI (Capo 4)
TIP: In the intro, the numbers are the strings to pick before the (G). So just walk down
the strings and finish that (G) with a downstroke of strings 3-2-1.
INTRO <Form (G)>: 6 – 5 – 4 – 3 – G, D-G; 6 – 5 – 4 – 3 – G, D-G
Am
Rainy day people always seem to know when it's time to call.
C D G
Rainy day people don't talk they just listen till they've heard it all.
C D C G
Rainy day lovers don't lie when they tell 'ya, they've been down like you.
C D C G G D G
Rainy day people don't mind if you're cryin' a tear or two.
Am
If you get lonely, all you really need is that rainy day love.
C D G
Rainy day people all know there's no sorrow they can't rise above.
C D C G
Rainy day lovers don't love any others, that would not be kind.
C D C G
Rainy day people all know how it hangs on a piece of mind.
G G Am, C D G
C D C G
Rainy day lovers don't lie when they tell 'ya, they've been down there too.
C D C G G D G G D G
Rainy day people don't mind if you're cry a tear or two.
Am Am
Rainy day people always seem to know when you're feelin' blue.
C D G
High stepping strutters who land in the gutters sometimes need one too.
C D C G
Take it or leave it, or try to believe it. If you've been down too long.
C D C G G D G
Rainy day lovers don't hide love inside they just pass it on.
C D C G |G|-|G|-|D|-|G|
Rainy day lovers don't hide love inside they just pass it on.
RAVE ON – Buddy Holly
(West/Tilghman/Petty)
https://www.youtube.com/watch?v=0IUV-QxwlRM (Capo 0)
TIP: This is a fun song to sing with the (Gadd) chords but they can be skipped. The
opening is begun acapella but the right note to begin singing is the open 2nd string <b>.
NC Gadd G
A we-eh-heh-eh-ell the little things you say and do,
Gadd G
Make me want to-oo be with you-a-hoo.
C G Gadd G D
Rave on it's a crazy feelin' and, I know it's got me reelin' when you say,
G C G D
I love you-oo-hoo rave on.
Gadd G
The way you dance a-and hold me tight.
Gadd G
The way you kiss and say goodni-hi-hight.
C G D
Rave on it's a ca-razy feelin' and a, I know it's got me reelin' when you say,
G C G D
I love you-oo-hoo rave on.
C G Gadd
A-well rave on a-it's a crazy feelin' and I know it's got me reelin'
D G D G
I'm so, glad, that you're revealin' your love for me.
C G Gadd G
Rave on, rave on and tell me. Tell me, not to be lonely.
D G C G
Tell me, you love me only. Rave on to me.
C C G G D D G G
C G Gadd
A-well rave on a-it's a crazy feelin' and I know it's got me reelin'
D G D G
I'm so, glad, that you're revealin' your love for me.
C G Gadd G
Rave on, rave on and tell me. Tell me, not to be lonely.
D G C G C
Tell me, you love me only. Rave on to me.
G C G G G C G G G C |G|
Ah ha ha. Ah ha ha. Ah ha ha.
REAL MEAN BOTTLE – Bob Seger & Kid Rock/Vince Gill
(Gill)
https://www.youtube.com/watch?v=vJ6uGf3HD3o (Seger)(Capo 2)
https://www.youtube.com/watch?v=JXprgrScIG0 (Gill)(Capo 1)
TIP: Where the versions differs there are cues <Seger> and <Gill> to play each one. The
Seger/Rock version is much faster and up-tempo while Vince’s original is more laid back.
TIP: Each sings the last line of the chorus just a tad differently with Bob playing a
(C)(G)(D) while Vince plays a (D)(A)(D).
TIP: You may notice Vince’s intro/coda is an homage to Merle Haggard’s “Mama Tried”.
INTRO (Seger): D D G D, D D G D
INTRO (Gill): D, D, |D|-|D|, D D D
A D D
No man ever sounded so lonesome.
G D D
No man ever made you feel such pain.
G D D
Lorrrrd it must have been a real mean bottle,
A D D
That made, you sing, that way.
A D D
The stories you told about prison,
G D D
'Bout a younnnng man gonnne astray.
G D D
Lorrrd it must have been a real mean bottle,
A D D
That maaade you write the songs that way.
G D
A real mean bottle poured straight from the devil.
A A
It's a miracle you're standin' here today.
G D
A real mean bottle made youuu such a rebel.
C G D D
<Seger> It must have been a real mean bottle made you sing that way.
A D D
<Gill> It must have been a real mean bottle made you sing that way.
<Seger> D D G G D A D, D D G G C G D D
<Gill> D D G G D A D D
A D D
You spent most all your life with strangers,
G D D
With a rammmmblin' fever in your veins.
G D D
Haaaag it must have been a real mean bottle,
A D D
That maaaade you write the songs (blues) that way.
G D
A A
It's a miracle we’re (you're) standin' here today.
G D
A real mean bottle made youuu such a rebel.
C G D D
<Seger> It must have been a real mean bottle made you sing that way.
A D D
<Gill> It must have been a real mean bottle made you sing that way.
<Seger>
C G D D
Must have been a real mean bottle made you sing that way.
C G D D D . . . |D|
It must have been a real mean bottle made you sing that way. Hey hey.
<Gill>
G D
A D D, |D|-|D|
It must have been a real mean bottle made you sing that way.
(Bob Seger) (Kid Rock) (Vince Gill) (Artist Index)

(Main Index) - (Song Index) (This Song - Seger) (This Song - Gill)
RED RIVER VALLEY – Traditional/Michael Martin Murphey
(Kerrigan)
https://www.youtube.com/watch?v=z1-QLr6aBaw (Capo 2)
[Afterwards in (G) mainly for fingerpicking.]
TIP: There are many great covers of this old western tune. This one is by Michael
Martin Murphey from his album Cowboy Songs. At the end there's an additional verse that
is sometimes included in other versions but not in this version by Michael. The opening
is a harmonica playing the melody of the first three lines of the verse.
INTRO: <slowly> D A D, D A7, D D7 G
<normal pace> G A7 A D D-A-D
A D
From this valley they say you are going.
A7
I will miss your bright eyes and sweet smile.
D D7 G
They say you are taking the sunshine.
A A7 D
That has brightened our pathway a while.
A D
Come and sit by my side if you love me.
A7
Do not hasten to bid me adieu.
D D7 G
But remember the Red River Valley,
A A7 D
And the cowboy that loves you so true.
D D A7 D, D D A7, D D7 G, G A7 A7 D D-A-D
A D
I’ve been thinking a long time my darling.
A7
Of those sweet words you never would say.
D D7 G
Now alas, all my fond hopes have vanished,
A7 A D D-A-D
For they say you are going away.
A D A7
Come and sit by my side if you love me. Do not hasten to bid me adieu.
D D7 G A A7 D
But remember the Red River Valley, and the cowboy that loves you so true.
D A7 A7 D D-A-D, |D| |D| <end Michael Martin Murphey version>

<additional traditional verse>
A D
Do you think of the valley you’re leaving,
A7
And how lonely and dreary it will be?
D D7 G
Do you think of the kind hearts you’re breaking,
A7 A D D-A-D
And the pain you are causing to me?
A D
A7
D D7 G
A A7 D
D A7 A7 D D-A-D, |D| |D|
(Traditional) (Michael Martin Murphy) (Artist Index)

RED RIVER VALLEY – Traditional
(Kerrigan)
TIP: The opening, based on a rendition by Michael Martin Murphey, is a harmonica playing
the melody of the first three lines of the verse.
INTRO: <slowly> G D G, G D7, G G7 C
<normal pace> C D7 D G G-D-G
D G
From this valley they say you are going.
D7
I will miss your bright eyes and sweet smile.
G G7 C
They say you are taking the sunshine.
D D7 G
That has brightened our pathway a while.
D G
D7
G G7 C
D D7 G
G G D7 G, G G D7, G G7 C, C D7 D7 G G-D-G
D G
I’ve been thinking a long time my darling.
D7
Of those sweet words you never would say.
G G7 C
Now alas, all my fond hopes have vanished,
D7 D G G-D-G
For they say you are going away.
D G
D7
G G7 C
D D7 G
D G
Do you think of the valley you’re leaving,
D7
And how lonely and dreary it will be?
G G7 C
Do you think of the kind hearts you’re breaking,
D7 D G G-D-G
And the pain you are causing to me?
D G
D7
G G7 C
D D7 G
G D7 D7 G G-D-G, |G| |G|

REMEMBER WHEN
Alan Jackson
https://www.youtube.com/watch?v=TTA2buWlNyM (Capo 0)
TIP: When playing through the instrumental bridge that leads into the setup (E) for the
key change, it may help to think of (Esus) as an (A) played up one string-set when coming
off the preceding (C), rather than fumbling around with your pinky after hitting the (E)
and then looking for the (Esus). And chords in |brackets| means strum just once at that
position.
INTRO: G Em, C C-D; G Em, C C-D, D-C-D
NC G Em C D
Remember when, I was young, and so were you.
G Em C D
And ti-ime stood still, and love was all we knew.
G Em C D
You were the first, so was I. We made love and then you cried.
G Em C D |D|
Remember when.
G Em C D
Remember when, we vowed the vows and walked the walk.
G Em C D
We ga-ave our hearts, made the start, and it was hard.
G Em C D
We lived and learned, life threw curves. There was joy, there was hurt.
G Em C D |D|
Remember when.
G Em C D
Remember when, old ones died, and new were born.
G Em C D
Life was changed, disassembled, rearranged.
G Em C D
We came together, fell apart, and broke each other's hearts.
G
Remember when.
C G, Am-G-C, C Am, F G C, Am F G C Am F G C C Esus Esus |E|

<key shift>
A F#m D E
Remember when, the sound of little feet,
A F#m D E
Was the music, we danced to week to week.
A F#m D E
Brought back the love, we found trust. Vowed we'd never give it up.
A F#m D E
Remember when.
A F#m D E
Remember when, thirty seemed so old.
A F#m D E
Nowww lookin' back, it's just a steppin' stone.
A F#m D E
To where we are, where we've been, said we'd do it all again.
A F#m D E |E|
Remember when.
NC A F#m D E
Remember when, we said when we turned gray.
A F#m D E
When the children, grow up and move away.
A F#m D E E |E|
We won't be sad, we'll be glad, for all the life we've had.
NC A F#m D E
And we'll remember when.
A F#m D E |E| |A|

Remember when. Remember when.
RETURN TO SENDER - Elvis Presley
(Scott/Blackwell)
https://www.youtube.com/watch?v=LZmUfUBqE-s (Capo 3)
TIP: The |C| in brackets means strum once at that point. (NC) means no chord, or sing
acapella until the next chord.
C Am F G
Return to sender. Return to sender.
C Am Dm G
I gave a letter to the postman. He put it in his sack.
C Am Dm G |C| NC
Bright and early next mornin', he brought my letter back. (She wrote upon it.)
F G F G
Return to sender. Address unknown.
F G C
No such number. No such zone.
F G F G
We had a quarrel, a lover's spat.
D D7 G
I write I'm sorry but my letter keeps coming back.
C Am Dm G
So then I dropped it in the mailbox, and sent it Special D.
C Am Dm G |C| NC
Bright and early next morning, it came right back to me. (She wrote upon it.)
F G F G
F G C
No such person. No such zone.
F C
This time I'm gonna take it myself, and put it right in her hand.
D7 |G| G
And if it comes back, the very next day, then I'll understand. (The writing on it.)
F G F G
F G C
No such number. No such zone.
F G F G
Ahh return to sender. Return to sender.
F G F G |C|
Return to sender. Return to sender.
RHYMES AND REASONS
John Denver
https://www.youtube.com/watch?v=bqhH-hhW8i0 (Capo 5)
TIP: I usually don't like to capo higher than the 4th fret but it sounds pretty sweet
and twinkly up there on 5. You can capo down at 3 but you'll invoke the (Bm) and (F#m).
TIP: In the last verse an "<up>" reminds you to raise your voice on "I am (F) singing."
INTRO: C C C C, G G C C
G F C
So you speak to me of sadness, and the coming of the winter.
Am Em F G
Fear that is within you now it seems to never end.
C G F C
And the dreams that have escaped you, and a hope that you've forgotten.
Am C G
You tell me that you need me now. You want to be my friend.
F C G
And you wonder where we're going where's the rhyme, where's the reason?
Am C G
And it's you cannot accept, it is here we must begin
Dm Dm Dm Dm C F G
To seek the wisdom of the children. And the graceful way of flowers in the wind.
C G F C
For the children and the flowers are my sisters and my brothers.
Am Em F G
Their laughter and their loveliness could clear a cloudy day.
C G F C
Like the music of the mountains, and the colors of the rainbow.
Am C G C C Dm Dm G G
They're a promise of the future, and a blessing for today.
C G F C
Though the cities start to crumble, and the towers fall around us.
Am Em F G
The sun is slowly fading, and it's colder than the sea.
C G F C
It is written 'From the desert, to the mountains they shall lead us.'
Am C G
By the hand and by the heart, they will comfort you and me.
F C G
In their innocence and trusting they will teach us to be free.
C G F C
For the children and the flowers are my sisters and my brothers.
Am Em F G
Their laughter and their loveliness could clear a cloudy day.
C F G C
And the song that <up!> I am singing is a prayer to nonbelievers.
Am C G F F C C G G G G |C|
Come and stand beside us, we can find a better way.
RIDGE ROAD GRAVEL – Norman Blake and Tony Rice
(Blake)
https://www.youtube.com/watch?v=HXqpUT55KdU (Capo 2)
ITNRO: C F C G, C F C–G-C C
F C G
Sittin’ on the river bank nothin’ comin’ down.
C F C G C C
I don't know why I don't move on out of this ol' town.
F C G
Snow's a falling in the street the winter's settin’ in.
C F C G C C
The years of changes say to me “You can't go home again.
G Am Em G
So sing me a song that's not too long and take me home tonight.
C G C F
Til around the bend I see again
C G C C
The Ridge Road gravel and the coal oil light.
C F C G, C F C–G-C C; C F C G, C F C–G-C C
F C G
I heard it on my radio bad times all around.
C F C G C C
Tell me something I don't know. A change could help out now.
F C G
Looking for a good-time gal searchin’ for a friend.
C F C G C C
Mourning for those good ol' days they never thought would end.
G Am Em G
C G C F
C G C C
C F C G, C F C–G-C C; C F C G, C F C–G-C C
G Am Em G
C G C F
C G C C
G C F
C G |C|
(Norman Blake) (Tony Rice) (Artist Index) - (Main Index) - (Song Index) (This Song)
RIGHT FIELD - Peter, Paul and Mary
(Welch)
https://www.youtube.com/watch?v=6okihG5Aosg (Capo 0)
TIP: When playing the (Am7) just lift off the ring finger from the preceding (C) and
then hop down to the (Am). To move from the (F) to the (Dm7) just lift the the ring
finger.
INTRO: |G|-|D|-|G| G, Em Em, C C Am D
G Em G C Am7 Am D
Saturday summers when I was a kid, we'd run to the school yard and here's what we did.
C D C D
We'd pick out the captains, and we'd choose up the teams.
G Em G Em
It was always a measure of my self esteem.
C Am C Am
Cuz the fastest, the strongest played shortstop and first,
C Am
The last ones they picked, were the worst.
F Dm7 D
I never needed to ask, it was sealed, I just took up my place, in right field.
G Em G C Am D
Playing right field, it's easy you know. You can be awkward, you can be slow
C D C D G C G
That's why I'm here in right field just watching the dandelions grow.
Em G
Playing right field, can be lonely and dull.
C Am7 Am D
Little leagues never, have lefties that pull.
C D C D
I dream of the day, when they hit one my way.
G Em G Em
They never did, but still I would pray,
C Am C Am C Am D7
That I'd make a fantastic catch on the run, and not lose the ball in the sun.
F
And then I'd awake, from this long reverie,
Dm7
And pray that the ball, never came out to me here in
G Em G C Am D
Right field, it's easy you know. You can be awkward, you can be slow
C D C D G C G
That's why I'm here in right field just watching the dandelions grow-ow-ow.
<whistle "take me out to the ballgame"> : G D-G D-G C D C D Am D D
<puzzled look - pause>
G Em G
Off in the distance, the game's dragging on.
C Am7 Am D
There's strikes on the batter, some runners are on.
C D C D
I don't know the inning, I've forgotten the score.
G Em G Em
The whole team is yelling, and I don't know what for.
C Am C Am C Am D
Then suddenly everyone's looking at me. My mind has been wandering what could it be?
F
They point to the sky and I look up above
|Dm7| |Dm7| |Dm7| |Dm7| |Dm7| |Dm7| |D|
And the base ball falls in to my glove.
|D| |D7| G Em G
Here in right field, it's important you know.
C Am D
You gotta know how to catch, you gotta know how to throw.
C D C D G C G
That's why I'm here in right field just watching the dandelions grow-ow-ow.

RING OF FIRE – Johnny Cash
(Carter/Kilgore)
https://www.youtube.com/watch?v=mIBTg7q9oNc (Capo 0)
INTRO: G C G, G C-D-G
C G C G
Love, is a burning thing, and it makes, a firery ring.
C G D G
Bound, by wild desire. I fell into a ring of fire.
D C G
I fell into a burnin' ring of fire.
D C G
I went down down down, and the flames went higher.
C G D G
And it burns burns burns, the ring of fire, the ring of fire.
G C G, G C-D-G; G C G, G C-D-G
D C G
D C G
C G D G
C G D G
The taste, of love is sweet. When hearts, like ours meet.
C G G C G
I-fell-for-you like a child. Ohhhh, but the fire went wild.
D C G
D C G
C G D G
D C G
D C G
C G D G
C G D G
D G D G
The ring of fire. The ring of fire.
THE RISING - Live Version
Bruce Springsteen
https://www.youtube.com/watch?v=A9LpsP0goJ8 (Capo 0)
[This first version is from the live 2002 concert in Barcelona. The studio version
follows afterwards. The live version has an intro, the studio version does not.]
TIP: For the intro it's three single-strums of (C) and then you add your pinky to the
2nd string/3rd fret for one strum and then one more strum of (C). Or you can pick out
the individual notes which is also pretty simple: Form (C) and pick the open 3rd string
<g>, then the covered 2nd string <c>, now put your pinky on the 2nd string/3rd fret <d>
and pick, lift off and pick again <c>. That's it. Either way you do this sequence eight
times and hit the (F) that begins the song.
INTRO: |C|-|C|-|C|-|CaddD|-|C|, |C|-|C|-|C|-|CaddD|-|C|
|C|-|C|-|C|-|CaddD|-|C|, |C|-|C|-|C|-|CaddD|-|C|
F C F C
Can't see nothin' in front of me. Can't see nothin' coming up behind.
F C F C
I make my way through this darkness. I can't feel nothing but this chain that binds me.
F C F C
Lost track of how far I've gone. How far I've gone how high I've climbed.
F C F C
On my back's a sixty pound stone. On my shoulder a half mile of line.
F C F C
Come on up for the rising. Come on up lay your hands in mine.
F C F C
Come on up for the rising. Come on up for the rising tonight.
F C F C
Left the house this morning. Bells ringin' filled the air.
F C F C
Wearin' the cross of my calling. On wheels of fire I come rollin' down here.
F C F C
F C F C
G C F G C F
Li li li li-li-li li-li. Li li li-li li li-li-li-li li.
G C F G C Am
Li li li li li li-li-li li-li. Li li li-li li li-li-li-li li.
F C G Am F C G
Am F C G
Spirits above and behind me. Faces gone black eyes, burnin' bright.
Am F C G
May their precious blood bind me, Lord as I stand before your fiery light.
G C F G C F
G C F G C F F |F|
C C C C C
F C F C
I see you Mary in the garden. In the garden of a thousand sighs.
F C F C
There's holy pictures of our children. Dancin' in a sky, filled with light.
F C F C
May I feel your arms around me. May I feel your blood, mix with mine.
F C F C
A dream of life comes to me. Like a catfish dancin' on the end of my line.
F C F C
Sky of blackness and sorrow (dream of life). Sky of love, sky of tears (dream of life).
F C F C
Sky of glory and sadness (dream of life). Sky of mercy sky of fear (dream of life).
F C F C
Sky of memory and shadow (dream of life). Your burnin' wind fills my arms tonight.
F C F C
Sky of longing and emptiness (dream of life). Sky of fullness sky of blessed life.
F C F C
F C F C
F C F C
F C F C
G C F G C F
G C F G C Am
G C F G C F
G C F G C F
THE RISING - Studio Version
Bruce Springsteen
https://www.youtube.com/watch?v=6i-fiRgbpr4 (Capo 3)
TIP: The song builds through the first verse and chorus. The opening verse begins with
a sweeping strum of (C) and light strums for the rest of the verse. The first chorus is
a bit stronger but still somewhat subdued. Start the second verse with a nice bass sweep
of (C) and punch it up.
|C| G C G
Can't see nothin' in front of me. Can't see nothin' coming up behind.
C G C G
I make my way through this darkness. I can't feel nothing but this chain that binds me.
C G C G
Lost track of how far I've gone. How far I've gone how high I've climbed.
C G C G
On my back's a sixty pound stone. On my shoulder a half mile of line.
C G C G
C G C G
C G C G
Left the house this morning. Bells ringin' filled the air.
C G C G
I was wearin' the cross of my calling. On wheels of fire I come rollin' down here.
C G C G
C G C G
D G C D G C
D G C D G |C|
C G D Em C G D
Em C G D
The spirits above and behind me. Faces gone black eyes, bur-urnin' bright.
Em C G D
May their precious blood bind me, Lord as I stand before your-or fiery light.
D G C D G C
D G C D G |C|
NC C G C G
<subdued> I see you Mary in the garden. In the garden of a thousand sighs.
C G C G
There's holy pictures of our children. Dancin' in a sky, filled with light.
C G C G
May I feel your arms around me. May I feel your blood, mix with mine.
C G C G
A dream of life comes to me. Like a catfish dancin' on the end of my line.
C G C G
Sky of blackness and sorrow (dream of life). Sky of love, sky of tears (dream of life).
C G C G
Sky of glory and sadness (dream of life). Sky of mercy sky of fear (dream of life).
C G C G
Sky of memory and shadow (dream of life). Your burnin' wind fills my arms tonight.
C G C G
Sky of longing and emptiness (dream of life). Sky of fullness sky of blessed life.
C G C G
<normally> Come on up for the rising. Come on up lay your hands in mine.
C G C G
D G C D G C
D G C D G |C|
THE RIVER
Bruce Springsteen
https://www.youtube.com/watch?v=nAB4vOkL6cE (Capo 0)
TIP: The intro is the harmonica part and the one in the bridge is just a repeat of the
chords from the first verse.
INTRO: Em G D C, G-D-Em-Am-C C
Em G D C
I come from down in the valley, where mister when you're young,
Em G C G
They bring you up to do, like your daddy done.
C G Em
Me and Mary we met in high school, when she was just seventeen.
Am G C
We'd ride out of this valley, down to where the fields were green. <pause>
Em C D G
We'd go down to the river, and into the river we'd dive.
Em C D C
Ohh-oh down to the river we'd ride.
Em G D C
Then I got Mary pregnant, and man that was all she wrote.
Em G C G
And for my nineteenth birthday I got a union card and a wedding coat.
C G Em
We went down to the courthouse, and the judge put it all to rest.
Am G C
No wedding day smiles no walk down the aisle, no flowers no wedding dress.
Em C D G
That night we went down to the river, and into the river we'd dive.
Em C D Em
Ohh-oh down to the river we did ride, ni-i-ide.
Em G D C, Em G C G; C C G G Em, Am Am G C C
Em G D C
I got a job working construction, for the Johnstown Company.
Em G C G
But lately there ain't been much work, on account of the economy.
C
Now all-them-things that-seemed-so-important,
G Em
Well mister they vanished right into the air.
Am G C
Now I just act like I don't remember, and Mary acts like she don't care.
Em G D C
But I remember us ridin' in my brother's car her body tan and wet down at the reservoir.
Em G
At night on them banks I'd lie awake
C G
And pull her close just to feel each breath she'd take.
C G Em
Now those memories come back to haunt me, they haunt me like a curse.
Am G C
Is a dream a lie if it don't come true, or is it something worse?
Em C D G
That sends me down to the river, though I know the river is dry
Em C D Em
That sends me down to the river to ni-i-i-ight.
C D G Em C D Em
Down to the river my baby and I. Ohh-oh down to the river we ri-i-i-ide.
C D G Em C D G
Ooh-ooh ooh-ooh ooh-ooh-ooh ooh; Ooh-ooh ooh-ooh ooh-ooh ooh-ooh-ooh ooh.
Em C D G Em C D G
Ooh-ooh ooh-ooh ooh-ooh ooh-ooh-ooh ooh; Ooh-ooh ooh-ooh ooh-ooh ooh-ooh-ooh ooh.
Em C D C, Em C D C, |G| |D| |Em|
ROCK AND ROLL - Led Zeppelin
(Page/Plant/Jones/Bonham)
https://www.youtube.com/watch?v=lncr2g9XJHU (Capo 0)
TIP: It's all about the strum, either you know it (and of course you do) or you don't.
In the bridge each chord is a measure beginning with a downstroke. At the end, after
Bonham's tom-tom run there's a single strum of |A| with a long sustain while Jimmy plays
a short solo underneath ending in a |D| and then a final |A| that is palmed immediately.
INTRO: <drum roll> A, A, D, A, E, A
It's been a long time since I rock and rolled.
It's been a long time since I did the stroll.

D A
Ooh let me get it back let me get it back let me get it back, baby where I come from.
E
It's been a long time been a long time
D A
Been a long lonely lonely lonely lonely lonely time. Yes it has.
It's been a long time since the book of love.
I can't count the tears of a life with no love.

D A
Carry me back carry me back carry me back, baby where I come from. Oh ho ho-oh.
E
D A A A
Been a long lonely lonely lonely lonely lonely time.
D A E-D-A
Ah ah-ah ah-ah.
A A A A A A A A D D D D D A A A A E E D D A A
Ahhhhhhhh
It seems so long since we walked in the moonlight.
Making vows that just can't work right.

D A
Ah yeah open your arms, opens your arms open your arms, baby let my love come runnin'.
E
Yeah. It's been a long time been a long time
|D| A
D D D D
Yay hay, yay hay, yay hay, yah hay.
A
Ooh yeah ooh yeah, ooh yeah, ooh yeah.
E
|D| |A|
<drum roll> |A| . . . |D|-|A| <palm>
(Led Zeppelin) (Artist Index) - (Main Index) - (Song Index) (This Song)
ROCK AROUND THE CLOCK – Bill Haley & the Comets
(Myers/Freedman)
https://www.youtube.com/watch?v=Ud_JZcC0tHI (Capo 0)
TIP: In the intro strum all the chords in brackets just once where they appear. At the
end begin strumming with the final (E).
TIP: The first intrumental is the “bumble-bee” bridge and is just the use of that same
(A) series with a little extra flourish with the last set. The second instrumental is
the “saxophone” bridge.
TIP: The outro comes immediately after the last verse so be prepared to jump to the
first set of (A)s.
TIP: Both (F) and (F#), which is just (F) on the 2nd fret, appear only in the outro.
Otherwise the whole song is just (A)(E)(D) and the occasional (E7).
INTRO: |A| |A|-|A|

One two three o'clock four o'clock rock.
|A| |A|-|A|
Five six seven o'clock eight o'clock rock.
|A|
Nine ten eleven o'clock twelve o'clock rock.
|E| |E| E
We're gonna rock around the clock tonight.
A
Well get your glad rags on, join me hon. We'll have some fun when the clock strikes one.
D
We're gonna rock, around the clock tonight.
A
We're gonna rock rock rock 'til broad daylight.
E7 E A A A
We're gonna rock gonna rock around the clock tonight.
When the clock strikes two, three and four. If the band slows down we'll yell for more.
D
A
E7 E A A A
A A A A A, D D A A E7 E A A
When the chimes ring five, six and seven, we'll be right in seventh heaven.
D
A
E7 E A A A
When it's eight nine ten, eleven too I'll be goin' strong and so will you.
D
A
E7 E A A A
A A, A A, D A, E A
When the clock strikes twelve we'll cool off then start a rockin' round, the clock again.
D
A
E7 E A
|A|-|A|, |G|-|G|, |F#|-|F#|, |F|-|F|-|E|; |E|-|E|-|E|-|A|, |A|
(Bill Haley & the Comets) (Artist Index) (Oldies)

ROCK MY SOUL (Three Part Sing-A-Long)
(Traditional/Luke 16:19-31)
https://www.youtube.com/watch?v=DZc7jsWZe64 (Peter, Paul and Mary)(Capo 0/Capo 3/Capo 5)
[This fun old spiritual is designed for 3 guitarists and is based on a 1964 live
performance by Peter, Paul and Mary. There are two variations. The chords will match
but it’s not the same arrangement. Use the link to get a feel for how everything works
together, especially the bridge as it’s sung differently than the verse. Of course you
can change the arrangement any way you wish.
VARIATION ONE:
TIP: Each role is identified as BLACK, BLUE, and RED. So basically you just follow
along and play your color. If only one guitarist is present just play the BLACK role and
if just two are present then decide who wants to play what role. Black is probably the
easiest role, then blue because of the higher capo, and then red because the move from
(F) to (C7) is a little cumbersome for some.
TIP: BLACK plays chords (D)(A7) and (A) with a capo on the 3rd fret. BLUE plays chords
(C)(G7) and (G) with a capo on the 5th fret. RED plays chords (F)(C7), and (C) uncapo’d.
TIP: So in this first variation there are two verses, a bridge, a mixed verse, another
bridge, and a reprise. Each verse is played three times. The first time BLACK plays the
verse alone. The second time BLACK and BLUE play it, and the third time all three play
it (in other words BLACK will play it 3 times, BLUE twice, and RED once). Then everyone
plays the bridge together. Then, also simultaneously, BLACK plays verse 1, BLUE plays
verse 2, and RED plays the bridge. Then everyone plays the bridge and verse 1 again
together.
; ;
BLACK (CAPO 3) BLUE (CAPO 5) RED (CAPO 0)
(VERSE 1)
(Just Black)
D A7
Rock my soul in the bosom of Abraham, rock my soul in the bosom of Abraham,
D A D
Rock my soul in the bosom of Abraham, oh rock-a my soul.
(Black and Blue)
D A7
C G7
D A D
C G C
(Everyone together)
D A7
C G7
F C7
D A D
C G C
F C F
(VERSE 2)
(Just Black)
D A7
So high you can’t get over it, so low you can’t get under it,
D A D
So wide you can’t get ‘round it, oh rock-a my soul.
(Black and Blue)
D A7
C G7
D A D
C G C
(Everyone together)
D A7
C G7
F C7
D A D
C G C
F C F
(Everyone together - bridge)
D A7 D A7 D
Rock my soul. Rock my soul. Rock my soul. Rock my soul.
C G7 C G7 C
F C7 F C7 F
(Everyone together – combined verses and bridge)
D A7
C G7
F C7
Rock my soul. rock my soul.
D A D
C G C
F C7 F
D A7 D A7 D
C G7 C G7 C
F C7 F C7 F
(Everyone together – Verse 1 Reprise)
D A7
C G7
F C7
D A |D|
C G |C|
F C |F|
VARIATION TWO:
In this version BLACK plays the first line of the verse, BLUE plays the second line, RED
plays the the third line, and everyone plays the fourth line. Then all three play the
entire first verse together. This repeats with the second verse. Then all three play
the bridge. Next is a combined verse where BLACK plays the words from the first verse,
BLUE plays the words from the second verse, and RED plays the bridge, all at the same
time. All three play the bridge again and then all three play a reprise of the first
verse.
; ;
BLACK (CAPO 3) BLUE (CAPO 5) RED (CAPO 0)
(Verse 1)
D
Rock my soul in the bosom of Abraham,
G7
rock my soul in the bosom of Abraham,
F
Rock my soul in the bosom of Abraham,
A D
oh rock-a my soul.
G C
oh rock-a my soul.
C F
oh rock-a my soul.
(Everyone together – verse 1)
D A7
C G7
F C7
D A D
C G C
F C F
(Verse 2)
D
So high you can’t get over it,
G7
so low you can’t get under it,
F
So wide you can’t get ‘round it,
A D
oh rock-a my soul.
G C
oh rock-a my soul.
C F
oh rock-a my soul.
(Everyone together – verse 2)
D A7
C G7
F C7
D A D
C G C
F C F
D A7 D A7 D
C G7 C G7 C
F C7 F C7 F
(Everyone together – combined verses and bridge)
D A7
C G7
F C7
D A D
C G C
F C7 F
D A7 D A7 D
C G7 C G7 C
F C7 F C7 F
(Everyone together – Verse 1 Reprise)
D A7
C G7
F C7
D A |D|
C G |C|
F C |F|
ROCKET MAN - Elton John
(John/Taupin)
https://www.youtube.com/watch?v=DtVBCG6ThDk (Capo 3)
TIP: There may be some unfamiliar chords here but they're not hard and they're sort of
integral to the song. So just give them a try.
TIP: Of course Reg is playing the piano so you need to be a little loosey-goosey with
the chord timing.
TIP: (Dsus2) is just (D) without the bottom finger.
TIP: Now for the scary looking lead-in from the verse to the chorus. Start with (D),
then add your pinky to the 4th string/4th fret for (D/A), then remove the pinky to get
back to (D), and finish with any finger you want (I use index) on the 2nd string/1st fret
<c> for (Cadd2) strumming just the bottom 4 strings. Easy!
|Em7| |Em7| A7 Em7 A

She packed my bags last night preflight. Zero hour nine a.m.
C G Am C D Dsus2 D
And I'm gonna be hi-iii-igh, as a kite by then.
Em7 A7 A Em7 A
I miss the earth so much I miss my wife. It's lonely out in space.
C G Am D D/A D Cadd2
On such a ti-i-i-imeless flight.
G C G
And I think it's gonna be a long long time, til touch down brings me round again to find,
C G A
I'm not the man they think I am at home oh no no no. I’m a rocket man.
C G G C
Rocket man burning out his fuse up here alone.
G C G
C G A
I'm not the man they think I am at home oh no no no. I'm a rocket man.
C G G C CaddD
Rocket man, burning out his fuse up here alone.
Em7 A7 A Em7 A
Mars ain't the kind of place to raise your kids. In fact it's cold as hell.
C G Am C D Dsus2 D
And there's no one there to raise them, if you did.
Em7 A7 Em7 A
And all this science, I don't understand. It's just my job five days a week.
C G Am D D/A D Cadd2
A rocket ma-aa-aa-an, a rocket man.
G C G
C G A
C G G C
Rocket man burning out his fuse up here alone.
G C G
C G A
C G G C
Rocket man, burning out his fuse up here alone.
G G C
And I think it's gonna be a long long time.
G G C
G G C
G G C
G G C
G G C
G G C
G
R.O.C.K. IN THE U.S.A.
John Mellencamp
https://www.youtube.com/watch?v=2dO_QKwtko4 (Capo 2)
TIP: There's a definite cadence throughout the song and the (G)(C)(G) sequence after the
lines help maintain in. When you get to the "rockin' in the USA" part you'll come off an
(A) so just either slide your ring finger into the 3rd fret or add your pinky the the 2nd
string/3rd fret and strum the |Asus| once at that point until the following (D).
INTRO: <gently> |D| |G| |C|
<then> D G C G, D G C G, D G C G, D G C G
D D C G, D D C G, D D C G, D D C G
D G C G D G C G
They come from the cities and they come from the smaller towns.
D G C G |D| D |D| D |D| D
Beat up cars and guitars-and-drummers-goin’ crack, boom, bam.
G C G D G C G
R.O.C.K. in the U.S.A. R.O.C.K. in the U.S.A.
D G C G A |Asus| D
R.O.C.K. in the U.S.A yay yeah. They're-rockin' in the U.S.A.
D D C G, D D C G
D G C G D G C G
Well they said goodbye to their families said goodbye to their friends.
D G C G D G C G
With their pipe dreams in their heads and very little money in their hands.
D G C G
Some are black and some are white.
D G C G
And they ain't-too proud-to sleep on your floor tonight,
D G C G A
With their blind faith in Jesus you know that they just miiiight
|Asus| D G C D G C C
Be-rockin' in the U.S.A. Hey.
D D G C, D D G; D D G C, D D G
D D C D, D D D D; G G G G; D D G C
D G C G D G C G
Voices from nowhere and voices from the larger towns.
D G C G D G C G
Filled our head full of dreams and turned the world upside down.
D G C G
There was Frankie Lyman Bobby Fuller Mitch Ryder (they were rockin').
D G C G
Jackie Wilson Shangrias Young Rascals (they were rockin').
D G C G A
Spotlight on Martha Reeves let's don't forget James Brown.
|Asus| D G C
Rockin' in the U.S.A. Hey.
D G C G D G C G
D G C G D G C G
D G C G D G C G
R.O.C.K. in the U.S.A. R.O.C.K. in the U.S.A. <repeat and fade>
A |Asus| D G C G |D|
<If playing live> Rockin' in the U.S.A.
(John Mellencamp) (Artist Index) - (Main Index) - (Song Index) (This Song)
ROCKIN ALL OVER THE WORLD
John Fogerty
https://www.youtube.com/watch?v=jd6Q6epqSuk (Capo 0)
INTRO: D . . .
G
Well ah hurry up hurry up here we go. Four in the morn’ justa hittin’ the road
D A D D
Here we go-oh, rockin’ all over the world.
G
Well giddyup giddyup get away. We’re goin’ crazy and we’re goin’ today
D A D D
G
Hey I like it I like it I like it I like it I la-la-like it, la-la-like
D A D D
Well I’m gonna tell your mama what I’m gonna do.
G
We’re comin’ out tonight with our dancin’ shoes
D A D
G
D A D D
G
D A D D
G
Well I like it I like it I like it I like it I la-la-like it, la-la-like
D A D
G
D A D D
D A D D D-A-D
ROCKY MOUNTAIN HIGH
John Denver
https://www.youtube.com/watch?v=eOB4VdlkzO4 (Capo 2)
TIP: The transition between the (C) and the (A) (e.g, "year" and "again" in the first
verse) is fairly quick with the (A) coming right on the heels so don't pause. On the
other hand the transition between the (Em) and the (G) is a bit more lingering on the
(Em). Finally, in the first line of the chorus hang onto the (A) until the second
syllable of "high" before switching over to the (D).
INTRO: |D| D Em G, |D| D Em G
D Em C A
He was born in the summer of his twenty-seventh year,
D Em G
Coming home to a place he'd never been before.
D Em C A
He left yesterday behind him you might say he was born again.
D Em G
You might say he found a key for every door.
D Em C A
When he first came to the mountains his life was far away,
D Em G
On the road and hanging by a song.
D Em C A
But the strings already broken and he doesn't really care,
D Em G
It keeps changin' fast, and it don't last for long.
A D D G A D D
But the Colorado Rocky Mountain hi-igh. I've seen it rainin' fire in the sky.
G A D G G G
The shadows from the starlight are softer than a lullabyyyyyye.
D G D G
Rocky Mountain high, in Colorado. Rocky Mountain high, in Colorado.
D Em C A
He climbed cathedral mountains, he saw silver clouds below.
D Em G
He saw everything as far as you can see.
D Em C A
And they say that he got crazy once and that he tried to touch the sun.
D Em G
And he lost a friend but kept the memory.
D Em C A
Now he walks in quiet solitude, the forests and the stream.
D Em G
Seeking grace, in every step he takes.
D Em C A
His sight is turned inside himself to try and understand,
D Em G
The serenity of a clear blue mountain lake.
A D D G A D D
But the Colorado Rocky Mountain hi-igh. I've seen it rainin' fire in the sky.
G A D G G G
Talk to God and listen to his causual replyyyyye.
D G D G
D Em C A
Now his life is full of wonder, but his heart still knows some fear,
D Em G
Of the simple things he can not comprehend.
D Em C A
Why they try to tear the mountains down to bring in a couple more.
D Em G
More people, more scars upon the land.
A D G A D D
In the Colorado Rocky Mountain hi-igh. I've seen it rainin' fire in the sky.
G A D G G G
I know he’d be a poorer man if he never saw an eagle flyyyyy.
D
Rocky Mountain high.
A D G A D D
The Colorado Rocky Mountain hi-igh. I've seen it rainin' fire in the sky.
G A D G G G
Friends around the campfire, and everybody’s hiiiiiigh.
D G D G
D G D G
Rocky Mountain High, in Colorado. Rocky Mountain high, in Colorado.
D G D G
D Em G D Em G |D|
Rocky Mountain high, iiii-iii-ii. Rocky Mountain high, iiii-iii-ii.
ROCKY TOP - Traditional/Lynn Anderson
(Bryant)
https://www.youtube.com/watch?v=WROkIhZJLSY (Capo 5)
TIP: There are lots of covers of this old bluegrass tune. This is Lynn Anderson's
version.
INTRO: G C G Em D G
C G Em D7 G
Wish that I was on ol' Rocky Top down in the Tennessee hills.
C G Em D7 G
Aint' no smoggy smoke on Rocky Top ain't no telephone bills.
C G Em D7 G
Once I had a man/(gal) on Rocky Top half bear the other half cat.
C G Em D7 G
Wild as a mink but sweet as soda pop but I still dream about that.
Em D F C
Rocky Top you'll always be, home sweet home to me.
G F G F G
Good ol' Rocky Top. Rocky Top Tennessee. Rocky Top Tennessee.
C G Em D7 G
Once two strangers climbed ol' Rocky Top lookin' for a moonshine still.
C G Em D7 G
Strangers ain't come down from Rocky Top I reckon they never will.
C G Em D7 G
Corn won't grow at all on Rocky Top the dirt's too rocky by far.
C G Em D7 G
That's why all the folks on Rocky Top get their corn from a jar.
Em D F C
G F G F G
G C G Em D G, G C G Em D G, Em D F C, C G, G F G, G F G
C G Em D7 G
I've had years of cramped-up city life trapped like a duck in a pen.
C G Em D7 G
All I know is it's a pity life can't be simple again.
Em D F C
G F G F G
C D7 G F C G G G |G|
Rocky Top Tennes seeeee- eee- eee.
(Traditional) (Lynn Anderson) (Folk) (Artist Index)

ROLL IN MY SWEET BABY’S ARMS
Traditional/Boxcar Willie
(Flatt)
https://www.youtube.com/watch?v=jNOByWoZ5_Q (Capo 0)
TIP: Lots of versions out there played in all different keys. I like Boxcar Willie's
version for its simplicity.
INTRO: G C D7 G
D7
Roll in my sweet baby's arms. Roll in my sweet baby's arms.
G C
I’ll lay around the shack til the mail train comes back,
D7 G
And roll in my sweet baby's arms.
D7
Well I ain't gonna work on the railroad. I ain't gonna work on the farm.
G C
I'll lay around the shack til the mail train comes back,
D7 G
G D7
G C
D7 G
G D G C D7 G
D7
Well where were you last Saturday night, while I was lyin' in a jail?
G C D7 G
You walkin' the streets with another man, you wouldn't even go my bail.
D7
G C
D7 G
G D G C D7 G
D7
Kid I know that your daddy don't like me, he drive me away from your door.
G C D7 G
And if I had it to do once again, I'd never go there anymore.
D7
Yeah I’m roll in my sweet baby's arms. Roll in my sweet baby's arms.
G C
D7 G
C
Lay around the shack til the mail train comes back,
D7 G F C C D G
(Traditional) (Boxcar Willie) (Folk) (Artist Index)

ROSE OF ALABAMA – Traditional/Tom Roush
(Steele)
https://www.youtube.com/watch?v=Pr1QnXGTk-o (Capo 5)
TIP: If you can’t recall how this song goes, it was the one sung/performed in the film
“The Outlaw Josey Wales”.
TIP: Note the key change from [G] to [A] the end.
INTRO: G C G Em D G C G D G
C G Em
Away from Mississippi's vale with my ol' hat there for a sail
G C G D G
I crossed upon a cotton bale, to Rose of Alabama.
C G
Oh brown Rosie, the Rose of Alabama.
C G D G
A sweet tobacco posey is the Rose of Alabama.
C G D G
G C G Em D G C G D G
C G Em
I landed on a bar sand bank and sat upon a holler plank
G C G D G
And there I made the banjo twank for Rose of Alabama.
C G
C G D G
C G D G
C G Em
Oh arter directly bye and bye the moon rose white as Rosey's eye,
G C G D G
Then like a young coon out so sly stole Rose of Alabama.
C G
C G D G
C G D G
C G Em
I ask her "sit down where she please" to cross my legs she took her ease,
C G D G
"Good to go upon the knees," says Rose of Alabama.
C G
C G D G
C G D G
C G Em
The river rolled the crickets sing. The lightnin' bug he flashed its wing,
G C G D G
And like a rope my arms I fling 'round Rose of Alabama.
C G
C G D G
C G D G
C G Em
I kiss so long I cannot tell, for Rosey seemed to like it well
G C G D G
My banjo in the river fell of Rose of Alabama.
C G
C G D G
C G D G
<key change> |A|
A D A F#m
Like-a-alligator ought to pray I plunge in but it float way but
A D A E A
All the time it seemed to say, "Oh Rose of Alabama.
D A
D A E A
D A E A
A D A F#m E A D A E A |A|
(Traditional) (Tom Roush) (Artist Index) - (Main Index) - (Song Index) (This song)
ROY ROGERS – Elton John
(John/Taupin)
https://www.youtube.com/watch?v=lGIds7cSf3U (Capo 5)
TIP: Hold the (G) until after the final word (all/room) in the 2nd line of the first two
verses and then move steadily but quickly to the (C).
TIP: In the chorus “tonight” has 4 syllables, to ni-i i ight with “ni-i” sung quicker
than the ones that follow. You’ll see what I mean.
INTRO: |C| C C |G|, G G |C|, C C |G|, G G
C G C
Sometimes you dream, sometimes it seems, there's nothing there at all.
Am Em F G
You just seem older than yesterday, and you're waitin’ for tomorrow to call.
C G C
You draw to the curtains, and one thing's for certain, you're cozy in your little room.
Am Em F G
The carpet's all paid for God bless the T.V. Let's go shoot a hole in the moon.
C D F C
Oh-oh and Roy Rogers is ridin’ tonight. Returning to our silver screen.
G C F D G
Comic book characters never grow old. Evergreen heroes whose stories were told,
Am Em
Oh the great sequin cowboy who sings of the plains,
F D G F G
Of roundups, and rustlers, and home on the ra- a- ange.
Am Em F G C F C
Turn on the T.V., shut out the lights, Roy Rogers is riding to ni-i- i– ight.
G G C, C C G, G G
C G C
Nine o'clock mornin’s, five o'clock evenin’s, I'd liven the pace if I could.
Am Em
Oh I'd rather have a ham in my sandwich than cheese,
F G
But complainin’ wouldn't do any good.
C G C
Lay back in my armchair, close eyes and think clear. I can hear hoof beats ahead.
Am Em F G
Roy and Trigger have just hit the hilltop, while the wife and the kids are in bed.
C D F C
Oh-oh and Roy Rogers is ridin’ tonight. Returning to our silver screen.
G C F D G
Comic book characters never grow old. Evergreen heroes whose stories were told,
Am Em
Oh the great sequin cowboy who sings of the plains,
F D G F G
Of roundups, and rustlers, and home on the ra- a- ange.
Am Em F G C F C
Turn on the T.V., shut out the lights, Roy Rogers is riding to ni-i- i– ight.
G G C, C C G, G G C, C C G, G G |C| <hoof beats>
RUBY, DON’T TAKE YOUR LOVE TO TOWN - Kenny Rogers
(Tillis)
https://www.youtube.com/watch?v=tDOznxiEcdM (Capo 0)
NC G G Dm
You've painted up your lips and rolled and curled your tinted hair.
C F G
Ruby are you contemplating going out somewhere?
Dm G G Dm
The shadow on the wall tells me the sun is going down.
C F Am Dm7 |Dm7| NC C C
Oh Ruuuuuby, don't take your love to town.
Dm C C
It wasn't me that started that old crazy Asian war.
Dm F G G7
But I was proud to go and do my patriotic chore.
Dm G G Dm
Yes it's true that I'm not the man I used to be.
Oh Ruuuuuby, I still need some company.
F G G Dm
It’s hard to love a man whose legs are bent and paralyzed.
C F G G7
And the wants and the needs of a woman your age Ruby I realize.
Dm G G7 Dm
But it won't be long I've heard them say until I not around.
C F G G
She's leaving now cause I just heard the slamming of the door.
C F G G
The way I know I've heard it slam one hundred times before.
Dm G G7 Dm
And if I could move I'd get my gun and put her in the ground.
C F Am Dm7 |Dm7| NC C C |C|

Oh Ruuuuuby, for God’s sake turn around.
RUBY TUESDAY - The Rolling Stones
(Richards/Jones)
https://www.youtube.com/watch?v=ADtnUC_ctNk (Capo 1)
Am G F G C C
She would never say, where she came from.
Am G F C G G
Yesterday don't matter, if it's gone.
Am D7 G Am D7 G
While the sun is bright, or in the darkest night.
C C G G7
No one knows. She comes and goes.
C G F C G F C
Goodbye Ruby Tuesday. Who could hang a name on you?
G F G F |G|
When you change with every new day. Still I'm gonna miss you.
Am G F G C C
Don't question why she needs, to be so free.
Am G F G G
She'll tell you it's the only, way to be.
Am D7 G Am D7 G
She just can't be chained, to a life where nothing's gained,
C C G G7
And nothing's lost, at such a cost.
C G F C G F C
G F G F |G|
Am G F G C
There's no time to lose, I heard her say.
Am G F G
Catch your dreams before, they slip away.
Am D7 G Am D7 G
Dying all the time. Lose your dreams and you,
C C G G7
Will lose your mind. Ain't life unkind?
C G F C G F C
G F G F G
C G F C G F C
G F G F |G| Am G F G C C
RUNAROUND SUE – Dion
(DiMucci/Maresca)
https://www.youtube.com/watch?v=4NQLmUOgT5M (Capo 2)
TIP: Open with long single strums of the chord in brackets. Then there's a couple of
quick strums of (G) followed by a (C) to start the song.
INTRO: |C| |Am|

Here's my story it's sad but true. It's about a girl that I once knew.
|F| |G|
She took my love, then ran arounnnnd with every single, guy in town.
G C Am F G
Hey hey, whoa-oh-oh-ohh. Whoa-oh-oh-ohh. Whoa-oh-oh-oh. Lop lop lop lop.
C Am F |G|
Whoa-oh-oh-ohh. Whoa-oh-oh-ohhhhhhhhh. Ohhhhhhhhhhh, awwwwwwww.
G C
Yeahhhhh I should have known it from the very start.
Am
This girl will leave me with a broken heart.
F G
Now listen people what I'm telling you-ah, a keep away from a Runaround Sue.
C
Yeahhhh I miss her lips and the smile on her face.
Am
The touch of her hair and this girl's warm embrace.
F |G|
So if you don't wanna cry like I do-ah, a keep away from a Runaround Sue.
C Am F |G|
Whoa-oh-oh-ohh. Whoa-oh-oh-ohh. Whoa-oh-oh-oh oh. Awwwwwwww,
F C
She likes to travel around yeah ah she'll love you but she'll put you down.
F G G7
Now people let me put you wise, a Sue goooes-uh 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 |G|
Ask any fool that she ever knew they'll say, a keep away from a Runaround Sue.
C Am
I met a girl, yeah keep away from this girl.
F |G|
I don't know what she'll do. Keep away from Sue. Awwwwwwww...
F C
She likes to travel around yeah ah she'll love you and she'll put you down.
F G G7
Now people let me put you wise, a she go-oes out with other guys.
C
Here's the moral and the story from that guy who knows.
Am
I fell in love and my love still grows.
F |G|
Ask any fool that she ever knew they'll say a keep away from a Runaround Sue.
C Am F
Yeah-uh, stay away from that girl. Don't you know what they'll do now.
G |C|
Whoa-oh-oh-oh.
(Dion) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
RUNAWAY - Del Shannon/Traveling Wilburys
(Shannon/Crook)
https://www.youtube.com/watch?v=0S13mP_pfEc Del Shannon (Capo 1)
https://www.youtube.com/watch?v=qEPx9bkpkh8 Traveling Wilburys (Capo 0)
TIP: Del plays the song straight through while the Wilburys repeat the instrumental
bridge and chorus.
INTRO: Am Am Am Am
G F
Assss I walk along I wonder, a what went wrong with our love.
E E7
A love that was so strong.
Am G F
And as I still walk on I think of, the things we've done together,
E7 E
While our hearts were young.
A F#m
I'm a-walkin' in the rain. Tears are fallin' and I, feel the pain.
A F#m A
Wishin' you were here by me, to end this misery and I wonder.
F#m F#m A F#m
I wah-wah-wah-wah wonder. Why? Why why why why why she ran away.
D E A D A E7 E
And I wonder, where she will stay. My little runaway. A run run run run runaway.
Am Am, G G G, F F, E7 E; Am Am, G G G, F F, E7 E
A F#m
I'm a-walkin' in the rain. Tears are fallin' and I, feel the pain.
A F#m A
Wishin' you were here by me, to end this misery and I wonder.
F#m F#m A F#m
I wah-wah-wah-wah wonder. Why? Why why why why why she ran away.
D E A D A
And I wonder, where she will stay. My little runaway. A run run run run runaway.
D A D A
A run run run run runaway. A run run run run runaway.
(Del Shannon) (Traveling Wilburys) (Artist Index) (Oldies)

RUNNIN' DOWN A DREAM
Tom Petty
https://www.youtube.com/watch?v=Y1D3a5eDJIs (Capo 0)(MC0)
TIP: The E-A-G-E riff is played really quickly.
INTRO: E-A-G-E E, E-A-G-E E, E-A-G-E E, E-A-G-E E
D E
It was a beautiful day, the sun beat down. I had the radio on, I was drivin'.
D E
The trees went by, me and Del were singin', "Little Runaway", I was flyin'.
D G E G A
Yeah runnin' down a dream. That never would come to me.
D G E G A G E E-A-G-E
Workin' on a mystery. Goin' wherever it leads. Runnin’, down a dream.
D E
I felt so good, like anything was possible. Hit cruise control, and rubbed my eyes.
D E
The last three days, the rain was unstoppable. It was always cold, no sunshine.
D G E G A
D G E G A G E
Workin' on a mystery. Goin' wherever it leads. Runnin’, down a dream.
E-A-G-E C C D D E E C C D D
Woo ooh, woo ooh, woo ooh. Woo ooh, woo ooh,
E D E
Woo-I rolled on, the sky grew dark. I put the pedal down, to make some time.
D E
There's something good, waitin' down this road. I'm pickin up, whatever is mine.
D G E G A
I’m runnin' down a dream. That never would come to me.
D G E G A G E
Workin' on a mystery. I’m goin' wherever it leads. Runnin’, down a dream.
E-A-G-E
D G E G A
D G E G A G E
Workin' on a mystery. Goin' wherever it leads. I’m runnin’, down a dream.
E-A-G-E, E-A-G-E
C C D D E E E-A-G-E
Woo ooh, woo ooh, woo ooh.
C C D D E E E
C C D D E E E-A-G-E
C C D D E E E
C C D D E E E-A-G-E
C C D D E E E
C C D D E E E-A-G-E
C C D D E E E
C C D D |E|
RUNNING SCARED - Roy Orbison
(Orbison/Melson)
https://www.youtube.com/watch?v=WBAqXtaPZgQ (Capo 2)
TIP: This will look messy but it's not and will quickly become apparent as you play
along with the video. The song has a distinct cadence that you need to get down. The
strum pattern is 10, 1, 4, 4, meaning 10 strums, followed by 1 strum, then 4 strums, and
another set of 4 strums. The chords may all be the same, or they may have transition
chords. And they're all downstrokes. Let's look at an example using the second verse:
" (G)10 Just runnin' (G) scared 4, 4. (G)10 Feelin' (Am) low 4, 4. "
You start the line with 10 strums of (G) while singing the words "Just runnin'", then 1
strum of (G) at "scared", then you strum (G) 4 more times, and then 4 more times. The
next line begis with 10 strums of (G) while singing "Feelin'", then you change the chord
with 1 strum of (Am) on "low," followed by 4 more strums of (Am), and another 4 strums
of (Am).
Let's look at another example:
"(Am)10 So a (Bm) fraid 4, 3-(D7). (D7)10 That he might (G) show 4, 3-(D7)."
You start like last time with 10 strums of (Am) while singing "So a" and 1 strum of (Bm)
on the second syllable of "afraid", followed by 4 more strums of (Bm), and then 3 strums
of (Bm) and 1 strum of (D7) where the chord changes again. It's still 4 strums, just 3
of the trailing (Bm) and 1 of the leading (D7). The next line is the same, starting with
10 strums of (D7), 1 strum of (G), 4 strums of (G), 3 strums of (G) and 1 strum of (D7).
Unless/until you see a different chord, assume the number pertains to the chord that
preceded it. The exception to this is the intro, which is a 1, 4, 4, and the very end
which is a 10, 4, 4.
TIP: The chorus does not keep this strum pattern.
TIP: (CaddD) is just (C) with your pinky added to the 2nd string/3rd fret.
INTRO: |G| <palm> |G|-|G|-|G|-|G| <palm> |G|-|G|-|G|-|G| <palm>
G-10 G 4, 4 G-10 Am 4, 4
Just runnin' scared. Each place we go.
Am-10 Bm 4, 3 - D7 D7-10 G 4, 3 - D7
So afraid. That he might show.
D7-10 G 4, 4 G-10 Am 4, 4
Yeah runnin' scared. What would I do.
Am-10 Bm 4, 3 – D7 D7-10 G 4, 4
If he came back. And wanted you?
G-10 G 4, 4 G-10 Am 4, 4
Just runnin' scared. Feelin' low.
Am-10 Bm 4, 4 Bm-10 D 4, 4
Runnin' scared. You love him so.
D-10 G 4, 4 G-10 Am 4, 4
Just runnin' scared. Afraid to lose.
Am-10 Bm 4, 4 Bm-10 G G-8
If he came back. Which one would you choose?
C Am Em Am Em Am
Then all at once, he was standing there.
C Am Em Am Em Am
So sure of himself, his head in the air.
C Am Em C
My heart was breaking, which one would it be?
CaddD C D7 G 10, 4, 3, |G|
You turned around, and walked away with me.
SAD ONE COMIN’ ON (A SONG FOR GEORGE JONES)
Vince Gill
https://www.youtube.com/watch?v=-Mz14DcIJTs (Capo 4)
INTRO: C C C C
F C
This worn out old six-string, has sure been a good friend.
F C D7 G
It's neverrr let me down, when my heart's on the mend.
F C E7 Am
It's alllways willin’, to play one more song,
F G C
And I feeeel a sad one, comin’ on.
F C
Some dingyyy old barroom is where he used to turn,
F C D7 G
Till the bottllle was empty, man that whiskyyy would burn.
F C E7 Am
The life ooof the party, till his friends were all gone.
F G C C
I feeeel a sad one comin' on.
G F C
Oh sing meee the sad ones, don't liike the fast ones.
F C G
Keep pourinnn' me something, reeal strong.
F C E7 Am
Oh I'm drawn to the blue side, since the king of broken hearts died,
F G C G C G
And I feeeel a sad one, comin' on.
C F C
Oh the love oof a woman, saved Jones' life.
F C D7 G
He put down the bottle, and he made her his wife.
F C E7 Am
He'd tearrr your heart out, when he sang a song.
F G C C
I feeeel a sad one, comin' on.
G F C
Oh sing meee the sad ones, don't liike the fast ones.
F C G
I can’t bearrr that he’s, really gone.
F C E7 Am
F G C C
And I feel a sad one, comin' on.
F C E7 Am
F G <rake> C
And I feeel a sad one comin' . . .
SALLY SIMPSON - The Who
(Townshend)
https://www.youtube.com/watch?v=I-u_EFyKAC8 (Capo 0)
TIP: For the opening, strike each chord convincing and then strum the same chord
lightly.
TIP: In the line "The crowd went crazy . . . " there's a (D)-(D4)-(D) sequence. Just
use your pinky to cover the bottom string/3rd fret while holding the (D).
INTRO: |C| C, |G| G, |C| C, |G| G
C G C G
Outside the house Mr. Simpson announced that Sally couldn't go to the meeting.
C G C G
He went on cleaning his blue Rolls Royce and she ran inside a weeping.
C G C G
She got to her room and tears splashed the picture of the new messiah.
C G C G
She picked up a book of her father's life and threw it on the fire.
F
She knew from the start deep down in her heart,
G
She and Tommy were worlds apart.
F C D G
But her Mother said "Never mind your part is to beeee what you'll be."
C G C G
The theme of the sermon was 'Come unto me and love will find a way.'
C G C G
So Sally decided to ignore her dad and sneak out anyway.
C G C G
She spent all afternoon gettin' ready and decided she'd try to touch him.
C G C G
Maybe he'd see that she was free and talk to her this Sunday.
F
G
F C D G
C G C G
She arrived at six and the place was swinging to gospel music by nine.
C G C G
Group after group appeared on the stage and Sally just sat there crying.
C G C G
She bit her nails looking pretty as a picture right in the very front row.
C G C G
And then a DJ wearing a blazer with a badge ran on and said 'Here we go!'
D7 G D7 G
The crowd went crazy, as Tommy hit the stage.
D7 G A7 D D4 D |D|
Little Sally got lost as the police bossed, the crowd back in a rage.
C G C G
Soon the atmosphere was cooler and Tommy gave a lesson.
C G C G
Sally just had to let him know she loved him and leapt up on the rostrum.
C G C G
She ran cross stage to the spotlit figure and brushed him on the face.
C G C G G
Tommy whirled around as a uniformed man threw her off the stage.
F
G
F C D G
C G C G
Her cheek hit a chair and blood trickled down, mingling with her tears.
C G C G
Tommy carried on preaching and his voice filled Sally's ears.
C G C G
She caught his eye, she had to try but couldn't see through the lights.
C G C G
Her face was gashed and the ambulance men had to carry her out that night.
D7 G D7 G
The crowd went crazy, as Tommy left the stage.
D7 G A7 D D4 D
Little Sally was lost for the price of a touch and a gash across her face, ooooh!
C G C G
Sixteen stitches put her right and her Dad said "Don't say I didn't warn ya."
C G C G
Sally got married to a rock musician she met in California.
C A C G
Tommy always talks about the day the disciples all went wild.
C G C G
Sally still carries a scar on her cheek to remind her of his smile.
F
G G G
F C D G G, G, C, |G|
SAME THING HAPPENED TO ME - John Prine
(Prine/Nicholson)
https://www.youtube.com/watch?v=pXOLa_r7paI (Capo 2)
INTRO: D D, D D, A7 D
D
Moonlight, shinin' on the back of my hand.
D
Cat fight, rattlin' the garbage can.
G D
Looks like, somethin' chased you up a tree.
A7 D
Same thing, same thing happened to me.
D
Wild wind, blowin' down the neck of my shirt.
D
Old men, sittin' on a bench in the dirt.
G D
Seems like, another ship has gone out to sea.
A7 D
D D, D D, G D, A7 D
D
Shoe shine, someone's got to tell ya the news.
D
A fine line, separates a boy from the blues.
G D
Looks like, you could use some company.
A7 D
D
Runnin', runnin' just as fast as I can.
D
Someone, someone take a hold of my hand.
G D
Looks like, somethin' chased you up a tree.
A7 D
A7 D A7 D |D|
SAN ANTONIO ROSE - Bob Wills/Patsy Cline
(Wills)
https://www.youtube.com/watch?v=ljNKZWwOnWg Patsy Cline (Capo 2)
https://www.youtube.com/watch?v=1nEof88_Rho Bob Wills (Capo 6)
TIP: Bob has a much longer, much more difficult intro to play with lots of flats and
sharps. What follows is based on the rendition of the incomparable Patsy Cline. For the
intro play (D) as in "rose my Rose of San Antone" but on the "tone" strum each chord
once. The |G#| is just (F) played on the 4th fret (6th if capo 2).
INTRO: D |G|-|F4|-|A|
D G E7 A D
Deep within my heart lies a melody, a song of old San Anto-one.
G E7 A D
Where in dreams I live with a memory, beneath the stars all alo-one.
G E7 A D
Well it was there, I found, beside the Alamo, enchantment strange as the blue up above.
G E7 A D
For that moonlit pass, that only he would know, still hears my broken song of lo-ove.
A E7
Moon in all your splendor known only to my heart.
E A
Call back my rose Rose of San Antone.
E7
Lips so sweet and tender, like petals fallin' apart.
E A A7
Speak once again of my love my own.
D G E7 A D
Broken song empty words I know, still live in my heart all alone.
G E7 A D
For that moonlit pass by the, Alamo, and rose my Rose of San Antone.
A, E7, E, A; A, E7, E E A
D G E7 A D
Broken song empty words I know, still live in my heart all alone.
G E7 A D D
For that moonlit pass by the, Alamo, and rose my Rose of San Antone.
A D D A D D |D|
And rose my Rose of San Antone. And rose of San Antone.
(Bob Wills) (Patsy Cline) (Artist Index) - (Main Index) - (Song Index) (This Song)
SATISFACTION (I CAN'T GET NO) - The Rolling Stones
(Richards/Jagger)
https://www.youtube.com/watch?v=nrIPxlFzDi0 (Capo 0)
TIP: It's all about the rhythm of the (E) and (D). You'll see an extra (E) chords in
there necessary to maintain the rhythm.
INTRO: E D, E D, E D, E D, E
A E A
I can't get no, satisfaction, I can't get no, satisfaction,
E B7 E A
'Cause I try, and I try, and I try, and I try.
E D E D
I can't get no, I can't get no.
E D E D
When I'm drivin' in my car, and the man come on the radio.
E D E D
He's tellin' me more and more, about some useless information,
E D E D E E E
Supposed to fire my imagination. I can't get no, ah no no no.
E E D E E D E
Hey hey hey. That's what I say.
A E A
I can't get no, satisfaction, I can't get no, satisfaction,
E B7 E A
E D E D
E D E D E D
When I'm watchin' my T.V., and a man comes on and tells me, how white my shirts can be,
E D E D
But he can't be a man 'cause he doesn't smoke, the same cigarettes as me.
E D E E E
I can't get no, ah no no no.
E E D E E D E
A E A
I can't get no, satisfaction. I can't get no, girl reaction,
E B7 E A
E D E D
E D
When I'm ridin' 'round the world.
E D E D
And I'm doin' this and I'm signin' that and I'm tryin' to make some girl,
E D
Who tells me, ah baby better come back maybe next week,
E D E D E E E
Can't you see I'm on, a losing streak? I can't get no, oh no no no.
E E D E E D
E D E D E D
I can't get no, I can't get no, I can't get no,
E D E D E D E D
Satisfaction. No satisfaction. No satisfaction. No satisfaction.
E D D |E|
I can't get no.
SAVE THE LAST DANCE FOR ME – The Drifters
(Pomus/Shuman)
https://www.youtube.com/watch?v=n-XQ26KePUQ (Capo 2)
INTRO: D
A7
You can dance, every dance with the guy who gives you the eye let him hold you tight.
D
You can smile, every smile for the man who held your hand 'neath the pale moonlight.
G D
But don't forget who's taking you home and in whose arms you're gonna be.
A7 D
So darlin', save the last dance for me. Mmmmm.
A
Oh I know, that the music is fine, like sparkling wine go and have your fun.
A7 D
Laugh and sing, but while we're apart don't give your heart to anyone.
G D
But don't forget who's taking you home and in whose arms you're gonna be.
A7 D
So darlin', save the last dance for me.
A D
Mmm baby don't you know I love you so? Can't you feel it when we touch?
A D
I will never never let you go. I love you oh so much.
A7
You can dance, go and carry on til the night is gone and it’s time to go.
D
If he asks, if you’re all alone can he take you home you must tell him “no.”
G D
'Cause don’t forget who’s taking you home and in whose arms you’re gonna be.
A7 D
D A, A D, D A-A7 A-A7 D
G D
'Cause don’t forget who’s taking you home and in whose arms you’re gonna be.
A7 D
A7 D A7 D |D|-|D|-|D|
Mmmmm. Save, the last dance for me. Mmm-hmm. Save, the last dance for me.
(The Drifters) (Artist Index) - (Main Index) - (Song Index) (This Song)
SAY IT AGAIN - Don Williams
(McDill)
https://www.youtube.com/watch?v=VJ-dpTx_3Cg (Capo 0)
INTRO: G-C-G, G-C-G
NC G C G G C D
Oh all I needed, was one look. One magic moment, was all it took.
G C
From that moment, I loved you so.
G C G C D |G|
Now that I found you, I'm never gonna let you go.
NC G C
So c'mon say it. Say it again.
G C G C D
It sounds so good, say it one more time and then.
G C
Whoa if you mean it, say it again.
G C G C D G C |G|
The hard part's over and the lovin' part begins.
G C G, C D |G|
NC G C G G C D
Oh hold me clo-ser, make me warm. I feel wanted, here in your arms.
G C
I've been lonely, for too long.
G C G C D |D|
I've waited a lifetime, for you to come along.
NC G C
G C G C D
G C
G C G C D G C |G|
NC G C
G C G C D
G C
G C G C D G C G
G C G, C D; G C G, C D G; G C G, C D G
SCARBOROUGH FAIR - Simon and Garfunkel
(Simon/Traditional)
https://www.youtube.com/watch?v=-Jj4s9I-53g (Capo 0)
INTRO: Em Em D Em, Em Em
D Em
Are you goin' to Scarborough Fair.
G Em A Em Em Em
Parsley sage rosemary and thyme.
G A Em D
Remember me to one who lives there.
Em D Em D Em Em Em
She, once was, a true love of mine.
D Em
Tell her to make me a cambric shirt.
G Em A Em Em Em
G A Em D
With out no seems nor needle work.
Em D Em D Em Em Em
Then, she'll be, a true love of mine.
D Em
Tell her to find me an acre of land.
G Em A Em Em Em
G A Em D
Between the saltwater and the sea strands.
Em D Em D Em Em Em
Then, she’ll be, a true love of mine.
D Em
Tell her to reap it in a sickle of leather.
G Em A Em Em
G A Em D
And gather it all in a bunch of heather.
Em D Em D Em Em Em
Then, she’ll be, a true love of mine.
D Em
Are you goin' to Scarborough Fair.
G Em A Em Em Em
G A Em D
Remember me to one who lives there.
Em D Em D Em Em Em, Em Em D Em
She, once was, a true love of mine.
SCARS IN HEAVEN – Casting Crowns
(Hall/West)
https://www.youtube.com/watch?v=BCc7TCmKcwQ (Capo 3)
TIP: The (Asus4) will follow (A) so hold form and either add your pinky to the 2nd
string/3rd fret, or slide your ring finger up one fret.
INTRO: <piano> D D A7
D G
If I had only known the last time would be the last time,
D G
I would've put off all the things I had to do.
Bm G D
I would've stayed a little longer, held on a little tighter.
G A7 D D A7
Now what I'd give for one more day with you.
D G
'Cause there's a wound here in my heart where something's missing,
D G
And they tell me that it's gonna heal with time.
Bm G D
But I know you're in a place, where all your wounds have been erased,
G A7 D
And knowin’ yours are healed is healin’ mine.
G D D
The only scars in Heaven, they won't belong to me and you.
A7 A7 G D
There'll be no such thing as broken, and all the old will be made new.
G Bm
And the thought that makes me smile now, even as the tears fall down,
Em Em G D D A7
Is that the only scars in Heaven, are on the hands that hold you now.
D G
I know the road you walked was anything but easy.
D G
You picked up your share of scars along the way.
Bm A Asus4 G
Oh-but now you're standing in the sun, you've fought your fight and your race is run.
A7 D
The pain is all a million miles away.
G D D
A7 A7 G D
G Bm
And the thought that makes me smile now, even as the tears fall down,
Em Em G D
G D G
Halle lu-ujah. Halle lu-ujah. Halle lu-ujah.
D
For the hands that hold you now.
G
There's not a day goes by that I don't see you.
D G
You live on in all the better parts of me.
Bm A Asus4 G
Until I'm standing with you in the sun, I'll fight this fight and this race I'll run.
A7 D
Until I finally see what you can see. Oh-oh.
G D D
A7 A7 G D
G Bm
And the thought that makes me smile now, and even as the tears fall dow-ow-own,
Em Em G |D|
(Casting Crowns) (Spiritual) (Artist Index) - (Main Index) - (Song Index) (This Song)
SECRET AGENT MAN – Johnny Rivers
(Barri/Sloan)
https://www.youtube.com/watch?v=6iaR3WO71j4 (Capo 0)
TIP: To emulate Johnny's electric guitar riff you play a simple one-note slide from (Em)
to (C) to (A7/C) and back to (C). The (A7/C) chord is (C) with the index finger slid up
from the 1st fret to the 2nd fret (same string).
TIP: Also note the riff is played at the end of the chorus. The chorus ends in an (Em)
which forms the first chord of the riff, so you play it immediately upon reaching "name".
INTRO: <riff> Em-C-A7/C-C, Em-C-A7/C-C, Em-C-A7/C-C
Em Am Em Em
There's a man who leads a life of danger.
B7
To everyone he meets, he stays a stranger.
Em Am
With every move he makes, another chance he takes.
Em Am Em |Em|
Odds are he won't live to see tomorrow.
Bm Em Bm Em
Secret agent man, secret agent man.
Am B7 Em - C-A7/C-C, Em-C-A7/C-C
They've given you a number, and taken 'way your name.
Em Am Em Em
Beware of pretty faces that you find.
B7
A pretty face can hide, an evil mind.
Em Am
Ahh be careful what you say, you’ll give yourself away.
Em Am Em |Em|
Odds are he won't live to see tomorrow.
Bm Em Bm Em
Em Am Em Em, Em Em B7, Em Am, Em Am Em
Bm Em Bm Em
Em Am Em Em
Swinging on the Riviera one day.
B7
And then laying in a Bombay alley next day.
Em Am
Ahh no you let the wrong word slip, while kissing persuasive lips.
Em Am Em |Em|
The odds are he won't live to see tomorrow.
Bm Em Bm Em
|Em|-|Em|
Secret agent man.
(Johnny Rivers) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
SET 'EM UP JOE
Vern Gosdin
https://www.youtube.com/watch?v=RGMDbOZlQfE (Capo 0)
TIP: The extra chords at the end of a line are timing place-holders. You'll see what I
mean when you play it.
TIP: "E.T."? Ernest Tubb of course.
INTRO: D D G D, D D G D, |D| . . . |D| . . . |D| . . .
D G D D D
They got a vintage Victrola Nineteen Fifty One.
G D D D
Full of my favorite records that I grew up on.
G D
They got ole Hank and Lefty and there's B twenty four.
G D
Set 'em up Joe and play "Walking the Floor."
G D D D
G A D
I'm gonna spend the night like every night before,
A D
Playin' E.T. and I'll play 'em some more.
G A D Bm Bm Bm
I've gotta have a shot of them old Troubadours.
D G D
Yeah set 'em up Joe and play "Walking the Floor."
G D D D D G D, D D G D, D D
G D D D
All my neon neighbors they like what I play.
G D D D
'Cause they've heard it every night since you've walked away.
G D
Every day they replace old B twenty four
G D
'Cause every night I run a needle through "Walking the Floor."
G D D D
Every night I run a needle through "Walking the Floor."
G A D
I'm gonna spend the night like every night before,
A D
Playin' E.T. and I'm gonna play 'em some more.
G A D Bm Bm Bm
I've gotta have a shot of them old Troubadours.
D G D
G D D D
G D
I said "Set 'em up Joe and play "Walking the Floor."
G |D|
(Vern Gosdin) (Artist Index) - (Main Index) - (Song Index) (This Song)
SETTIN' THE WOODS ON FIRE
Hank Williams
https://www.youtube.com/watch?v=F3hzYRVAkUs (Capo 0)
TIP: Hank sings "woods" with a sharp up-inflection, almost like a "whoop". Also there's
a rather lengthy steel guitar/fiddle musical bridge. Each chord represents a full
measure.
INTRO: G G G7 C
F
Comb your hair and paint and powder. You act proud and I'll act prouder.
G
You sing loud and I'll sing louder. Tonight we're settin' the woods on fire.
C F
You my gal and I'm your feller. Dress up in your frock of yeller.
G C
I'll look swell but you'll look sweller. Settin' the woods on fire.
F C
We'll take in all the honkey tonks. Tonight we're having fun.
D7 |G|
We'll show the folks, a brand new dance, that never has been done.
C F
I don't care who thinks we're silly. You be Daffy and I'll be Dilly.
G C
We'll order up two bowls of chili. Settin' the woods on fire.
C C F F G G7 G G7, C C F F G G G C, F F F C, D7 D7 G G
C C F F G G, G C
F
I'll gas up my hot rod stoker. We'll get hotter than a poker.
G
You'll be broke but I'll be broker. Tonight we're settin' the woods on fire.
C F
We'll sit close, to one another. Up one street and down the other.
G C
Wee-e'll have a time oh brother. Settin' the woods on fire.
F C
We'll put aside a little time, to fix a flat or two.
D7 |G|
My tires and tubes are doin' fine, but the air is showin' through.
C F
You clap hands, and I'll start bowing. We'll do all the law's allowin'.
G C
Tomorrow I'll be right back plowin'. Settin' the woods on fire.
SEVEN BRIDGES ROAD - Eagles
(Young)
https://www.youtube.com/watch?v=NTvT4JNACss (Capo 0)
TIP: Gather round guys and gals, lads and lasses, blokes and birds, mates and sheilas,
kerl und madel, gars et fille, it's harmony time! The first and last verses are sung a
cappella 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.
|D| |C| |G| |D|

There, are stars, in the sou-thern sky.
|D| |C| |G| |D|
South-ward, as, you go- oh.
|D| |C| |G| |D|
There, is moon-light and moss, in the trees,
|D| |C| |G| |D|
Down the Se-ven Bri-dges Ro- oad.
D C G D D
C G D
Now I, have lo-oved, you, like a baby.
C G D
Like, some lone-some chi- ild.
C G D
And I, have lo-oved, you, in a tame way,
C G D
And I, have loved, you wi- ild.
C D
Sometimes, there's, a part, of me,
C G D
Has to turn, from here, and go.
C D
Running, like a child, from these, warm stars,
C G |D|
Down the Se-ven Brid-ges Ro- oad.
|D| |C| |G| |D|

There, are stars, in the sou-thern sky.
|D| |C| |G| |D|
And if ever, you decide, you should go- oh.
|D| |C| |G| |D|
There, is a taste, of thyme, sweetened honey.
|D| |C| |G| |D|
Down the Se-ven Brid-ges Ro- oad.

SHALLOW - Bradley Cooper & Lady Gaga
(Wyatt/Rossomando/Ronson/Germanotta)
https://www.youtube.com/watch?v=bo_efYhYU2A (Capo 0)
TIP: You can play (Em) and (G) in the intro but it will sound better if you play the
(Em/D) which is just (Em) with your pinky on the 2nd string/3rd fret, and the (Gadd)
which is just (G) with both bottom strings covered in the 3rd fret with your pinky and
ring finger. After the intro play regular (Em) and (G). Also note the (Bm) in the
bridge.
INTRO: Em/D D Gadd, C C |Gadd|-|Gadd, D Gadd D
Em D G C G D
Tell me somethin' girl, are you happy in this modern world?
Em D G C G D Em D G
Or do you need more? Is there somethin' else you're searchin' for? I'm, fallin'.
C D Em D G
In all the good times I find myself a longin', for change.
C D Em D G, Em D G
And in the bad times I fear myself.
Em D G C G D
Tell me something boy, aren't you tired tryin' to fill that void?
Em D G C G D Em D G
Or do you need more? Ain't it hard keepin' it so hard core? I'm, falling.
C D Em D G
In all the good times I find myself longing, for change.
C D
And in the bad times I fear myself.
Am D G D Em
I'm off the deep end watch as I dive in. I'll never meet the ground.
Am D G D Em
Crash through the surface where they can't hurt us. We're far from the shallow now.
Am D G D Em
In the sha-ha sha-ha-low. In the sha-ha sha-la la-la-low.
Am D G D Em Em
In the sha-ha sha-ha-low. We're far from the shallow now.
Bm D A Em Bm D A
Oh. Ha ah ah ahh. Ah, ha ah ah ah ah ah, ah ah ah ah ahhhh ahhhh.
Am D G D Em
I'm off the deep end watch as I dive in. I'll never meet the ground.
Am D G D Em
Crash through the surface where they can't hurt us. We're far from the shallow now.
Am D G D Em
In the sha-ha sha-ha-low. In the sha-ha sha-la la-la-low.
Am D G D Em |Em|
In the sha-ha sha-ha-low. We're far from the shallow now.
(Bradley Cooper) (Lady Gaga) (Artist Index) - (Main Index) - (Song Index) (This Song)
SHAMBALA - Three Dog Night
(Moore)
https://www.youtube.com/watch?v=szm_SbNmK6s (Capo 0)
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.
INTRO: A-E D A, E D A; A-E D A, E D A
E D A E A
Wash away my troubles, wash away my pain, with the rain in Shambala.
E D A E A
Wash away my sorrow, wash away my shame with the rain in Shambala.
E D A E D A
Ah-ah ooh oooh oooh oooh yeah. Yeah yeah yeah yeah yeah.
E D A E D A
E D A E A
Everyone is helpful, everyone is kind, on the road to Shambala.
E D A E A
Everyone is lucky, everyone is so kind on the road to Shambala.
E D A E D A
E D A E D A
D A
How does your light shine, in the halls of Shambala?
D A
How does your light shine, in the halls of Shambala?
E D A, E A D
E D A E A
I can tell my sister, by the flowers in her eyes on the road to Shambala.
E D A E A
I can tell my brother by the flowers in his eyes on the road to Shambala.
E D A E D A
E D A E D A
D A
How does your light shine in the halls of Shambala?
D A
How does your light shine in the halls of Shambala?
D A
Tell me howww does your light shine in the halls of Shambala?
D A
Tell me howww does your light shine in the halls of Shambala?
E D A E D A
E D A E D A
Ah-ah ooh oooh oooh oooh yeah on the road to Shamala.
E D A E D A
E D A E D A
Ahah ooh oooh oooh oooh yeah. On the road to Shamala.
E D A, E D A, E D A, E D |A|
SHAVING CREAM
Benny Bell
https://www.youtube.com/watch?v=l4bD-hvy9mQ (Capo 0)
INTRO: F C F G-C
Dm
I have a sad story to tell you. It may hurt your feelings a bit.
G C D7 G
Last night when I walked into my bathroom, I stepped in a big pile of...
C
Shhhaving cream, be nice and clean.
F C G C C G, C G
Shave every day and you'll always look keen.
C Dm
I think I'll break off with my girlfriend. Her antics are queer I'll admit.
G C D7 G
Each time I say "Darling I love you," she tells me that I'm full of...
C
F C G C C G, C G
C Dm
Our baby fell out of the window. You'd think that her head would be split.
G C D7 G
But good luck was with her that morning. She fell in a barrel of...
C
F C G C C G, C G
C Dm
An old lady died in a bathtub. She died from a terrible fit.
G C D7 G
In order to fulfill her wishes, she was buried in six feet of...
C
F C G C C G, C G
C Dm
When I was in France with the Army, one day I looked into my kit.
G C D7 G
I thought I would find me a sandwich, but the darn thing was loaded with...
C
F C G C C G, C G
C Dm
And now folks my story is ended. I think it is time I should quit.
G C D7 G
If any of you feel offended, stick your head in a barrel of...
C
F C G C G F |G|-|C|, |G|-|C|
(Benny Bell) (Artist Index) - (Main Index) - (Song Index) (This Song)
SHE DREW A BROKEN HEART – Patty Loveless
(J. McElroy/N. McElroy)
https://www.youtube.com/watch?v=kLxzfFxAtB4 (Capo 2)
INTRO: D G-D, D A-D; D G-D, D A-D D
G D
You should have seen it coming now it's too late,
A D
She bought the half-price ticket on the midnight train.
G D
You wouldn't understand 'cause you, lie and cheat,
A D
So she wrote it out in lipstick on your satin sheets.
G D D G D D
She drew a broken heart. She drew a broken heart.
G D A D
Torn right down the middle in a red jagged line,
G D A D D D D D
She drew a broken heart and put your name inside.
G D
She had to draw you a picture had to make it sink in,
A D
A Revlon rose was her, poison pen.
G D
For God's gift to women you ain't-got-a clue,
A D
That red broken heart belongs to you.
G D D G D D
G D A D
It ain’t no Cupid’s arrow it ain’t no Valentine,
G D A D
G D A D G D A A, G D A D, G D A D D D
G D
No lovesick word's gonna, bring her back,
A D
The buck stops here buddy, that's a fact.
G D
No matter who's right, no matter who's wrong,
A D
Anyway you cut it, she's gone.
G D D G D D
G D A D
Torn right down the middle in a red jagged line,
G D A D
G D A D
Right down the middle right down the line,
G D A D G D
She drew a broken heart and put your naaame inside.
D A D D G D, D A |D|
Whoa-oh, She’s gone.
SHE LOVES YOU - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=nGbWU8S3vzs (Capo 0)
[Afterwards in [C] which doesn't have the (Bm) but you'll have to capo 7 to play along
with the recording.]
TIP: Remember to shake your head on the "Ooooh."
INTRO: Em A A7
She loves you yeah yeah yeah. She loves you yeah yeah yeah.
C Gadd
She loves you yeah yeah yeah yeahhhhh.
G Bm D D7
You think you lost your love. Well I saw her yesterday.
G Bm D D7
It's you she's thinkin' of, and she told me what to say.
G Em
She says she loves you. And you know that can't be bad.
Am D D7
Yes she loves you, and you know you should be glad.
G Bm D D7
She said you hurt her so. She almost lost her mind.
G Bm D D7
But now she says she knows, you're not the hurting kind.
G Em
Am D D7
Yes she loves you, and you know you should be glad. Ooooooh!
Em A A7
|C| |C| |C| D D7 G G
And with a love like that, you know you should be glad.
Bm D D7
You know it's up to you. I think it's only fair.
G Bm D D7
Pride can hurt you too. Apologize to her.
G Em
Because she loves you. And you know that can't be bad.
Am D D7
Yes she loves you, and you know you should be glad. Oooooh!
Em A A7
|C| |C| |C| D D7 G Em
|C| |C| |C| D D7 G Em

With a love like that, you know you should be glad.
|C| |C| |C| |D| |D7| NC G

With a love like that, you know you sho–ou-ould . . . be glad.
Em C |Gadd|
Yeah yeah yeah. Yeah yeah yeah yeah.
SHE LOVES YOU - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=nGbWU8S3vzs (Capo 7)
TIP: Begin singing the intro with "loves" on <a>, third string/third fret, and "you" on
<c>, 2nd string/2nd fret.
TIP: Remember to shake your head on the "Ooooh."
INTRO: Am D D7
F C
She loves you yeah yeah yeah yeahhhhh.
Cmaj7 Em G7
You think you lost your love. Well I saw her yesterday.
C Cmaj7 Em G7
It's you she's thinkin' of, and she told me what to say.
Am Dm7 |C|-|Em|-|Am|
Dm G G7
Yes she loves you, and you know you should be glad.
C Cmaj7 Em G7
She said you hurt her so. She almost lost her mind.
C Cmaj7 Em G7
But now she says she knows, you're not the hurting kind.
Am Dm7
Dm G G7
Yes she loves you, and you know you should be glad. Oooh!
Am D D7
|Dm7| |Dm7| |Dm7| G G7 C C
Cmaj7 Em G7
You know it's up to you. I think it's only fair.
C Cmaj7 Em G7
Pride can hurt you too. Apologize to her.
Am Dm7
Because she she loves you. And you know that can't be bad.
Dm G G7
Yes she loves you, and you know you should be glad. Ooooh!
Am D D7
|Dm7| |Dm7| |Dm7| G G7 C Am
|Dm7| |Dm7| |Dm7| G G7 C Am

With a love like that, you know you should be glad.
|Dm7| |Dm7| |Dm7| |G| |G7| C

With a love like that, you know you sho–ou-ould . . . be glad.
Am F C
Yeah yeah yeah. Yeah yeah yeah yeah.
SHE THINKS HIS NAME WAS JOHN - Reba McEntire
(Knox/Rosen)
https://www.youtube.com/watch?v=NJNWNsjHcvw (Capo 0)
TIP: The (CaddG) in the intro/outro is just (C) with your pinky added to the bottom
string of the third fret.
INTRO: C, CaddG Am; Am Gadd C; CaddG Am, G C
Am G C
She can account for, all of the men in her past.
Am C
Where they are now who they married, how many kids they have.
Am C
She knew their backgrounds, family and friends.
G F C Am
A few she even talks to now and then.
C F C
But there is one, she can't put her finger on.
F Am C Am
Ther-er is o-one, who never leaves her thoughts.
F G C Am C
And she thinks, his name, was John.
Am G C
A chance meeting, a party a few years back.
Am C
Broad shoulders and blue eyes, his hair was so black.
Am C
He was a friend of a friend you could say.
G F C Am
She let his smile just, sweep her away.
F C
And in her heart, though she knew that it was wrong.
F Am C Am
But too much wi-ine, and she left his bed at dawn.
F G C
And she thinks, his name was John.
C C F C; C-F F C, C F
C Am G C
Now each day, is one day, that's left in her life.
Am C
She won't know love, have a marriage, or sing lullabies.
Am C
She lays alone and cries herself to sleep.
G F C Am
Cause she let a stranger kill-her-hopes and her dreams.
F C
And all her friends, say what a pity what a loss.
F Am C Am
And in the en-end, when she was barely hangin' on.
F G F
All she could say-ay is she thinks, his name was John.
C F G C C, CaddG-Am, Am Gadd, |C|

She thinks, his name, was, John. <pause>
(Reba McEntire) (Artist Index) - (Main Index) - (Song Index) (This Song)
SHE THINKS I STILL CARE – George Jones
(Lee)
https://www.youtube.com/watch?v=EQXmPaT2IL4 (Capo 4)
TIP: The intro opens with three notes: Open 4th string <d>, 4th string/4th fret <f#>,
and open 3rd string <g>.
INTRO: G D G C G
She thinks I still care.
C G
Just because I ask a friend about her.
D7 G
Just because I spoke her name somewhere.
G7 C
Just because I rang her number by mistake today.
G D G D
G C G
Just because I haunt the same old places.
D7 G
Where the mem'ry of her lingers ev'rywhere.
G7 C
Just because I'm not, the happy guy I used to be.
G D G D
C G
But if she's happy thinking I still need her.
D
Then let that silly notion bring her cheer.
C G
But how could she ever be so foolish?
A7 D7
Oh where would she get such an idea?
G C G
Just because I ask a friend about her.
D7 G
And just because I spoke her name somewhere.
G7 C
Just because I saw her then went all to pieces.
G D7 G D7 C G
She thinks I still care. She thinks I still care-are.
SHE'S IN LOVE WITH THE BOY - Trisha Yearwood
(Ims)
https://www.youtube.com/watch?v=mUFObCZtGWQ (Capo 1)
INTRO: D D G A, D D G A
D A G D G A
Katie's sittin' on her old front porch, watchin' the chickens peck the ground.
D A G Bm A G
There ain't a whole lot goin' on tonight, in this one horse town.
D A G D G A
Over yonder comin' up the road, in a beat up Chevy truck.
D A G Bm A G
Her boyfriend Tommy is layin' on the horn, splashing through the mud and the muck.
D G A
Her daddy say's, he ain't worth a lick.
D G A
When it comes to brains he got the short end of the stick.
D G A D G A
But Katie's young and man she just don't care, she'd follow Tommy, anywhere.
D G A D G A
She's in love with the boy. She's in love with the boy.
D G A Em G A
She's in love with the boy. And even if they have to run away,
G A D D G A, D G A
She's gonna marry that boy some day.
D A G D G A
Katie and Tommy at the drive-in movie, parked in the very last row.
D A G Bm A G
They're too busy holding on to one another, to even care about the show.
D A G D G A
Later on outside the Tasty Freeze, Tommy slips something on her hand.
D A G Bm A G
He says my high school ring will have to do, 'til I can buy a wedding band.
D G A
Her daddy say's, he ain't worth a lick.
D G A
When it comes to brains he got the short end of the stick.
D G A D G A
But Katie's young and man she just don't care, she'd follow Tommy, anywhere.
D G A D G A
D G A Em G A
She's in love with the boy. And even if they have to run away,
G A D D G A, D G A Em G D D
D A G D G A
Her Daddy's waitin up 'til half past twelve, when they come sneakin' up the walk.
D A G Bm A G
He says young lady get on up to your room, while me and Junior have a talk.
D G A D G A
Momma breaks in says don't lose your temper, it wasn't very long ago.
D G A Bm A G
You yourself was just a hayseed plow boy, who didn't have a row to hoe.
D G A
My daddy said you wasn’t worth a lick.
D G A
When it came to brains you got the short end of the stick.
D G A D G A
But he was wrong and honey you are too. Katie's looks at Tommy like I still look at you.
D G A D G A
D G A Em G A
She's in love with the boy. What’s meant to be will always find a way.
G A D D G A, D G A
D G A D G A
D G A Em G A
She's in love with the boy. What’s meant to be will always find a way.
G A D D G A, D G A |D|
(Trisha Yearwood) (Artist Index) - (Main Index) - (Song Index) (This Song)
SHE'S NOT THERE - The Zombies
(Argent)
https://www.youtube.com/watch?v=it68QbUWVPM (Capo 0)
TIP: The chords aren't difficult but it's the rhythm that's everything. Just keep it
moving.
INTRO: Am D Am D Am-D, Am D Am D Am-D
Am D Am F Am
Well no one told me about her, the way she lied.
D Am D F A A
Well no one told me about her, how many people cried.
D Am Em Am
But it's too late to say you're sorry. How would I know, why should I care?
D C |E|-|E|-|E|-|E|-|E|-|E|-|E|-|E|
Please don't bother tryin' to find her, she's not there.
Am
Well let me tell you 'bout the way she looked,
D Am F Am
The way she acts and the color of her hair.
D Am F Am
Her voice was soft and cool, her eyes were clear and bright,
D |A|-|A|-|A|-|A|-|A|-|A|-|A|-|A|-|A|
But she's not there.
Am D Am D Am-D, Am D Am D Am-D
Am D Am F Am
Well no one told me about her, what could I do?
D Am D F A
Well no one told me about her, though they all knew.
D Am Em Am
D C |E|-|E|-|E|-|E|-|E|-|E|-|E|-|E|
Am
D Am F Am
D Am F Am
D |A|-|A|-|A|-|A|-|A|-|A|-|A|-|A|-|A|
Am Am Am Am Am Am Am |A|-|A|-|A|-|A|-|A|-|A|-|A|-|A|-|A|-|A|-|A|-|A|
|A| |A| |D| D D Am Em Am

D C |E|-|E|-|E|-|E|-|E|-|E|-|E|-|E|
Am
D Am F Am
D Am F Am
D |A|-|A|-|A|-|A|-|A|-|A|-|A|-|A|-|A|
(The Zombies) (Artist Index) - (Main Index) - (Song Index) (This Song)
SHOOTING STAR – Bad Company
(Rodgers)
https://www.youtube.com/watch?v=0kEDa6bXnA8 (Capo 0)
TIP: It took me about 20 minutes just to parse out all those freakin' know know and nah
nah's at the end so the next time you see me at the pub, buy me a pint.
INTRO: |D|-|A|, |A|-|E|, |G|-|D|-|D|-|A|; |D|-|A|, |A|-|E|, |G|-|D|-|D|-|A|
A E D A
Johnny was a schoolboy, when he heard his first Beatle song.
E D A
Love me do I think it was and from there it didn't take him long.
E D A
Got himself a guitar, used to play, every night.
E G D G A D E D E
Now he's in a rock 'n' roll outfit and everything's all right, don't you know?
A E D A
Johnny told his Mama, ‘Hey Mama I'm goin' away.
E D A
I'm gonna hit the big time, gonna be a big star someday yeah.'
E D A
Mama came to the door with a teardrop in her eye.
E D A D E D E
Johnny said ‘Don't cry Mama, smile and wave goodbye.' Don't you know, yeah yeah.
D A D E D E
Don't you know that you are a shooting star. Don't you know, don't you know.
D A
Don't you know that you are a shooting star.
G D E D E
And all the world will love you just as long, as long as you are.
A E D A
Johnny made a record, went straight up to number one.
E D A
Suddenly everyone loved to hear him sing the song.
E D A
Watching the world go by, surprising it goes so fast.
E D A
Johnny looked around him and said 'Well I made the big time at last.'
D E D E
Don't you know, don't you know.
D A D E D E
Don't you know that you are a shooting star. Don't you know, whoa, yeah.
D A
G D E D E
And all the world will love you just as long, as long as you are, a shooting star.
Bm E, F#m E, Bm E, F# E
D A D E D E
Don't you know that you are a shooting star. Don't you know, ahhh-ah hah.
D A
G D E E
And all the world will love you just as long, as long as you are.
A E D A
Johnny died one night, died in his bed.
E D A
Bottle of whiskey, sleeping tablets by his head.
E G D A
Johnny's life passed him by like a warm summer day.
E D A E D E
If you listen to the wind you can still hear him play. Whoa-oh-oh.
D A D E D E
Don't you know that you are a shooting star, don't you know, don't you know.
D A E
Don't you know that you are a shooting star, don't youuu know.
D A
D E
Don't you don't you don't you don't you know don't you know.
D A E E
Don't, you, know-oh-oh that you are, a shooting star.
D A D E
Oh-oh-oh, oh oh woh woh woh woh, oh woh woh woh woh woh woh. Woh.
D A D E
Don't you don't you know, that you are, a shooting star, don't you don't you know.
Know know know know.

D A E E
Know know know know know know know know know know know know know know.
D A D E E
Nah nah nah nah nah nah nah nah nah nah nah nah nah-nah nah. Whoo.
D A E A E
Nah nah nah nah nah nah nah nah nah nah nah nah nah nah. Whoo.
D A D E A E
Nah nah nah nah nah nah nah nah nah nah nah nah-nah nah. Whoo.
D A E E
Nah nah nah nah nah nah nah nah nah nah nah nah-nah nah. Whoo.
D A E E |E|
Nah nah nah nah nah nah nah nah nah nah nah nah nah nah.
(Bad Company) (Artist Index) - (Main Index) - (Song Index) (This Song)
SHUT UP AND KISS ME – Mary Chapin Carpenter
(Bon Jovi/Sanborn/Child)
https://www.youtube.com/watch?v=1Oisj8AMSyU (Capo 2)
TIP: The cadence is everything so just get the rhythm down. And it’ll be more
comfortable if you play that lead-in chord – that (C) - for the next verse at the end of
the trailing one as written.
INTRO: <drums> <piano> D C G G, D C G G, D C G G, D C G G
D C G
Don't mean to get a little forward with you.
D C G
Don't mean to get ahead of where we are.
D C G
Don't mean to act a little nervous around you.
D C G C
I'm just a little nervous about my heart 'cause.
D G C
It's been awhile since I felt this feeling.
D G C
If everything that you do gives me.
D G C
It's been too long since somebody whispered,
D G D C G G, D C G G
Woo oo “Shut up and kiss me.”
D C G
Didn't expect to be in this position.
D C G
Didn't expect to have to rise a-bove.
D C G
My reputation for cynicism,
D C G C
I've been a jaded lady when it comes to love but.
D G C
Whoa baby just to feel this feeling.
D G C
That everything that you do gives me.
D G C
D G D C G G, D C G G
Woo oo “Shut up and kiss me.”
C D G
There's something about the silent type, attracted me to you.
A C D C G
All the business baby none of the hype, that no talker can live up to ooh ooh hooh.
<electric guitar> D C G G, D C G G, D C G G
<piano> D C G G, D C G G, D C G G, D C G G
D C G
Come closer baby I can't hear you.
D C G
Just another whisper if you please.
D C G
Don't worry 'bout the details darlin',
D C G
You've got the kind of mind I love to read.
D C G
Talk is cheap and baby time's expensive,
D C G
So why waste another minute more?
D C G
Life's too short to be so apprehensive.
D C G C
Love's as much the symptom darlin' as the cure.
D G C
Oh baby when I feel this feeling.
D G C
It's like genuine voodoo hits me.
D G C D G
It's been too long since somebody whispered, Oooh ooh hoo-ooh.
D G C
Oh baby I can feel this feeling,
D G C
That everything that you do gives me.
D G C
D G C D G G C
Woo oo “Shut up and kiss me.” Ooh ooh hoo-ooh.
D G C D |G|-|G|-|G|-|G|
Ooh ooh “Shut up and kiss me.”
SIGNS – Five Man Electrical Band
(Emmerson)
https://www.youtube.com/watch?v=oeT5otk2R1g (Capo 0)
TIP: There's a version of Signs with a long intro (with drums and organ) and one
without. This version is the long one. To play the short intro version begin with the
(D) chords.
INTRO: <drums> A A A A A A D D D D
Am G D G
And the sign, said, “Long haired freaky people, needn't ought apply.”
D A G A
So I tucked my hair up under my hat, and I went in to ask him why.
Bm G
He said “You look like a fine upstanding young man, I think you'll do.”
D A Gadd A
So I took off my hat I said “Imagine that, huh, me working for you. Whoa!”
D C G D G
Sign, sign, everywhere a sign. Blocking out the scenery breaking my mind.
D A C D
“Do this don't do that. Can't you read the si-iiiiii-ign?”
D-D, D-D D-D, D-D D-D, D-D D-D D-D
C G D G
And the sign said anybody caught trespassin', would be shot on sight.
D A Gadd A
So I jumped on the fence and yelled at the house, “Hey, what gives you the right,
Bm G
To put up a fence to keep me out, or to keep mother nature in?
D A Gadd A
If God was here he'd tell you to your face, man you're some kind of sinner.”
D C G D G
D A
“Do this don't do that.
C |D|-|D|-|D|-|D|-|G|-|G|-|G|-|G|-|A|-|A|
Can't you read the si-iiiiii-ign?”
A G D
Now hey you mister can't you read? You got to have a shirt and tie to get a seat.
A G D
You can't even watch no you can't eat. You ain't suppose to be, heeeeeeeeere-eeerrr.
C G D G
The sign said “You got to have a membership card to get inside.” Oooh!
D C G, D G D A C C, D-D, D-D D-D, D-D
Am G D G
And the sign said “Everybody welcome, come in, kneel down and pray.”
D A G A
But when they passed around the plate at the end of it all, I didn't have a penny to pay.
Bm G
So I got me a pen and a paper, and I made up my own little sign.
D A Gadd A
I said “Thank you Lord for thinking about me. I'm alive and doing fine.”
D C G D G
D A C
“Do this don't do that. Can't you read the si-iiiiii-ign?”
D C G D G D A C D
Sign, sign, everywhere a sign. Si-iiiiii-ign. Sign, sign.
G D G D A C C, D D G D A C C, D G D G D G |D|
(Five Man Electrical Band) (Artist Index) - (Main Index) - (Song Index) (This Song)
SILVER THREADS AND GOLDEN NEEDLES – Linda Ronstadt
(Reynolds/Rhodes)
https://www.youtube.com/watch?v=RMuDRBxodlM (Capo 2)
INTRO: A A A-E-|A|
A D
I don't want your lonely mansion with a tear in every room.
A E
All I want's the love you promised, beneath the haloed moon.
A D
But you think I should be happy with your money and your name,
A E A |A|
And hide myself in sorrow while you play your cheatin’ game.
D A
Silver threads and golden needles cannot mend this heart of mine.
G E
And I dare not drown my sorrow, in the warm glow of your wi-ine.
A D
You can't buy my love with money cause I never was that kind.
A E A
A A D A, A A G E, A A D, D A E A
D A
G E
And I dare not drown my sorrow, in the warm glow of your wi-ine.
A D
You can't buy my love with money cause I never was that kind.
A E A
D A G D A G D |A|
Silver threads and golden needles cannot mend, this heart of mi-ne.
SIMPLE SONG
Lyle Lovett
https://www.youtube.com/watch?v=UsKt9klQm0Y (Capo 5)
[If you don't want to capo this high there's an uncapo'd version in [F] afterwards
although I find it a tad harder to play and the sound not as pure.]
INTRO: Am C G, Am E7 Am
C G Am C E
It's a simple song for simple feeling. You see the moon and watch it rise.
F C G
Across the continent, the night bird sings,
Am E7 Am C G G Am E7 Am
And somewhere someone hears its cry.
C G Am C E
So disillusioned keep your head down, and if you do they’ll never know.
F C G
You'll have no answers to their questions.
Am E7 Am Am
They will have to let you go.
C G Am C E
And disenfranchised revolution. They’ll take away by right what’s yours.
F C G Am
And make you martyrs of your own cause,
E7 Am Am
When they don't know what cause it's for.
C G Am C E
And all deserted stand alerted. They’ll love you when you’re all alone.
F C G G Am
But you find a red rose in the morning light,
E7 Am C G G Am E7 Am
You wait the night, and find it gone.
C G Am C E
So hear my words with faith and passion, for what I say to you is true.
F C G G Am
And when you find the one you might become,
E7 Am C G Am E7 Am
Remember part of me is you mmmm mmm. Remember part of me is you.
SIMPLE SONG
Lyle Lovett
https://www.youtube.com/watch?v=UsKt9klQm0Y (Capo 0)
TIP: Play (A) with your bottom three fingers. It'll make the move to the (Bb) easier.
INTRO: Dm F C, Dm A7 Dm
F C Dm F A
It's a simple song for simple feeling. You see the moon and watch it rise.
Bb F C
Across the continent, the night bird sings,
Dm A7 Dm F C C Dm A7 Dm
And somewhere someone hears its cry.
F C Dm F A
So disillusioned keep your head down, and if you do they’ll never know.
Bb F C
You'll have no answers to their questions.
Dm A7 Dm Dm
They will have to let you go.
F C Dm F A
And disenfranchised revolution. They’ll take away by right what’s yours.
Bb F C Dm
And make you martyrs of your own cause,
A7 Dm Dm
When they don't know what cause it's for.
F C Dm F A
And all deserted stand alerted. They’ll love you when you’re all alone.
Bb F C C Dm
But you find a red rose in the morning light,
A7 Dm F C C Dm A7 Dm
You wait the night, and find it gone.
F C Dm F A
So hear my words with faith and passion, for what I say to you is true.
Bb F C C Dm
And when you find the one you might become,
A7 Dm F C Dm A7 Dm
Remember part of me is you mmmm mmm. Remember part of me is you.
SINGING THE BLUES - Marty Robbins
(Endsly)
https://www.youtube.com/watch?v=TNe-K2jwwWs (Capo 3)
INTRO: |D|
NC D G
Well, I, never felt more like singin' the blues,
D A G
'Cause I never thought, that I'd ever lose, your love dear.
A D
Why'd you do me this way?
G
Well I never felt more like cryin' all night,
D A G
'Cause everything's wrong, and nothin' ain't right, without you.
A D D
You got me singin' the blues.
G D G D
The moon and stars no longer shine. The dream is gone I thought was mine.
G D A A
There's nothin' left for me to do, but cry-y-y over you.
D G
Well I never felt more like runnin' away,
D A G
But why should I go, 'cause I couldn't stay without you.
A D
D G D A G A D D, D G D A G A D D
D G
Well, I, never felt more like singin' the blues,
D A G
'Cause I never thought, that I'd ever lose, your love dear.
A D
Why'd you do me this way?
G
Well I never felt more like cryin' all night,
D A G
'Cause everything's wrong, and nothin' ain't right, without you.
A D
G D G D
The moon and stars no longer shine. The dream is gone I thought was mine.
G D A A
There's nothin' left for me to do, but cry-y-y over you.
D G
Well I never felt more like runnin' away,
D A G
But why should I go, 'cause I couldn't stay without you.
A D |D|-|G|-|A|-|D|, |D|-|D|
SINNER MAN - The Seekers
(Hays/Hellerman/Darling/Gilbert/Traditional)
https://www.youtube.com/watch?v=YR1zvvysdB8 (Capo 0)
TIP: The intro is a combination of banjo and guitar. So strike the chord once to
emulate the banjo, then pause, then lightly strum the same chord.
INTRO: |Em| Em . . . |A| A . . . |Em| Em . . . |A| A . . .
Em D
Oh sinner man where you gonna run to, oh sinner man where you gonna run to,
Em D Em
Oh sinner man where you gonna run to, all on that day.
D
Em D Em
D
Run from the light, Satan's gonna see you run from the light, Satan's gonna see you,
Em D Em
Run from the light, Satan's gonna see you, all on that day.
Oh don't make a sound the Devils' gonna hear you,

D
Don't make a sound the Devils' gonna hear you,
Em D Em
Don't make a sound the Devils' gonna hear you, all on that day.
D
Em D Em
D
Run to the Lord Lord won't you hide me? Run to the Lord Lord won't you hide me?
Em D Em
Run to the Lord Lord won't you hide me? All on that day.
Lord said "Sinner man you should'a been a prayin'."

D
Lord said "Sinner man you should'a been a prayin'."
Em D Em
Lord said "Sinner man you should'a been a prayin'." All on that day.
D
Em D Em
D
The Devil said "Sinner man step right in." The Devil said "Sinner man step right in."
Em D Em
The Devil said "Sinner man step right in." All on that day.
When you dig in the ground the Devil won't catch you,
D
Dig in the ground the Devil won't catch you,
Em D Em
Dig in the ground the Devil won't catch you. All on that day.
D
Em D Em
D
Em D Em
D Em D Em D
Where you goin', sinner man; Where you goin', sinner man; Where you goin', sinner man;
Em D Em D |Em|
Where you goin', sinner man; Where you goin', sinner man.
(Traditional)(Spiritual) (The Seekers)(Artist Index)

SIXTEEN TONS - Tennessee Ernie Ford
(Travis)
https://www.youtube.com/watch?v=zUpTJg2EBpw (Capo 2)
INTRO: Am Am E7 Am
|Am| Am F E
Sommmmmmme people say a man is made outta mud.
Am F E
A poor man's made outta muscle and blood.
Am Dm
Muscle and blood and skin and bones,
Am E
A mind that's a-weak and a back that's strong.
Am F E
You load sixteen tons, what do you get?
Am F E
Another day older and deeper in debt.
Am Dm
Saint Peter don't you call me 'cause I can't go.
Am E7 Am Am Am E7 Am
I owe my soul to the company store.
|Am| Am F E
I-iiiiiii was born one mornin' when the sun didn't shine.
Am F E
I picked up my shovel and I walked to the mine.
Am Dm
I loaded sixteen tons of number nine coal
Am E
And the straw boss said "Well a bless my soul."
Am F E
Am F E
Am Dm
|Am| Am F E
I-iiiiii was born one mornin', it was drizzlin' rain.
Am F E
Fightin' and trouble are my middle name.
Am Dm
I was raised in the canebrake by an old mama lion.
Am E
Cain't no-a high-toned woman make me walk the line.
Am F E
Am F E
Am Dm
|Am| Am F E
Iiiiiiiif you see me comin', better step aside.
Am F E
A lotta men didn't, a lotta men died.
Am Dm
One fist of iron, the other of steel.
Am E
If the right-one-don't-en-get-you then the left one will.
Am F E
Am F E
Am |Dm|
Saint Peter don't you call me 'cause I can't go-ooooo. <pause>
Am E Am Am Am E7 Am
I owwwwwwe myyyy so-ou-oullll, to the company store.
(Tennessee Ernie Ford) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
SIXTEENTH AVENUE (16TH AVENUE) - Lacy J. Dalton
(Schuyler)
https://www.youtube.com/watch?v=RRh0QiXyZSk (Capo 0)
Fun fact: 16th Avenue refers to Nashville's Music Row.
TIP: The opening step down also repeats twice more in the song and is easy to play.
It's just top string/2nd fret <g>, top string/1st fret <f#>, and top string open <e>. In
the body of the song it will come after a (G).
INTRO: T2 - T1 - TO Em D G
D G
From the corners of the country, from the cities and the farms.
Em C G D
With years and years of livin' tucked up, underneath their arms.
Em C G C
They walk away from everything just to see a dream come true.
G D Em C D G
So God bless the boys who make the noise on 16th Avenue.
D G
With a million dollar spirit, and an old flattop guitar.
Em C G D
They drive to town with all they own in a, hundred dollar car.
Em C G C
'Cause one time someone told them about a friend of a friend they knew,
G Em C D G
Who owns you know a studio on 16th Avenue.
D G
Now some were born to money, they've never had to say "Survive".
Em C G D
And others swing a nine pound hammer, just to stay alive.
Em C G C
There's cowboys drunks and Christians mostly white and black and blue.
G Em C D G
They've all dialed the phone collect to home from 16th Avenue.
G T2 - T1 - TO Em D G
D G
Ah but then one night in some empty room where no curtains ever hung,
Em C G D
Like a miracle some golden words rolled, off of someone's tongue.
Em C G C
And after years of being nothin' they're all looking right at you,
G D Em C D G
And there for a while they'll go in style on 16th Avenue.
D G
It looks so uneventful, so quiet and discreet.
Em C G D
But a lot of lives were changed down on that, little one way street.
Em C G C
'Cause they walked away from everything just to see a dream come true,
G D Em C D G
G T2 - T1 - TO Em D G
D G
From the corners of the country, from the cities and the farms.
Em C G D
With years and years of livin' tucked up, underneath their arms.
Em C G C
They walk away from everything just to see a dream come true.
G D Em C D G
(Lacy J. Dalton) (Artist Index) - (Main Index) - (Song Index) (This Song)
SKIP A ROPE – Henson Cargill
(Moran/Tubb)
https://www.youtube.com/watch?v=G9WsBT6uyXM (Capo 2)
INTRO: G D7-G, G D7-G
G D7-G D D D7-D
Skip a rope, skip a rope.
G Em
Oh listen to the children while they play.
G Em G G D7-G
Now ain't it kinda funny what the children say skip a rope.
Em
Daddy hates Mommy, Mommy hates Dad.
G Em
Last night you should'a heard the fight they had.
G Em
Gave little sister, another bad dream.
G Em G G D7-G D D D7-D
She woke us all up with a terrible scream skip a rope, skip a rope.
G Em
G Em G G D-G, G D-G
Em
Cheat on your taxes don't be a fool.
G Em
Now what was that they said about a Golden Rule?
G Em
Never mind the rules just play to win,
G Em G G D7-G D D D7-D
And hate your neighbor for the shade of his skin skip a rope, skip a rope.
G Em
G Em G G D7-G
Em
Stab 'em in the back that's the name of the game,
|G| |Em| G G D7-G D D D7-D
And Momma, and Daddy, are who's to blame. Skip a rope, skip a rope.
G Em
Just listen to your children while they play.
|G| |Em|
It's really not, very funny, what the children say.
G G D7-G G G D7-G G D7-G
Skip a rope. Skip a rope. Skip a rope.
G G D7-G G G D7-|G|
Skip a rope. Skip a rope.
(Henson Cargill) (Artist Index) - (Main Index) - (Song Index) (This Song)
SLEEP ON – Alison Krauss
(Mandrell)
https://www.youtube.com/watch?v=ZVr0jxdDOVs (Capo 2)
INTRO: D G Bm A, D G Bm A
D G Bm A D A G A
Could your hear- rrr- rrrt ever be mine?
G D Em G D A G A
Your arrrms hold me so close to you all through the night.
D G Bm A D A G A
Your ey- -yy- -yyes gaze into mine.
Bm D Em G D D D |D|
Sayin' I should believe you I always do I don't know whyyy.
A D
Cause you taught me a lesson the hard way one time.
A D
Told me you loved me but then changed your mind.
A D G Em C G
I never told no one how I hurt down inside until now.
D D C G
Sleep on.
D G Bm A D A G A
Could your hear- rrr- rrrt ever be mine?
G D Em G D A G A
My arrrms hold you so, close to me, all through the night.
D G Bm A D A G A
My hear- rrr- rrrt warned me this time.
Bm D Em G D D D |D|
But I need to believe you so I do, just for toniight.
A D
But you taught me a lesson the hard way one time.
A D
Promised to love me but then changed your mind.
A D G Em C G
I never told no one how I hurt down inside until now.
D D C G D D C G D D C G |D|
Sleep on. Sleep on. Sleep on.
SLIP SLIDING AWAY
Paul Simon
https://www.youtube.com/watch?v=iUODdPpnxcA (Capo 1)
TIP: There's a distinct strumming pattern that goes down, up-down; down, up-down. I
know that doesn't help much but you'll feel it immediately while playing along with the
song.
INTRO: G Em G Em
Ooooooh oooh. Ooooooh oooh.
G Em
Slip sliding away, slip sliding away-ay.
G D C D G
You know the nearer your destination, the more you slip sliding away.
Em G
I know a man, he came from my hometown.
C D C C
He wore his passion for his woman like a thorny crown.
G Em
He said Doloressssss, I live in fear.
G D C D G
My love for you's so overpowering I'm afraid that I-I will disappear.
Em
G D C D G
You know the nearer your destination, the more you slip sliding away-ay.
Em G
And I know a woman, became a wife.
C D C C
These are the very words she uses to describe her life.
G Em
She said a good dayyyy, ain't got no rain.
G D G
She said a bad day is when I lie in the bed and I think of things that might have been.
Em
G D C D G F C G
C D G
And I know a fa-ther who had a son.
C D C C
He longed to tell him all the reasons for the things he'd done.
G Em
He came a long wayyyy, just to explain.
G D C D G
He kissed his boy as he lay sleeping then he turned around and he headed home again.
Em
He’s slip slidin’. Slip sliding away-ay.
G D C D G
F C G, F C G G
G Em G
And God only knows. And God makes his plan.
C D C
The information's unavailable to the mortal man.
G Em
We're workin' our jobs, collect our pay-ay.
G D C D G
Believe we're gliding down the highway when in fact we're slip sliding away.
Em
G D C D G
You know the nearer your destination, the more you slip sliding away.
Em
G D C D G
Em G Em
Mmmm hmm-hmm; oh lah lah lah lah lah lah lah lah lah lah lah lah woh oh oh.
G Em
I wanna lah lah lah lah lah lah lah lah lah lah lah lah woh oh oh.
G Em
I wanna lah lah lah lah lah lah lah lah lah lah lah lah woh oh oh.
G Em
I wanna lah lah mona a lah lah mona lah lah mona lah lah mona mona moan moan.
G Em
I wanna lah lah lah lah lah lah lah lah lah lah lah lah lah lah moan mo-oan.
SLOOP JOHN B. - The Beach Boys
(Traditional-Sandburg/Jardine/Wilson)
https://www.youtube.com/watch?v=MWJXTdCVsKI (Capo 1)
TIP: This song came from Pet Sounds so it's full of Brian Wilson's creative harmonies.
This is reflected in the last two choruses which is played/sung incorporating both the
primary and overlapping melodies, indicated by the dash. If you don't want to play it
this way you can glance back up at the first chorus readily enough and plug in the words
and chords.
TIP: There are five notes in the intro. They're all open strings except for the 2nd
string/1st fret <c> and that's what the numbers in brackets allude to. The song fades
out at the end but I finished the lyrics to cleanly end the song.
INTRO: b, c – b – g – d (2, 2/1 – 2 – 3 – 4)
G C G C G
We come on the sloop John B. My grandfather and me.
Gadd G D
Around Nassau town we did roam.
D7 G C
Drinking all night, got into a fight.
G D7 G G
Well I feel so broke up, I wanna to go home.
C G C G
So hoist up the John B's sail. See how the mainsail sets.
Gadd G D
Call for the Captain ashore, let me go home.
D7 G C
Let me go home. I wanna go home, yeah yeah.
G D7 G
Well I feel so broke up, I wanna go home. (didit n didit n ditit n dittin n).
C G C G
The first mate he got drunk. And broke in the Captain's trunk.
Gadd G D
The constable had to come and take him a way.
D7 G C
Sheriff John Stone, why don't you leave me alone, yeah yeah.
G D7 G G
Well I feel so broke up, I wanna go home.
C G
So hoist up the John B. - hoist up the John B. -
C G
See how the mainsail - see how the mainsail -
Gadd G D7 D D7
Call for the Captain ashore let me go home - let me go home.
G Gadd
I wanna go home - let me go home - why don't you let me go -
C
Hoist up the John B.'s - hoist up the John B.'s -
G D7 G
Feel so broke up, I wanna go home.
C G C G
The poor cook he caught the fits, and threw away all my grits,
Gadd G D
And then he took and he ate up all of my corn.
D7 G C Am
Let me go home. Why don't they let me go home?
G D7 G G
This is the worst trip I've ever been on.
C G
So hoist up the John B, - hoist up the John B., -
C G
See how the mainsail - see how the mainsail -
Gadd G D7 D
Call for the Captain ashore let me go home - let me go home.
G Gadd
I wanna go home - let me go home - why don't you let me go -
C
Hoist up the John B.'s sails.
G D7 G G |C|-|G|
I feel so broke up, I wanna go home.
(Traditional) (The Beach Boys) (Artist Index) - (Main Index) - (Song Index) (This Song)
SNEAKY SNAKE
Tom T. Hall
https://www.youtube.com/watch?v=LdEEpialxqk (Capo 0)
INTRO: G
C G
Boys and girls take warning, if you go near the lake.
C G A D
Keep your eyes wide open, and look for Sneaky Snake.
G C G
Now maybe you won't see him, and maybe you won't hear.
C G D7 G
But he'll sneak up behind you, and drink all of your root beer.
C G C
And then Sneaky Snake, goes dancing, wigglin' and a hissin'.
G A D
Sneaky Snake, goes dancin', gigglin' and a kissin'.
G C G
I don’t like old Sneaky Snake, he laughs too much you see.
C G D7 G
When he goes wigglin' thru the grass, it tickles his underneath.
C G
Well Sneaky Snake, drinks root beer, and he just makes me sick.
C G A D
When he is not dancin', he looks just like a stick.
G C G
Now he doesn't have any arms or legs, you cannot see his ears.
C G D7 G
And while we are not lookin', he's stealin' all of our beer.
C G C
And then Sneaky Snake, goes dancing, wigglin' and a hissin'.
G A D
Sneaky Snake, goes dancin', a gigglin' and a kissin'.
G C G
I don’t like old Sneaky Snake, he laughs too much you see.
C G D7 G
When he goes wigglin' thru the grass, it tickles his underneath.
(Tom T. Hall) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
SOLITARY MAN
Neil Diamond
https://www.youtube.com/watch?v=EAtwg1BwKek (Capo 0)
TIP: For the intro just slide your bottom finger down one fret after the (G) and then
lift off completely to sneak one open strum in on the way to the (Em).
TIP: The chords starting the next line are tucked into the end of the preceding line on
purpose as Neil strums them before starting the line.
INTRO: G Gb NC Em Em
Am D Em G
Melinda was mine til the time that I found her.
Am G Am
Holding Jim, and lovin' him.
Em D Em G
Then Sue came along, loved me strong, that's what I thought.
Am G Am Am
Me and Sue. But that died too.
G C G D
Don't know that I will but until I can find me.
C G D
The girl who'll stay and wo-on't play games behind me.
Em D Em D Em Em
I'll be what I am: A solitary man. Solitary man.
Am D Em G
I've had it to here bein' where love's a small word.
Am G Am
Part-time thing. Paper ring.
Em D Em G
I know it's been done having one, girl who’ll love me.
Am G Am Am
Right or wrong. Weak or strong.
G C G D
C G D
Em D Em D Em Em
G Em G D Am Am, Em G D D Am Am
G C G D
C G D
Em D Em D Em Em
D Em D Em
Mmmm hmmm. Mmmm hmmm. Solitary man.
D Em D Em
Mmmm hmmm. Mmmm hmmm. Solitary man.
D |E|
Mmmm hmmm. Mmmm hmmm.
SOME BROKEN HEARTS NEVER MEND – Don Williams
(Holyfield)
https://www.youtube.com/watch?v=RqjDvEC1uVw (Capo 0)
INTRO: A, A, A, A
E A E A
Coffee black, cigarette. Start this day like all the rest.
D A E E
First thing every morning that I do, is start missing you.
A E A
Some broken hearts never mend. Some mem'ries never end.
D E7 A
Some tears will never dry. My love for you will never die.
A E, E A, A D, E A A
E A E A
Rendezvous, in the night. A willing woman to hold me tight.
D A E E
But in the middle of love's embrace, I see your face.
A E A
D E A A
E A
D E A
A E, E A, A D, E A; A E, E A, A D, E A A-|A|
SOMEDAY I WILL LEAD THE PARADE – Patty Loveless
(Miller/Arata)
https://www.youtube.com/watch?v=5kTFelRI69c (Capo 1)
INTRO: C C C C
F
After all my lonely nights, without an end in sight,
C G
A morning shining bright for me a waits.
C F
Where the sweetest times will last, all's forgiven from the past.
C G C F
Someday, I will, one day I know I will,
C F G C C
Someday I will lead the parade.
F
Though they've scattered through the years, old friends will gather near,
C G
With nothing but the kindest words to say.
C F
And the sweetest times will last, all's forgiven from the past.
C G C F
C F G C
<fiddle> C C, F F, C C G G, C C, F F, C C F G C C
F
And the sweetest times will last, all's forgiven from the past.
C G C F
C F G C C
G C F
C F G C C |C|
SOME PEOPLE THINK CHICKENS HAVE LIPS
Meyer & Drake
https://www.youtube.com/watch?v=0VxLtjPcBgA (Capo 0)
TIP: If you want to get picky the last word in the first line of the first verse is
"best" in which you hold with the preceding (G). But for the rest of the song an (A)
goes with the last word of the first line. Although it's just fine to play an (A) at
"best" as well.
INTRO: D D-G, A A-D, G A D, G A
D A G D A D
There once was a swimmer who ranked with the best. He could do the most difficult dives.
G A D E7 A
Four somersaults were too easy a test, so one day he tried to do five.
D A G A D A D
As he jumped off the platform, something went wrong. His timing just got out of whack.
G A D E7 A
When he met with the water before very long, the poor guy landed flat on his back.
D G
Some people think that it's funny and they grin, when someone gets hurt doing flips.
D A D
Some people think he'll try it again. Some people think chickens have lips.
A G A D A D
An astronaut has to be brave as you know, and faithful and fearless and fit.
G A D E7 A
Intelligence is a quality that must certainly show, or an astronaut might as well quit.
D A G A D A D
One brave explorer who stood on the moon, tried to check out the atmosphere there.
G A D E7 A
When he took off his helmet, he noticed too soon, a definite shortage of air.
D G
Some people think that it's funny and they grin, cause this puts an end to his trips.
D A D
Some people think he'll try it again. Some people think chickens have lips.
A G A D A D
I was sitting at home eating breakfast one day. My radio was tuned to the news.
G A C E7 A
I heard the reporter excitedly say, "Go look at the sun don't refuse."
D A G A D A D
I ran to the closet to get my telescope, and pointed it straight at the sun.
G A D E7 A
But the rays burned my eyes far beyond hope, and this put an end to my fun.
D G
Some people think that it's funny and they grin, when you're blinded by a solar eclipse.
D A D
Some people think I'll try it again. Some people think chickens have lips.
G
Some people are shocked, and truly aghast, when they hear a song written by freaks.
D A D D-|D|
Some people think this song is our last. Some chickens think people have beaks.
(Meyer & Drake) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
SOMETHING – The Beatles
(Harrison)
https://www.youtube.com/watch?v=UelDrZ1aFeY (Capo 0)
TIP: Chords in |brackets| are strummed just once. (D#) is just (D) on the 3rd fret but
only strum the bottom 3 strings and don't hit the 4th string.
TIP: The (Cmaj7) is simply (C) without the index finger. It will be followed by the
(C7) so replace the index finger to form (C) and add the pinky to the 3rd string/3rd fret
to complete the (C7).
INTRO: |F| - |F| - |F| - |D#| - |G7| - C
Cmaj7 C7 F
Something in the way she moves, attracts me like no other lover.
D7 G
Something in the way she woo-oohs me.
Am C D7 |F|-|F|-|F|-|D#|-|G|
I don't want to leave her now. You know I believe and how.
C Cmaj7 C7 F
Somewhere in her smile she knows, that I don't need no other lover.
D7 G
Something in her style that shows me.
Am C D7 |F|-|F|-|F|-|D#|-|G|- A A
F#m D G A
You're asking me will my love grow. I don’t know, I don’t know.
F#m D G C
Just stick around, and it may show. I don’t know, I don’t know.
C, C; C C7 F F, D7 D7 G G7, Am, Am, Am-D7 F, |F|-|F|-|F|-|D#|-|G|
C Cmaj7 C7 F
Something in the way she knows, and all I have to do is think of her.
D7 G
Something in the things she shows me.
Am C D7
|F|-|F|-|F|-|D#|-|G|- A A, |F|-|F|-|F|-|D#|-|G|-|C|
SON OF A PREACHER MAN - Eva Cassidy/Dusty Springfield
(Hurley/Wilkins)
https://www.youtube.com/watch?v=cVaxddOmU8U Eva Cassidy (Capo 2)
https://www.youtube.com/watch?v=DjydOI4MEIw Dusty Springfield (Capo 2)
TIP: While Dusty's version is the best known, what follows is based on Eva Cassidy's
more rousing rendition. The lyrics are just a tad different but the music is pretty much
the same. (And if you've never heard of Eva Cassidy, read about her sad-yet-wonderful
story on her Wikipedia page: https://en.wikipedia.org/wiki/Eva_Cassidy or the ABC
Nightline story https://www.dailymotion.com/video/x36oe7p
INTRO: D7 D7 D7 D7; D, G-D; D, G-D
G D
Billy Ray was a preacher's son and when his daddy would visit he'd come along.
When they gathered around and started talkin',

A
That's when Billy would take me walkin', out through the backyard we'd go walkin',
Then he'd look in to my eye-eys. Lord knows to my surprise.
D G D
The only one who could ever teach me, was the son of a preacher man.
G D A
Only boy who could ever reach me, was the son of a preacher man yes he was, he was,
G D, G-D
Ohhh you know he was.
G D
Bein' good isn't always easy, no matter how hard I try.
A
When he started sweet-talkin' to me, telling me "everything is all right",
D
He'd kiss and tell me "everything is all right, can I get away again tonight?"
G D
And the only one who could ever teach me, was the son of a preacher man.
G D A
G
D, G-D; D G D, D A A A A A
D G D
Oh the only one who could ever teach me, was the son of a preacher man.
G D A
G C
G C G C G
How well, I remember, the look was in his eyes, stealin' kisses from me on the sly,
A
Takin' time to make tiiime, tellin' me that he's all miiine
D7
Learnin' from each other's knowin', lookin' to see how much we've grown and
G C G
C G D
C
G C G
C G D
C
G G C G, G G C G, |G| |D| |C| C <pause> |G7|
(Eva Cassidy) (Dusty Springfield) (Artist Index)

SONG SUNG BLUE
Neil Diamond
https://www.youtube.com/watch?v=ighSddnnaPE (Capo 0)
TIP: (C7) will follow (C) so just sneak your pinky onto the 3rd string/3rd fret. For
chords in |brackets| just strum once.
INTRO: C C F, C C F, C C F, C C F-G
C G G C C C7
Song, sung, blue, everybody knows one. Song, sung, blue, every garden grows one.
F |F|-|C|-|Dm|-|C|
Me and you, are subject to, the blues now and then.
G C C
But when you take the blues and make a song, you sing them out again.
Dm G
Sing 'em out again.
C G G C C C7
Song, sung, blue, weeping like a willow. Song, sung, blue, sleepin' on my pillow.
F |F|-|C|-|Dm|-|C|
Funny thing, but you can sing it with a cry in your voice.
G C |G|-|G|-|G|
And before you know it get to feeling good, it simply got no choice.
C C C G G, G G G C C
C7 F |F|-|C|-|Dm|-|C|
Me and you, are subject to, the blues now and then.
G C |G|-|G|-|G|
But when you take the blues and make a song, you sing them out again.
C G G C C C7
Song, sung, blue, weeping like a willow. Song, sung, blue, sleepin' on my pillow.
F |F|-|C|-|Dm|-|C|
G C |G|-|G|-|G|
C C G G C
Song, sung, blue. Song, sung, blue.
C7 F |F|-|C|-|Dm|-|C|
G C |G|-|G|-|G|-|C|
SONORA'S DEATH ROW
Michael Martin Murphey/Robert Earl Keen
(Farrell)
https://www.youtube.com/watch?v=Ys6U6cjSxYY Michael Martin Murphey (Capo 4)
https://www.youtube.com/watch?v=52gzhQS0dg4 Robert Earl Keen (Capo 3)
[Afterwards in [G] which is mildly easier to play (no F) but you have to capo 9 to play
with the recording.]
TIP: The version (lyrics, pacing) that follows is based on Michael Martin Murphey's
rendition but the music is the same (except Robert capo's one fret lower than Michael)
and the lyrics and pacing differences are very minor.
TIP: The song is sharped mid-way through so slide the capo up one fret to continue
playing with the recording where indicated.
INTRO: C Am F C C
Am F C
Me and the boy's, cinched up our saddles and rode to Sonora last night.
Am F C
Gun's hangin' proud, and daring out loud, for anyone lookin' to fight.
F C
Card cheats and rustlers would run for their holes,
F G
When the boys from the Old Broken "O",
C Am F C
Rode up and reined on the street that they named, Sonora's Death Row.
Am F C
The Mescal is free, in Amanda's saloon, for the boy's from the Old Broken "O".
Am F C
Saturday nights in the town of Sonora are the best, in all Mexico.
F C F G
They got guitars and trumpets, and sweet senoritas, who won't want to let you go.
C Am F C
You'd never believe such a gay happy time, on the street called Sonora's Death Row.
Am F C
Inside Amanda's, we was a dancin', with all of Amanda's gals.
Am F C
I won some silver at seven card stud, so I was out doin' my pals.
F C F G
But the whiskey and Mescal and peso cigars, drove me outside for some air.
C Am F C
Somebody whispered 'Your life or your money', I reached but my gun wasn't there.
F C F G, C Am F C
<capo +1>
Am F C
I woke up face down in Amanda's back alley, aware of the fool that I'd been.
Am F C
I rushed to my pony, grabbed my Winchester, and entered Amanda's again.
F C F G
Where I saw my partners, twirling my pistols and throwing my money around.
C Am F C
Blinded by anger, I jacked the lever and one of them fell to the ground.
Am F C
Amanda's got silent like night in the desert, my friends stared in pure disbelief.
Am F C
Amanda was kneeling beside the dead cowboy, plainly expressing her grief.
F C F G
As I bowed my head, a tremble shot through me, my six-gun was still at my side.
C Am F C
I felt my pockets and there was my money, I fell to my knees and I cried.
Am F C
A nightmare of Mescal, was all that it was, no one had robbed me at all.
Am F C
I wish I was dreamin', the sound of the gallows, they're testing, just outside the wall.
F C F C G
Mescal's still free in Amanda's saloon, for the boys from the old Broken "O - O".
C Am F C F C F G
I'd give a ransom, to drink there today, and be free of Sonora's Death Row.
C Am F C
I'd give a ransom to drink there today, and be free of Sonora's Death Row.
(Michael Martin Murphey)(Robert Earl Keen) (Artist Index)

SONORA'S DEATH ROW
Michael Martin Murphey/Robert Earl Keen
(Farrell)
https://www.youtube.com/watch?v=Ys6U6cjSxYY Michael Martin Murphey (Capo 9)
https://www.youtube.com/watch?v=52gzhQS0dg4 Robert Earl Keen (Capo 8)
TIP: The version (lyrics, pacing) that follows is based on Michael Martin Murphey's
rendition but the music is the same (except Robert capo's one fret lower than Michael)
and the lyrics and pacing differences are very minor.
TIP: The song is sharped mid-way through so slide the capo up one fret to continue
playing with the recording where indicated.
INTRO: G Em C G
G Em C G
Me and the boy's, cinched up our saddles and rode to Sonora last night.
Em C G
Gun's hangin' proud, and daring out loud, for anyone lookin' to fight.
C G
Card cheats and rustlers would run for their holes,
C D
When the boys from the Old Broken "O",
G Em C G
Rode up and reined on the street that they named, Sonora's Death Row.
Em C G
The Mescal is free, in Amanda's saloon, for the boy's from the Old Broken "O".
Em C G
Saturday nights in the town of Sonora are the best, in all Mexico.
C G C D
They got guitars and trumpets, and sweet senoritas, who won't want to let you go.
G Em C G
You'd never believe such a gay happy time, on the street called Sonora's Death Row.
Em C G
Inside Amanda's, we was a dancin', with all of Amanda's gals.
Em C G
I won some silver at seven card stud, so I was out doin' my pals.
C G C D
But the whiskey and Mescal and peso cigars, drove me outside for some air.
G Em C G
Somebody whispered 'Your life or your money', I reached but my gun wasn't there.
C G C D, G Em C G
<capo +1>
Em C G
I woke up face down in Amanda's back alley, aware of the fool that I'd been.
Em C G
I rushed to my pony, grabbed my Winchester, and entered Amanda's again.
C G C D
Where I saw my partners, twirling my pistols and throwing my money around.
G Em C G
Blinded by anger, I jacked the lever and one of them fell to the ground.
Em C G
Amanda's got silent like night in the desert, my friends stared in pure disbelief.
Em C G
Amanda was kneeling beside the dead cowboy, plainly expressing her grief.
C G C D
As I bowed my head, a tremble shot through me, my six-gun was still at my side.
G Em C G
I felt my pockets and there was my money, I fell to my knees and I cried.
Em C G
A nightmare of Mescal, was all that it was, no one had robbed me at all.
Em C G
I wish I was dreamin', the sound of the gallows, they're testing, just outside the wall.
C G C G D
Mescal's still free in Amanda's saloon, for the boys from the old Broken "O - O".
G Em C G C G C D
I'd give a ransom, to drink there today, and be free of Sonora's Death Row.
G Em C G
I'd give a ransom to drink there today, and be free of Sonora's Death Row.
(Michael Martin Murphey)(Robert Earl Keen) (Artist Index)

THE SOUND OF SILENCE - Simon and Garfunkel
(Simon)
https://www.youtube.com/watch?v=NAEppFUWLfc (Capo 7)
[There are four versions here, two from the 1981 live concert in Central Park and two
from the studio album. Each has a recording you can play along with. It took me an
entire day and 6 cups of coffee to parse these out . . . so someone owes me a pint of
Guinness.]
This first version is just how Paul performs it live, in [C] capo'd at the 7th fret.
Version 2 is uncapo'd in [E] and easiest to play. Version 3 is the album version in [D]
and capo'd at the 4th fret and has the (Bm). Version 4 is the album version in [C] and
capo'd at the 6th fret and does not.]
TIP: So the intro is picked. Form (Asus2) which is just (A) without the bottom string
and pick the strings indicated, finishing with a rake of the |Asus2|.
INTRO <Form (Asus2)>: 3 – 1 – 2 - 1, 3 – 1 – 2 - 1, 3 – 1 – 2 - 1
3 – 1 – 2 - 1, 3 – 1 – 2 - 1, 3 – 1 – 2 - 1, |Asus2|
NC G Am
Hello darkness my old friend. I’ve come to talk with you again.
C F C F C
Because a vision softly-y creeping, left its seed while I wa-as sleeping.
F C Am
And the vision, that was planted in my brain, still remains,
C G Am
Within the sound of silence.
NC G Am
In restless dreams I walked alone, narrow streets of cobblestone.
C F C F C
‘Neath the halo of a street lamp, I turned my collar to the cold and damp.
F C Am
When my eyes were stabbed by the flash of a neon light, that split the night.
C G Am
And touched the sound of silence.
G Am
And in the naked light I saw, ten-thousand people maybe more.
C F C F C
People talking without speaking. People hearing without listening.
F C Am
People writing songs, that voices never share. And no one dared.
C G Am
Disturb the sound, of silence.
G Am
"Fools" said I "you do not know. Silence like a cancer grows.
C F C C F C
Hear my words that I mi-ight teach you. Take my arms that I mi-ight reach you.
F C
But my words, like silent rain drops fell,
C G Am
And echoed, in the wells, of silence.
G Am
And the people bowed and prayed, to the neon god they made.
C F C F C
And the sign flashed its warning, in the words that it wa-as forming.
F C
And the signs said “The words of the prophets are written on the subway walls,
Am C |G| Am |Am| |Am| |Am| |Am|
And tenement halls.” And whispered, in the sounds, of silence.
(Simon)
https://www.youtube.com/watch?v=NAEppFUWLfc (Capo 0)
[Version 2, 1981 Concert in Central Park in [E].]
TIP: The intro is picked and a little awkward. Form (Em) with the index and middle
finger. Now position your pinky over the 4th string/4th fret. Pick the covered 4th string,
then the open 2nd string, now tap the 4th string/4th fret with your pinky and pick, and then
the open 2nd string again. Do this another 5 times and finish with a rake of the |Em|.
So that 4/4 is on/off/on/off.
TIP: The intro is picked and is a little awkward. Form (Em) with the index and middle
finger. Now position your pinky over the 4th string/4th fret. Pick the covered 4th string,
then the open 2nd string, now tap the 4th string/4th fret with your pinky and pick, and then
the open 2nd string again. Do this another 5 times and finish with a rake of the |Em|.
So that 4/4 is on/off/on/off.
INTRO <Form (Em)>: 4 – 2 – 4/4 - 2, 4 – 2 – 4/4 - 2, 4 – 2 – 4/4 - 2
4 – 2 – 4/4 - 2, 4 – 2 – 4/4 - 2, 4 – 2 – 4/4 – 2, |Em|
NC D Em Em Em
Hello darkness my old friend. I’ve come to talk with you again.
G C G C G
C G Em
G D Em Em Em |Em|
NC D Em Em Em
In restless dreams I walked alone, narrow streets of cobblestone.
G C G C G
‘Neath the halo of a street lamp, I turned my collar to the cold and damp.
C G Em
G D Em Em Em
D Em Em Em
G C G C G
C G Em
People writing songs, that voices never share. And no one dared,
G D Em Em Em
D Em Em Em
G C G C G
Hear my words that I mi-ight teach you. Take my arms that I mi-ight reach out to you.
C G Em
But my words, like silent raindrops fell,
G D Em Em Em
And echoed, in the wells, of silence.
D Em Em Em
G C G C G
And the sign flashed its warning. In the words that it wa-as forming.
C G
Em G |D| |Em| |Em| |Em| |Em| |Em|
And tenement halls.” And whisper'd, in the sounds, of silence.
(Simon)
https://www.youtube.com/watch?v=4fWyzwo1xg0 (Capo 4)
[Version 3, from the studio album. Afterwards is an easier version to play which has an
(Am) instead of the (Bm).]
TIP: For the intro form the modified (Bm) - open the 2nd string and barre at least the
bottom two strings of the 2nd fret – leaving your middle finger hovering over the 2nd
string/3rd fret. Now pick the covered strings indicated. Hold this formation and at the
end of the intro pick the 3rd string twice on “Hello”, now place that hovering middle
finger down onto the open 2nd string/3rd fret and pick twice on “darkness” and the pick
bottom string twice on “my old” and finish with a strum of (A) on “friend.” After you
begin the song you can play the (Bm) without the barre.
INTRO (Form modified (Bm)>: 3 – 1 – 2 - 1, 3 – 1 – 2 - 1, 3 – 1
Bm A Bm
Hello darkness my old friend, I’ve come to talk with you again.
D G D G D
G D Bm
D A Bm Bm |Bm|
NC A Bm
In restless dreams I walked alone, narrow streets of cobble stone.
D G D G D
‘Neath the halo of a-a street lamp, I turned my collar to the cold and damp.
G D Bm
D A Bm
A Bm
D G D G D
G D Bm
People writing songs, that voices never share, and no one dared,
D A Bm
A Bm
D G D G D
Hear my words that I mi-ight teach you. Take my arms that I mi-ight reach you."
G D Bm D A Bm
But my words, like silent raindrops fell, and echoed, in the wells, of silence.
A Bm
D G D G D
And the sign flashed out its warning. In the words that it wa-as forming.
G D
Bm D |A| |Bm| |D|
(Simon)
https://www.youtube.com/watch?v=4fWyzwo1xg0 (Capo 6)
TIP: For the intro form (Asus) which is just (Am) without the index finger. Now pick
the covered strings indicated. Hold this formation and at the end of the intro pick the
covered 3rd string twice on “Hello”, now place that index finger back on to form the (Am)
and pick the covered 2nd string twice on fret and pick twice on “darkness” and the pick
the open bottom string twice on “my old” and finish with a strum of (Gadd) on “friend.”
INTRO (Form Asus2): 3 – 1 – 2 - 1, 3 – 1 – 2 - 1, 3 – 1
Am Gadd G Am
Hello darkness my old friend, I’ve come to talk with you again.
C F C F C
F C Am
C G Am Am |Am|
NC G Am
In restless dreams I walked alone, narrow streets of cobble stone.
C F C F C
‘Neath the halo of a-a street lamp, I turned my collar to the cold and damp.
F C Am
C G Am
G Am
C F C F C
F C Am
People writing songs, that voices never share, and no one dared,
C G Am
G Am
C F C F C
Hear my words that I mi-ight teach you. Take my arms that I mi-ight reach you."
F C Am C G Am
But my words, like silent raindrops fell, and echoed, in the wells, of silence.
G Am
C F C F C
And the sign flashed out its warning. In the words that it wa-as forming.
F C
Am C |G| |Am| |Am|
SOUTH AUSTRALIA - Fisherman's Friends
(Traditional)
https://www.youtube.com/watch?v=p3afGi3REu8 (Capo 1)
TIP: There's also a version in (C) afterwards.
NC G D G A
Innnn South Australia I was born. Heave away haul away.
D A D A D
In South Australia 'round Cape Horn, we're bound for South Australia.
G D G D G A
Haul away your rolling king. Heave away haul away.
D G D A D
Haul away you'll hear me sing we're bound for South Australia.
G D G D G A
As I went out one morning fair. Heave away haul away.
D A D A D
'Twas there I met Miss Nancy Blair. We're bound for South Australia.
G D G D G A
D G D A D
G D G D G A
I shook her up I shook her down. Heave away haul away.
D A D A D
I shook her 'round about the town. We're bound for South Australia.
G D G D G A
D G D A D
G D G D G A
There was but one thing creased me mind. Heave away haul away.
D A D A D
Was to leave Miss Nancy Blair behind. We're bound for South Australia.
G D G D G A
D G D A D
G D G D G A
As we went down around Cape Horn. Heave away haul away.
D A D A D
You'll wish to God you've never been born. We're bound for South Australia.
G D G D G A
D G D A D
G D G D G A
In South Australia I was born. Heave away haul away.
D A D A D
G D G D G A
D G D A D
Haulll away you'll hear me sinnnnng . . . we're bound for South Australia.
(Fisherman's Friends) (Folk) (Artist Index) - (Main Index) - (Song Index) (This Song)
SOUTH AUSTRALIA - Fisherman's Friends
(Traditional)
https://www.youtube.com/watch?v=p3afGi3REu8 (Capo 3)
NC F C F G
Innnn South Australia I was born. Heave away haul away.
C G C G C
F C F C F G
C F C G C
F C F C F G
As I went out one morning fair. Heave away haul away.
C G C G C
'Twas there I met Miss Nancy Blair. We're bound for South Australia.
F C F C F G
C F C G C
F C F C F G
I shook her up I shook her down. Heave away haul away.
C G C G C
I shook her 'round about the town. We're bound for South Australia.
F C F C F G
C F C G C
F C F C F G
There was but one thing creased me mind. Heave away haul away.
C G C G C
Was to leave Miss Nancy Blair behind. We're bound for South Australia.
F C F C F G
C F C G C
F C F C F G
As we went down around Cape Horn. Heave away haul away.
C G C G C
You'll wish to God you've never been born. We're bound for South Australia.
F C F C F G
C F C G C
F C F G
In South Australia I was born. Heave away haul away.
C G C G C
F C F C F G
C F C G C
Haullll away you'll hear me sinnnnng . . . we're bound for South Australia.
(Fisherman's Friends) (Folk) (Artist Index) - (Main Index) - (Song Index) (This Song)
SOUTHERN CALIFORNIA - George Jones and Tammy Wynette
(Richey/Sherrill/Bowling)
https://www.youtube.com/watch?v=JwRzI0tK8Mk (Capo 0)
TIP: For the soliloquies at the end the song moves to capo 1 for Tammy's part and then
back to capo 0 (capo off) for George's. Who's bright idea was this?
INTRO: G D G D
G D G C G G
You always said someday you'd go to live, in southern California.
D G D
And me I'd stay right here in Tennessee.
G D G C G G
You always talked about the better days, in southern California.
D D7 D G D G
But if you'll stay in Tennessee, I promise there'll be better days with me.
D A D G D
It's not that I don't love you, but I hear the call from southern California.
A7 A D A
There's something I can't find in Tennesee.
D A D G D D
Silver screens and limousines, they wait for me in southern California.
A7 A A7 A A7 D D
Though you've been so good to me the time has come you'll have to, set me free.
G C G G
Tomorrow when you leave you'll take my heart, to southern California.
D D7 G G
But just remember I'll be here to keep your heart, with me until you see.
<capo 1> D Am7 D7
G C G
<spoken> "Well, it's been five years and, I guess I've cried a million tears, lookin'
D7
out the window of this little room, right over that flashin' neon sign that says, 'Bar'.
G
It's almost midnight and, time to go downstairs and, go to work.
<capo 0> E
I wonder how he's doin', in Tennessee?"
A D A
"Well here I sit by the window, of this big old lonely mansion, lookin' out over the
E
Smokies, and ownin' everything I can see. Oh I guess by now she's found what she was
A
lookin' for, and as I look at this old faded photograph, of the girl that I still love,
E A
I wonder, if she ever, thinks of me."
D A
But the weather's good, in southern California.
(George Jones)(Tammy Wynette) (Artist Index) - (Main Index) - (Song Index) (This Song)
SOUVENIRS
John Prine
https://www.youtube.com/watch?v=fZE4IqeXnT8 (Album version)(Capo 5)
https://www.youtube.com/watch?v=2xhmPectY9U (Live version - starts at 1:25)(Capo 2)
INTRO: D G A D, D G A D |D|
NC G A D
All the snow has turned to water. Christmas days have come and gone.
G A7 D
Broken toys and faded colors, are all that's left, to linger on.
G A D
I hate graveyards and old pawn shops, for they always bring me tears.
G A7 D D d – c# - b - a
I can't forgive the way they rob me, of my childhood souvenirs.
A7 D A7 D
Memories, they can't be boughten. They can't be won, at carnivals for free.
A7 D
Well it took me years, to get those souvenirs,
G A
And I don't know how, they slipped, away from me.
D G A D, D G A D |D|
NC G A D
Broken hearts and dirty windows, make life difficult to see.
G A7 D
That's why last night and this mornin', always look the same to me.
G A D
And I hate reading old love letters, for they always bring me tears.
G A7 D D d – c# - b - a
I can't forgive the way they rob me, of my sweetheart's souvenirs.
A7 D A7 D
Memories, they can't be boughten. They can't be won, at carnivals for free.
A7 D
Well it took me years, to get those souvenirs,
G A D G A D |A7|-|D|
And I don't know how, they slipped, away from me.
SPACE ODDITY
David Bowie
https://www.youtube.com/watch?v=iYYRH4apXDo (Capo 0)
TIP: (Fmaj7) is just (F) without the bottom string.
TIP: You can play the easy (Fm) like in the first diagram but since it will always
follow (F) try holding the (F) and just sneaking your index finger up a string to barre
the lower three strings of the 1st fret while lifting off the middle finger like in the
second diagram.
TIP: The bridge is a little trick because it’s played so quickly.
TIP: At the end of the first verse end with strinking the |D7| once and then twizzle the
top three or four strings (back and forth steadily) focusing on the open 4th string.
( )
INTRO (soft --> progressively louder): Fmaj7 Em, Fmaj7 Em, Fmaj7 Em, Fmaj7 Em
C Em C Em
Ground Control to Major Tom. Ground Control to Major Tom.
Am D7 D7 C
Take your protein pills and put your helmet on. (Ten . . )
Em Em C Em Em Am
Ground Control to Major Tom. Commencing countdown engines on.
D7 |D7| D7
Check ignition and may God's love be with you . . . <twizzle> . . .
C E7 E F
This is Ground Control to Major Tom. You've really made the grade.
Fm C F
And the papers want to know whose shirts you wear.
Fm C F
Now it's time to leave the capsule if you dare.
C E E7 F
This is Major Tom to Ground Control. I'm stepping through the door.
Fm C F
And I'm floating in a most p-p-peculiar way.
Fm C F
And the stars look very different today.
Fmaj7 Em Fmaj7 Em
For hereeee am I sitting in a tin can. Farrrr above the world.
Bb Am G F
Planet Earth is blue and there's nothing I can do.
C F-G, |A|-|A|; C F-G, |A|-|A|; Fmaj7 Em, A C D E
C E7 F
Though I'm past one hundred thousand miles, I'm feeling very still.
Fm C F
And I think my spaceship knows which way to go.
Fm C F
Tell my wife I love her very much, she knows.
G E7 Am Am7
Ground Control to Major Tom your circuit's dead, there's something wrong
D C
Can you hear me Major Tom? Can you hear me Major Tom?
G Fmaj7
Can you hear me Major Tom? Can you hereee . . .
Em Fmaj7 Em
Am I floating ‘round my tin can? Farrrr above the moon?
Bb Am G F
Planet Earth is blue and there's nothing I can do.
C F-G, |A|-|A|; C F-G, |A|-|A|; Fmaj7 Em, A C D E . . . . |E|
(David Bowie) (Artist Index) - (Main Index) - (Song Index) (This Song)
SPACEMAN
Harry Nilsson
https://www.youtube.com/watch?v=D7xOZVBAWtw (Capo 3)
INTRO: C G, C
G G A A
Bang bang shoot 'em up destiny. Bang bang shoot 'em up to the moon.
D NC D
Bang bang shoot 'em up one two three (one two three four).
G F G
I wanted to be a spaceman, that's what I wanted to be.
F G
But now that I am a spaceman, nobody cares about me.
C G D G
Hey Mother Earth won't'cha bring me back down safely to the sea?
C G D G G G G
Around and around and around and around is all she ever say to me.
F G
I wanted to make a good run, I wanted to go to the moo-oon.
F G
I knew that it had to be fun. I told 'em to send me real soon.
F G
I wanted to be a spaceman, I wanted to be it so bad.
F G
But now that I am a spaceman I'd rather be back on the pad.
C G D G
C G D G
Around and around and around and around is just a lot of lunacy. Yeah. Yeah.
C |G| NC
'Round and around and around and around and around. (So bring me back down).
C |D|
'Round and around and around and around and around,
NC D G
Safe on the grou - ou- ow-ow-ow-ow-oun, ow-ow-ow-ow-ow-ow-oun, ow-ow-ow-ow-oun,
Ow-ow-ow-ow-ow-oun, ow-ow-ow-ow-oun, ow-ow-ow-ow-ow-ow-oun, owwwwww <two bars> wwwwwoun.
C G D G
C G D G G G
Around and around and around and around is all she ever say to me yeah.
F G
You know I wanted to be a spaceman, that's what I wanted to be.
F G
But now that I am a spaceman, nobody cares about me.
C G D G
Say hey Mother Earth you better bring me back down, I’ve taken just as much as I can.
C G D G
Around and around and around and around is the problem of spaceman.
C G D G C G D G C G D G
Ow- ow- ow-ow owww oww. Ahhh -ah-ah ah ah-ah ahhh-ahh. Ahhh -ah-ah ah ah-ah ahhh-ahh.
C G D G C G D G C G D G, C G D |G|
Ahhh -ah-ah ah ah-ah ahhh-ahh. Ahhh -ah-ah ah ah-ah ahhh-ahh.
(Harry Nilsson) (Artist Index) - (Main Index) - (Song Index) (This Song)
SPANISH LADIES – Quint
(Traditional/Chartier)
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'.
G Em C D
Farewell and adieu to you fair Spanish ladies.
D7 Gadd
Farewell and adieu to you ladies of Spain.
Em C D
For we’ve received orders we're to sail back to Boston.
G C G
And so never more shall we see you again.
Em C D
We’ll rant and we’ll roar like true Yankee sailors.
D7 Gadd
We’ll rant and we’ll rave across the salt sea.
Em C D
Till we strike soundings in the harbor of New Bedford.
G C G
Nantucket to home is just a few leagues.
Em C D
We hove our ship to with the wind at the sou’west boys.
D7 Gadd
We hove our ship to for to take soundings clear.
Em C D
In fifty five fathoms with a fine sandy bottom.
G C G
We filled main tops’l up channel did steer.
Em C D
D7 Gadd
Em C D
G C G
Great Point to home is just a few leagues.
Em C D
The first land we made was a place called Nantucket.
D7 Gadd
Martha’s Vinyard, Woods Hole, then down Buzzards Bay.
Em C D
We sailed then by Marion, Mattapoisett 'n Fairhaven.
G C G
Then bore straight away for New Bedford hooray.
Em C D
D7 Gadd
Em C D
G C G
The Vinyard to hoe is just a few leagues.
Em C D
Now the Captain called out for our grand ship to anchor.
D7 Gadd
We clewed up our tops’ls stuck out tacks and sheets.
Em C D
We stood by our stoppers, we brailed in our spankers.
G C G
And anchored ahead of the noblest of fleets.
Em C D
D7 Gadd
Em C D
G C G
Woods Hole to home is just a few leagues.
Em C D
Let every man here drink up his full bumper.
D7 Gadd
Let every man here drink up his full bowl.
Em C D
And let us be jolly and drown melancholy.
G C G
And drink-health to each jovial and true-hearted soul.
Em C D
D7 Gadd
Em C D
G C G
West Island to home is just a few leagues.
G Em C D
Farewell and adieu to you fair Spanish ladies.
D7 Gadd
Farewell and adieu to you ladies of Spain.
Em C D
For we’ve received orders we're to sail back to Boston.
G C G C G C G
And so never more shall we see you again.

SPEED OF THE SOUND OF LONELINESS
John Prine
https://www.youtube.com/watch?v=DZXgZGrVlL4 (Capo 0)
TIP: Note the lingering chord changes at the end of the line rather than the beginning
of the next line. All about the cadence.
INTRO: G C D G, G C D G
C C D
You come home late and you come home early.
G G
You come on big when you're feelin' small.
C C D
You come home straight and you come home curly.
G G
Sometimes you don't come home at all.
C C D
So what in the worrrld's come over you?
G G
What in heaven's name have you done?
C C D
You've broken the speed of the sound of loneliness.
G
You're out there runnin' just to be on the run.
C C D
Well I got a heart that burns with a fever.
G G
And I got a worried and a jealous mind.
C C D
Well how can a love that'll last forever,
G G
Get left so far behind?
C C D
What in the worrrld's come over you?
G G
C C D
G
G C D G, G C D G
C C D
It's a mighty mean and a dreadful sorrow.
G G
It's crossed the evil line today.
C C D
Well how can you ask about tomorrow?
G G
We ain't got one word to say.
C C D
So what in the worrrld's come over you?
G G
C C D
G D
G G D
G |G|
SPIRIT IN THE SKY
Norman Greenbaum
https://www.youtube.com/watch?v=AZQxH_8raCI (Capo 0)
TIP: Fun song. Emphasize the bass strings on the repeating guitar riff. Note they're
not the same, first it's a walk-down |D|-|C| and then a walk-up |C|-|D|.
INTRO: A A A |D|-|C|, A A A |C|-|D|; A A A |D|-|C|, A A A |C|-|D|

A A A |D|-|C|, A A A |C|-|D|; A A A |D|-|C|, A A A |C|-|D|-|A|
D
When I die and they lay me to rest. Gonna go to the place that's the best.
A E A
When I lay me down to die goin' up to the spirit in the sky.
D
Goin' up to the spirit in the sky. That's where I'm gonna go when I die.
A E A
When I die and they lay me to rest I’m gonna go to the place that's the best.
D
Prepare yourself, you know it's a must. You gotta have a friend in Jesus.
A E A
So you know that when you die, he's gonna recommend you to the spirit in the sky.
D
Gonna recommend you to the spirit in the sky. That's where you're gonna go when you die.
A E A
When you die and they lay you to rest you're gonna go to the place that's the best.
A A A |D|-|C|, A A A |C|-|D|; A A A |D|-|C|, A A A |C|-|D|
A, G, A, C, A, G, A, C D A
D
Never been a sinner, I never sinned. I got a friend in Jesus.
A E A
So you know that when I die, He's gonna set me up with the spirit in the sky.
D
Gonna recommend you to the spirit in the sky. That's where you're gonna go when you die.
A E A
When you die and they lay you to rest you're gonna go to the place that's the best.
E A
Go to the place that’s the best.
A A A |D|-|C|, A A A |C|-|D|-|A|
(Norman Greenbaum) (Artist Index) - (Main Index) - (Song Index) (This Song)
SQUEEZE BOX – The Who
(Townshend)
https://www.youtube.com/watch?v=49H0IfoILwQ (Capo 0)
TIP: Strike chords in |brackets| just once.
INTRO: |G| |D| |G| |D| |G| |D| |G| |D|, G G G G
Mama's got a squeeze box she wears on her chest
And when Daddy comes home he never gets no rest.

D D C C
'Cause she's playin' all night, and the music's all right.
D C G G G G G
Mama's got a squeeze box Daddy never sleeps at night.
Well the kids don't eat, and the dog can't sleep
There's no escape from the music in the whole damn street.

D D C C
'Cause she's playin' all night, and the music's all right.
D C G G G G G
She goes in and out and in and out and in and out and in and out.
D D C C
She's playin' all night, and the music's all right.
D C G G G G G
|G| |G|
She goes squeeze me. Come on and squeeze me.
|D| |C|
Come on and tease me like you do. I'm so in love with you.
D C G
G G G G D D C C D C G G
She goes in and out and in and out and in and out and in and out.
D D C C
‘Cause she's playing all night, and the music's all right.
D C |G| |C| |G| |C| |G|-|G|-|C|-|G|
STAND BY ME – Ben E. King
(King/Lieber/Stoller)
https://www.youtube.com/watch?v=BTCfQ6Bb8QE (Capo 2)
INTRO: G G, G Em, C D G
Em
When the night, has come, and the land is dark.
C D G
And the moon, is the only, light we'll see.
Em
No I won't, be afraid. Oh I-I-I won't, be afraid.
C D G
Just as long, as you stand, stand by me.
Em
So darlin' darlin' stand, by me. Oh-ohh stand, by me.
C D G
Oh stand, stand by me, stand by me.
Em
If the sky, that we look upon, should tumble and fall.
C D G
Or the mountain, should crumble, to the sea.
Em
I won't cry, I won't cry, no I-I-I won't, shed a tear.
C D G
Just as long, as you stand, stand by me.
Em
And darlin' darlin' stand, by me. Oh-ohh stand, by me.
C D G
Whoa stand now, stand by me, stand by me.
G G Em C D G, G G Em C D G
Em
Darlin' darlin' stand, by me. Ohh stand, by me.
C D G
Oh stand now, stand by me, stand by me.
Em
Whenever you're in trouble won't you stand, by me. Oh stand, by me.
C D G |G|
Whoa stand now, oh stand, stand by me.
(Ben E. King) (Artist Index) - (Main Index) - (Song Index) (This Song)
STAND BY YOUR MAN – Tammy Wynette
(Wynette/Sherrill)
https://www.youtube.com/watch?v=AM-b8P1yj9w (Capo 2)
TIP: The end of the verse prior to the chorus ends on "man". Then there's a
complemetary (C)(G) but then you bust right into the lead-in with hard strums of (D) so
don't dawdle after that (C)(G).
INTRO: G C Gadd G-D
G D D D7
Sometimes it’s hard, to be, a woman.
Am D7 G G G7
Giving all your love, to just one man.
C G A7
You'll have bad times, and he'll have good times,
D7 D7 G
Doin' things that you don't understand.
D7 D7
But if you love him, you'll forgive him.
Am D7 G G G7
Even though he's hard, to understand.
C G C
And if you love him, oh be proud of him,
G D7 G C |G|-D D D G
Cause, after all, he's just a man.
G B7 C G E7
Stand by your man. Give him two arms to cling to, and, something warm, to come to,
A7 |D| D
When nights, are cold, and lonely.
G B7 C G
Stand by your man. And show the world you love hi-im.
D7 B7 E7
Keep giving all, the love you can.
C D7 G C |G|-D D D G
Stand by, your man.
B7 C G
Stand by your man. And show the world you love hi-im.
D D7 B7 E7 C
Keep giving all, the love you caaaaaaan.
D7 G C G D |G|
Stand by, your, maaaaan.
STAR OF THE COUNTY DOWN
Van Morrison with The Chieftains
(Traditional/MacGarvey)
https://www.youtube.com/watch?v=6sMZ2bUv9Q4 (Capo 0)
INTRO: Em Em G D Em C D, Em Em G D G C Em
G D Em D, Em Em G D G C Em
G D Em C D
Near Banbridge Town in the County Down one morning last July,
Em G D Em C Em
From a boreen green came a sweet colleen and she smiled as she passed me by.
G D Em D
She looked so sweet from her two bare feet to the sheen of her nut brown hair.
Em G D Em C Em
Such a coaxin’ elf sure I shook myself for to see I was really there.
G D Em D
From Bantry Bay up to Derry Quay and from Galway to Dublin Town,
Em G D Em C Em G D Em Em
No maid I've seen like the brown colleen that I met in the County Down.
G D Em C D
As she onward sped sure I scratched my head and I looked with a feelin' rare.
Em G D Em C Em
And I say's say's I to a passerby "Whose the maid with the nut brown hair"?
G D Em D
He smiled at me and he says say's he "That's the gem of Ireland's crown.
Em G D Em C Em
Young Rosie McCann from the banks of the Bann she's the star of the County Down".
G D Em D
Em G D Em C Em
Em Em G D Em C D, Em Em G D G C Em Em
G D Em C D
At the Harvest Fair she'll be surely there and I'll dress in my Sunday clothes,
Em G D Em C Em
With my shoes shone bright and my hat cocked right for a smile from my nut brown rose.
G D Em D
No pipe I'll smoke no horse I'll yoke till my plough turns rust-colored brown.
Em G D Em C Em
Till a smilin’ bride by my own fireside sits the star of the County Down.
G D Em D
Em G D Em C Em
G D Em D
Em G D Em C Em
G D Em D
Em G |D| D Em C Em
No maid I've seen like the brown colleen, that I met in the County Down.
(Van Morrison) (The Chieftains) (Artist Index) - (Main Index) - (Song Index) (This Song)
STAY ALL NIGHT - Bob Wills/Willie Nelson
(Wills)
https://www.youtube.com/watch?v=KZBVAGBYPos (Capo 0)
TIP: With all due respect to the red-headed stranger, Bob Wills is the master of western
swing and it's his version that's presented here.
TIP: The nature of swing music is the verses are just about one big run-on sentence so
you just go with it.
TIP: The first part of the longer instrumental bridge is a bit tricky to keep up with as
it's a faster pace. Just keep it moving along with two-counts on each chord until you
get back to the fiddle part.
INTRO: G G D-G, G G D-G, G C G D-G, G G D7-G
C
You ought to see my blue-eyed Sally
G D G
She lives away down on Shinbone Alley.
C
The number on the gate is the number on the door
G D G
And the next house over is a grocery store.
C
Stay all night stay a little longer
D7 G
Dance all night dance a little longer.
C
Pull off your coat, throw it in the corner
D C G
I don't see why I don't stay a little longer.
G G D-G, G G D-G, G C G D-G, G G D7-G
C
You can't go home if you're goin' by the mill
G D G
Cause the bridge's washed out at the bottom of the hill.
C
The big creek's up and the little creek's level
G D G
I'll plow my corn with a double shovel.
C
D7 G
C
D C G
C
Sittin' in the window singin' to my love
G D G
The slop bucket fell from the window up above.
C
Mule and the grasshopper eatin' ice cream
G D G
The mule got sick so they laid him on the green.
C
D7 G
C
D C G
C
Grab your gal and pat her on the head
G D G
If she don't like biscuits feed her corn bread.
C
Gals around Big Creek about half grown,
G D G
Jump on a man like a dog on a bone.
C
D7 G
C
D C G
G F C E7 A7 D G, G F C E7 A7 D7 G G D7

C
D7 G
C
D C |G|
I don't see why I don't stay a little long - er.
(Bob Wills) (Willie Nelson) (Artist Index) - (Main Index) - (Song Index) (This Song)
STEEL RAIL BLUES
Gordon Lightfoot
https://www.youtube.com/watch?v=0NTNjyd6dpg (Capo 1)
TIP: (C7) will always follow (C) so just keep the (C) and add your pinky to the 3rd
string/3rd fret.
INTRO: C C, C Am C C
C7 F
Well I got my mail late last night. A letter from a girl who found the time to write,
C
To her lonesome boy somewheres in the night.
F C
She sent me a railroad ticket too, to take me to her lovin' arms
Am G C G Am G
And the big steel rail gonna carry me home to the one I love.
C C7 F
Well I been out here many long days. Haven't found a place that I could call my own.
C
Not a two-bit bed to lay my body on.
F C
I been stood up, I been shook down I been dragged into the sand
Am G C G Am G
F Em Am C
Ooooh, ooooh, ooh whee hee hee.
F Em Am G C
Oooh oooh oooh oooh oooh oooh ooh.
C7 F
Well I been up tight, most every night, walkin' along the streets of this old town.
C
Not a friend around to tell my troubles to.
F C
My good old car she done broke down 'cause I drove it into the ground
Am G C G Am G
C
Well I look over yonder across the plain.
C7 F
The big drive wheels are poundin' along the ground.
C
Gonna get on board and I'll be homeward bound.
F C
Now I ain't had a home cooked meal, and Lord I need one now
Am G C G Am G
F Em Am C
F Em Am G C
Now here I am with my head in the sand,

C7 F
Standin' on the broad highway will you give a ride,
C
To a lonesome boy who missed the train last night.
F C
I went in town for one last round and I gambled my ticket away
Am G C G Am G
And the big steel rail won't carry me home to the one I love.
F Em Am C
F Em Am G C
F Em Am C
F Em Am G C
Oooh oooh oooh oooh oooh oooh, ooh. Wee, hee hee.
STEEL RAILS – Alison Krauss
(Branscomb)
https://www.youtube.com/watch?v=RX_YZD-r-Qc (Capo 2)
INTRO: A D, D Em, G A G D
Em
Steel rails, chasing sunshine round the bend.
G A G D
Winding through the trees like a ribbon in the wind.
Em
I don't mind, not knowing what lies down the track.
G A G D
Cause I'm looking out ahead to keep my mind from turning back.
Em
It's not the first time, I've found myself alone at dawn.
G A G D
If I really had you once then I'd have you when I'm gone.
Em
Whistle blowin’, blowin' lonesome in my mind.
G A G D
Calling me along that never ending metal line.
Em
G A G D
Em
G A G D
D Em G A G D, D Em G A G D
Em
Sun is shining, through the open boxcar door.
G A G D
Lying in my mind with the things I've known before.
Em
I've lost count, of the hours days and nights.
G A G D
The rhythm of the rails keeps the motion in my mind.
Em
G A G D
Em
G A G D
Em A G D
Cause I'm looking out aheaaaaaaad, to keep my mind from turning back.
STEWBALL - Peter, Paul and Mary
(Traditional-Herald/Rinzler/Yellin/Auffray)
https://www.youtube.com/watch?v=hXdQB-mR4tg (Capo 1)
[Afterwards is a little more energetic version from Joan Baez although it's a tad more
difficult to play.]
INTRO: G Am D G C D
G Em Am
Oh Stewball was a racehorse, and I wish he were mine.
D G C D
He never drank water, he always drank wine.
G Em Am
His bridle was silver, his mane it was gold.
D G C D
And the worth of his saddle, has never been told.
Em Am
Oh the fairgrounds were crowded, and Stewball was there.
D G C D
But the betting was heavy, on the bay and the mare.
G Em Am
And away up yonder, ahead of them all,
D G C D
Came a-prancin' and a-dancin', my noble Stewball.
G Em Am
I bet on the grey mare. I bet on the bay.
D G C D
If I'd have bet on ol' Stewball, I'd be a free man today.
G Em Am
For the hoot owl she hollers, and the turtle dove moans.
D G C D
I'm a poor boy in trouble, I'm a long way from home.
G Em Am
Oh Stewball was a racehorse, and I wish he were mine.
D G C G G G
He never drank water, he always drank wine.
(Traditional)(Folk) (Peter, Paul & Mary) (Artist Index)

(Main Index)(Song Index) (This Song)
STEWBALL - Joan Baez
(Traditional-Herald/Rinzler/Yellin/Auffray/Baez)
https://www.youtube.com/watch?v=_9ZWzcNEJ3w (Capo 0)
TIP: The lyrics and music here are from her 1975 live double album "From Every Stage."
TIP: The intro is a somewhat slow, single rake of (C) from the 5th string down.
TIP: Carry the (C) through the last word in the line prior to and before shifting to the
(Am), otherwise you'll have a tendency to switch to the (Am) too early. That's why
there's a (C)(Am) even though the lead-in is already a (C). Similar pattern after the
key change.
TIP: There is a key shift from (C) to (D) for the last two verses but it's pretty
manageable. If you don't like the (Bm) you can cheat and just add your pinky while
holdin the (D). At the end there's little (D4)(D)(Dsus2) twinkle. From (D) add pinky
for the (D4), remove index finger for the (Dsus2). Easy.
; ;
INTRO: <single strum of> |C|
NC C Am Dm
Stewball was a racehorse, he wore a high head.
G C
And the mane on his foretop, was as fine as silk thread.
C Am Dm
Yeah his mane it was silver, and his bridle was gold.
G C
And the worth of his saddle, has never been told.
C Am Dm
He was ridden in England, was ridden in Spain.
G C
And he never did lose boys, he always did gain.
C Am Dm
So come all you gamblers, wherever you are.
G C
And don't place your money, on that little gray mare.
C Am Dm
She's likely to stumble, she's likely to fall.
G C
But you never will lose boys, on my noble Stewball.
C Am, Am Dm, Dm G7, G C
C Am Dm
Aw the fairgrounds were crowded, and Stewball was there.
G C D
But the betting was heavy, on the little grey mare-are.
<key change>
D Bm Em
Aw the hoot owl she hollers, and the turtle dove moans.
A A A7 D
I'm a poor boy in trouble, and a long ways from home.
D Bm Em
Cuz I bet on the grey mare, and some on the bay.
A A A7 D
I'd a bet on ol' Stewball, I'd be a rich man today.
D Bm Em
Cuz they were a riding, about halfway around,
A A A7 D
That grey mare she stumbled, and fell on the ground.
D Bm Em
And away up yonder, ahead of them all,
A A A7 D
Came a-prancin' and dancing, my noble Stewball.
D Bm Em
And the grey mare was a racehorse, and her heart it was gold.
A A A7
She lies dead on the infield,
G G G D Dsus4 D Dsus2-D
But her story's been told.
(Traditional) (Folk) (Joan Baez) (Artist Index) - (Main Index) (Song Index) (This Song)
THE STORY IN YOUR EYES – Moody Blues
(Hayward)
https://www.youtube.com/watch?v=yoDXzvXxUbc (Capo 0)
TIP: The intro moves quickly.
TIP: In the chorus the first line ends with an (F#m) and the second line with an (F#).
TIP: For the outro, the intro is repeated three times and then there's a long run of
alternating (Am)(D) - the piano part - which fades. To end without the fade you can play
as many as you want and then end with single strums of |Em||C||Am|.
INTRO: Am Bm Am7 D, Am Bm Am7 D, Am Bm Am7 D, Am Am Am, |E7|
Am Bm Am7 D, Am Bm Am7 D, Am Bm Am7 D, Am Am Am, |E7|
Am D Am D
I've been thinking about our fortune, and I've decided that we're really not to blame.
Am D G C G
For the love that's deep inside us now, is still the same.
Am D Am D
And the sounds we make together, is the music to the story in your eyes.
Am D G C G
It's been shining down upon me now I realize.
Em F#m G F#
Listen to the tide slowly turning. Wash all our heartaches away.
A Bm A G D E
We're part of the fire that is burning, and from the ashes we can build another day.
Am D Am D
But I'm frightened for you children, that the life that we are living is in vain.
Am D G C G
And the sunshine we've been waiting for, will turn to rain.
Am D, Am D, Am D, G G
Em F#m G F#
Listen to the tide slowly turning. Wash all our heartaches away.
A Bm A G D E
We're part of the fire that is burning, and from the ashes we can build another day.
Am D Am D
But I'm frightened for you children, that the life that we are living is in vain.
Am D G C G
And the sunshine we've been waiting for, will turn to rain.
Am D Am D
When the final line is over, and it's certain that the curtain's gonna fall.
Am D G C G
I can hide inside your sweet sweet love, forever more.
Am Bm Am7 D, Am Bm Am7 D, Am Bm Am7 D
Am D Am D <repeat and fade> . . . . .
[or if playing live]---> Am D Am D . . . . . <slow down> |Em| |C| |Am|
STRANGE CURRENCIES - R.E.M.
(Barry, Buck, Mills, Stipe)
https://www.youtube.com/watch?v=XMazs2N1CQ0 (Capo 0)
TIP: Uggh. The chords are fairly straight forward but Stipe's stilted cadence makes
transcribing R.E.M. songs a pain. But here it is.
INTRO: C F C F C
F C C F C C F Dm G
I don't know, why you're mean to me. When I call, on the telephone.
C C F C C F
And I don't knowwww, what you mean to me.
C F C Dm G
But I want to turn you on, turn you up, figure you out, I want to, take you on.
C G F C F G
These words, you will be mine.
C G F C Dm Dm G
These words, you will be mine, all the time.
F C C F C F Dm G
The fool might be, my middle name. But I'd be foolish, not to say.
C F
I'm-going-to-make-whatever-it-takes,
C F
Ring you up, call you down sign your name secret love,
C F Dm G
Make it rhyme, take you in, and make you mine.
C G F C F G
C G F Dm Dm G
These words, you will be mine, all the time, oh.
Am G Am G Am
I tripped and fell. Did I-I fall?
F C Dm G G
What I want to feel, I want to feel it now.
C F C C F C
You know with love, comes strange currencies.
F Dm G C
Here, is my appeal.
F C F
I need a chance a second chance a third chance a fourth chance a final signal
C F Dm G
A nod a little breath, to fool myself, to catch myself, to make it real, real.
C G F C F G
C G F Dm Dm G
These words, you will be mine, all the time, oh.
C G F C F G
C G F C Dm
These words, they haunt, hunt me down catch in my throat make me pray,
G
Say, love's confined, oh.
C G F C F, G; C G F C Dm Dm, G G; |C|

STREETS OF LAREDO – Marty Robbins
(Traditional/Maynard)
https://www.youtube.com/watch?v=e4JiXtZ16KQ (Capo 3)
[There are lots of version of this old western song with many different variations of
lyrics. Two are presented here, both in [D] but capo'd differently, the first by Marty
Robbins and afterwards by Michael Martin Murphey. At the end of the latter are some of
those other verses.]
INTRO: D G D A D
A7 D A
As I walked out in the streets of Laredo.
D A D A
As I walked, out in, Laredo one day.
D G D A
I spied a young cowboy wrapped all wrapped in white linen.
D A A7 D
Wrapped up in white linen as cold as the clay.
A7 D A
"Oh beat the drum slowly and play the fife lowly.
D A D A
Sing the dead march as you carry me along.
D A7 D A
Take me to the valley there lay the sod o'er me,
D A A7 D
I'm a young cowboy and know I’ve done wrong."
A7 D A
I see by your outfit, that you are a cowboy.
D A D A
These words he did say as I boldly walked by.
D A7 D A
"Come sit down beside me and hear my sad story.
D A A7 D
Got shot in the breast and I know I must die.
A7 D A
Go fetch me some water, a cool cup of water,
D A D A
To cool my parched lips" then the poor cowboy said.
D A7 D A
Before I returned his spirit had left him,
D A A7 D
And gone to his maker the cowboy was dead.
A7 D A
Oh beat the drum slowly and play the fife lowly.
D A D A
Sing the dead march as you carry me along.
D A7 D A
D A A7 D
I'm a young cowboy and know I’ve done wrong.
(Traditional)(Marty Robbins) (Artist Index) - (Main Index) - (Song Index) (This Song)
STREETS OF LAREDO – Michael Martin Murphey
(Traditional/Maynard)
https://www.youtube.com/watch?v=e4fNnDdmqqo (Capo 2)
INTRO: D Em A7 D
G D A
As I walked out in the streets of Laredo.
D A D A
As I walked, out in, Laredo one day.
D G D A
I spied a young cowboy, wrapped up in white linen.
D Em A7 D D
Wrapped up in white linen as cold as the clay.
A7 D A
“I see by your outfit, that you are a cowboy."
D A D A7
These words he did say as I boldly walked by.
D A7 D A
"Come sit down beside me, and hear my sad story.
D Em A7 D
I’m shot in the breast, and I know I must die.”
A7 D A
Oh beat the drum slowly and play the fife lowly.
D A D A7
Play the dead march, as you carry me along.
D A7 D A
D Em A7 D
For I'm a young cowboy, and know I’ve done wrong.
G D A
It was once in the saddle, I used to go dashing.
D A7 D A
It was once in the saddle, I used to go gay.
D A7 D A
First to the dram house and then to the card house.
D Em A7 D
Got shot in the breast, and I'm dying today.
A7 D A
Go gather around you a group of young cowboys.
D A7 D A
Tell them the story, of this my sad fate.
D A7 D A
Tell one and the other, before they go further,
D Em A7 D
To stop wild roving, before it's too late.
A7 D A
We beat the drum slowly and play the fife lowly,
D A D A
And bidder thee well, as we bore him along.
D A7 D A
For we all loved our comrade, so brave young and handsome,
D Em A7 D
We all loved our comrade, although he done wrong.
D A D A D G D A7, D A D A D Em A7 D D D
<Other traditional verses>
A7 D A
Get six jolly cowboys, to carry my coffin.
D A D A
Get six pretty maidens, to bear up my pall.
D A7 D A
Put bunches of roses, all over my coffin.
Bm A A7 D
Roses to deaden, the clods as they fall.
A7 D A
Then swing your rope slowly, and rattle spurs lowly.
D A D A
And give a wild whoop as you bear me along.
D A7 D A
And in the grave throw me, and roll the sod o'er me.
Bm A A7 D
For I'm a young cowboy and I know I've done wrong.
A7 D A
Go bring me a cup, a cup of cold water,
D A D A
To cool my parched lips, the cowboy then said.
D A7 D A
Before I returned, his soul had departed,
Bm A A7 D
And gone to the round up, the cowboy was dead.
(Traditional)(Michael Martin Murphey) (Artist Index)

SUGAR SUGAR - The Archies
(Kim/Barry)
https://www.youtube.com/watch?v=JywK_5bT8z0 (Capo 0)
TIP: The double (D) chords on either side of “Sugar” and “Honey” and the (G) afterwards
is necessary to keep the timing because of the unsung “do, do, do-do, do do” that goes
between.
FUN FACT: Sugar Sugar was co-written by Andy Kim who had hits with "Baby I Love You" and
"Rock Me Gently." Andy also accompanies lead singer Ron Dante on the song. Believe it
or not, Sugar Sugar spent four weeks at #1 and was Single of the Year for 1969. Groovy.
INTRO: D G D G
D D G D D G
Sugar, ah honey honey.
D G A D G A
You are my candy girl, and you got me wanting you.
D D G D D G
Honey, ah sugar sugar.
D G A D D
C D
I just can't believe the loveliness of loving you.
G D
(I just can't believe it's true).
C D
I just can't believe the one to love this feeling to.
G A
(I just can't believe it's true).
D D G D D G
Ahh sugar, ah honey honey.
D G A D G A
D D G D D G
Ahh honey, ah sugar sugar.
D G A D D
C D
When I kissed you girl I knew how sweet a kiss could be.
G D
(I know how sweet a kiss can be).
C D
Like the summer sunshine pour your sweetness over me.
G A
(Pour your sweetness over me oh oh oh oh oh.)
D G D G
Pour a little sugar on it honey. Pour a little sugar on it baby.
D G A
I'm gonna make your life so sweet, hey yeah yeah.
D G A
Pour a little sugar on it, oh yeah.
D G
Pour a little sugar on it honey.
D G
Pour a little sugar on it baby.
D G A
I'm gonna make your life so sweet, hey hey yeah.
D
Pour a little sugar on it honey.
D D G D D G
Ah sugar, ah ah honey honey.
D G A D G A
You are my candy girl, and you got me wanting you oh oh oh oh oh.
D D G D D G
Honey, ah sugar sugar.
D G A D |D|
You are my candy girl . . .
(The Archies) (Artist Index) - (Main Index) - (Song Index) (This Song)
SUMMERTIME DREAM
Gordon Lightfoot
https://www.youtube.com/watch?v=kMtrKia4rI8 (Capo 2)
INTRO: C C C C
G C F
Where the road runs down by the butternut grove to old Bill Skinner’s stream.
C F G C
Do tell at the noon day bell it's time for a summertime dream.
G C F
In a lunch pail town in a one horse way you can live like a king and queen.
C F G C
Let's steal away in the noon day sun it's time for a summertime dream.
Am C
Birds in all creation will be twitterin' in the trees.
Am C Gadd
And down below there's a pond I know you can swim in it if you please.
C G C F
And if you come 'round when the mill shuts down you can see what chivalry means.
C F G C
C G C F, C F G C
Am C
On a trip on down to wonderland in love among the flowers.
Am C Gadd
Where time gets lost with no straw boss tallyin' up the hours.
C G C F
Where the road runs down by the butternut grove to old Bill Skinner’s stream.
C F G C
Do tell at the noon day bell it's time for a summertime dream.
C G C F, C F G C
Am C
Birds in all creation will be twitterin' in the trees.
Am C Gadd
And down below there's a pond I know you can swim in it if you please.
C G C F
So if you come 'round when the mill shuts down you can see what chivalry means.
C F G C
C G C F, C F G C
Time for a summertime dream.
C G C F, C F G C |C|
Time for a summertime dream.
SURFIN’ SAFARI – The Beach Boys
(Love/Wilson)
https://www.youtube.com/watch?v=IMChBJZUDK8 (Capo 2)
TIP: There are overlapping melody lines shown in parenthesis/italics. Helps to have
another singer cover them.
INTRO: |D| |C|

Let's go surfin' now everybody's learning how
|A| |A| |D|-|D|-|D|-|D| D
Come on and safari with me. Come on and safari with . . .
G C D G
Early in the morning we'll be startin' out, some honeys will be coming along.
C D G
We're loading up our Woody with our boards inside and headin' out singin’ our song.
Come on baby wait and see yes, I'm gonna take you surfin' with me.
(Surfin’ surfin’ safai, surfin’ surfin’ safari)
C G
A long surf baby, wait and see yes, I'm gonna take you surfin' with me.
(Surfin’ surfin’ safai surfin’ surfin’ safari)
|D| |C|
|A| |A| |D|-|D|-|D|-|D| D
G C D G
At Huntington and Malibu they're shooting the pier, at Rincon they're walking the nose.
C D G
We're going on safari to the islands this year so if you're coming get ready to go.
C G
|D| |C|
|A| |A| |D|-|D|-|D|-|D| D
G C D G G C D G
C D G
They're anglin' in Laguna in Cerro Azul, they're kickin out in Doheny too.
C
I tell you surfing's mighty wild it's getting bigger every day
D G
From Hawaii to the shores of Peru.
C G
|D| |C|
|A| |A| |D|-|D|-|D|-|D| D
G
Surfin’ safari, surfin’ safai, surfin’ safari,
(Me, yeah me, with me)
|G|
Surfin’ safari, surfin’ safari . . .
(Yeah me, with me . . .)
SURFIN’ U.S.A. – The Beach Boys
(Wilson/Berry/Love)
https://www.youtube.com/watch?v=EDb303T-B1w (Capo 1)
TIP: The overlapping melody is in parenthesis and italics. Helps to have another singer
handle them.
TIP: The <palm> is a little tricky to get down smoothly. You strum the lead-in chord a
few more times and then apply the palm. Might help to think of it as the a muted strum,
the last in the series.
INTRO: D . . . |D| <palm>
A D
If everybody had an ocean, <palm> across the U. S. A. <palm>
A D
Then everybody'd be surfin', <palm> like Californi- a <palm>.
G D
You'd seem 'em wearing their baggies, <palm> huarache sandals too <palm>.
A D
A bushy bushy blonde hairdo, <palm> surfin' U. S. A.
A D
You'd catch 'em surfin' at Del Mar, Ventura County line.
(Inside outside U.S.A. Inside outside U.S.A.)
A D
Santa Cruz and Trestle, Australia's Narrabeen.
G D
All over Manhattan, and down Doheny Way.
(Inside outside U.S.A. Inside outside)
A D
Everybody's gone surfin', surfin' U.S.A. <palm>
A D
We'll all be planning out a route, <palm> we're gonna take real soon <palm>.
A D
We're waxing down our surfboards. <palm> We can't wait for June <palm>.
G D
We'll all be gone for the summer. <palm> We're on surfari to stay <palm>.
A D
Tell the teacher we're surfin'. <palm> Surfin' U. S. A.
A D
Haggerties and Swamies, Pacific Palisades.
A D
San Onofre and Sunset, Redondo Beach L. A.
G D
All over La Jolla, at Wa'imea Bay.
(Inside outside U.S.A. Inside outside)
A D
Everybody's gone surfin'. Surfin' U.S. A.
D A D A D G D
A D
Everybody's gone surfin'. Surfin' U.S.A.
A D
A D
A D
Yeah everybody's gone surfin'. Surfin' U.S.A.
A D |D|
Yeah everybody's gone surfin'. Surfin' U.S.A.
SURRENDER - Cheap Trick
(Nielsen)
https://www.youtube.com/watch?v=1sAm5UCJ9vA (Capo 4)
TIP: The song sharps for the second half so move the capo up one fret where indicated.
TIP: For the (CaddD) you'll already be playing a (C) so keep the (C) form and just add
your pinky to the 2nd string/3rd fret. Or you can ignore it and just play (C).
INTRO: E E F# F#, E E F# F#
G D C G
Mother told me yes she told me I'd meet girls like you.
D C G
She also told me "Stay away you'll never know what you'll catch.
C D G
Just the other day I heard of a soldier's falling off.
C D G
Some Indonesian junk that's going round."
Em D C
Mommy's alright, daddy's alright, they just seem a little weird.
G Em D C CaddD
Surrender, surrender, but don't give yourself away, ay, ay – ay - ay.
F F G G, F F G G
D C G
Father says "Your mother's right she's really up on things.
D C G
Before we married mommy served in the WACS in the Philippines.
C D G
Now I had heard the WACS recruited old maids for the war.
C D G
But mommy isn't one of those, I've known her all these years."
Em D C
G Em D C CaddD
F F G G, F F G G
<capo +1>
G D C G
Whatever happened to all this season's losers of the year?
D C G
Every time I got to thinking "Where'd they disappear?"
C D G
Then I woke up, mom and dad, are rolling on the couch.
C D G
Rolling numbers rock and rollin' got my Kiss records out.
Em D C
G Em D C CaddD
G C G D G C G D
Away-ay-ay. Away-ay-ay.
G Em D C
Mommy's alright, daddy's alright, but don't give yourself away.
G Em D C
G Em D C
G Em G Em
Bun is alright, Tommy's alright, Robin's alright, Rick's alright.
G Em C D
Bun is alright, Tommy's alright, we're-all-all right, we're-all-all right.
G Em D C
G Em D C |G|
Surrender, surrender, but don't give yourself away.
(Cheap Trick) (Artist Index) - (Main Index) - (Song Index) (This Song)
SUSPICIOUS MINDS - Elvis Presley
(James)
https://www.youtube.com/watch?v=RxOBOhRECoo (Capo 0)
TIP: The King had a tendency to let the orchestra get ahead of him so occasionally the
lead-in chord for the next line will come at the end of the previous line which accounts
for the funky denotation but it's necessary to keep the pacing on track.
INTRO: G C, G C
G G C C D
We're caught in a trap. I can't walk out,
C G G C G C G
Because I love you too much baby.
G C C D
Why can't you see, what you're doin' to me,
C D C-Bm-D7
When you don't believe a word I say?
C G Bm C D Em
We can't go on together, with suspicious minds.
Bm C D D7
And we can't build our dreams, on suspicious minds.
G C
So if an old friend I know, stops by to say hello,
D C G
Would I still see suspicion in your eyes?
C D
Here we go again, askin' where I've been.
C D C-Bm-D7
You can see the tears for real I'm cryin'.
C G Bm C D Em
We can't go on together, with suspicious minds.
Bm C B7 |Em|
And we can't build our dreams, on suspicious minds.
|Bm| C D |Em|
<sparingly> Oh let our love survive. I'll dry the tears from your eyes.
|Bm| C D
Let's don't let a good thing die, when honey, you know I've never, <pause>
G C G D7
Lied to you. Mmm. Yeah <robustly> yeah.
G G C C D
We're caught in a trap. I can't walk out,
C G G
G C C D
Why can't you see, what you're doin' to me,
C G C-G
When you don't believe a word I say?
C G G C C D
Well don’t you know I’m, caught in a trap. I can't walk out,
C G G
C G G C C D
C G G
C G G C C D
C G G
C G G C C D
C G G
C G G C C D
C G G
C G G C C D
C G G
C G |G|
Well don’t you know I’m, caught in a trap.
SUZANNE
Leonard Cohen
https://www.youtube.com/watch?v=svitEEpI07E (Capo 4)
[Two versions here, both in the same key but capo'd at different frets. Leonard's
original is first and afterwards is a version by Joan Baez. Leonard's is easier to play
but Joan's is a bit more "soaring".]
TIP: There's a simple little lick in the intro/outro and after the chorus that's pretty
easy to play so I've left it in. You hold the (C) form throughout. Start with a strum
of (C) and then pick the covered 4th string <e>, add pinky to the 4th string/3rd fret <f>
right under the ring finger, lift off to get back to <e>, and strum (C). Easy.
INTRO: C e – f – e C, e – f – e C, e – f – e C
Suzanne, takes you down, to her place near the river.

Dm
You can hear the boats go by, you can spend the night beside her.
C
And you know that she's half crazy, but that's why you wanna be there.
Em F
And she feeds you tea and oranges that come all the way from China
C Dm
And just when you mean to tell her, that you have no love to give her,
C Dm
Then she gets you on her wave-length, and she lets the river answer
C
That you've always been her lover.
Em F
And you want to travel with her, and you want to travel blind,
C
And you know she will trust you,
Dm C e – f – e C, e – f – e C
For you touched her perfect body with your mind.
And Jesus was a sailor, when He walked upon the water.

Dm
And He spent a long time watching from His lonely wooden tower.
C
And when He knew for certain, only drowning men could see Him,
Em F
He said "All men shall be sailors then until the sea shall free them."
C Dm C
But He Himself was broken, long before the sky would open, forsaken, almost human,
Dm C e – f – e C, e – f – e C
He sank beneath your wisdom like a stone.
Em F
And you want to travel with him, and you want to travel blind,
C
And you think maybe you’ll trust him
Dm C e – f – e C, e – f – e C
For he’s touched your perfect body with his mind.
Now Suzanne takes your hand and she leads you to the river.
Dm
She's wearing rags and feathers from Salvation Army counters,
C
And the sun pours down like honey, on our lady of the harbor.
Em F
And she shows you where to look among the garbage and the flowers
C Dm
There are heroes in the seaweed, there are children in the morning,
C Dm
They are leaning out for love, they will lean that way forever
C
While Suzanne holds the mirror.
Em F
C
And you know you can trust her,
Dm C e – f – e C, e – f – e |C|
For she’s touched your perfect body with her mind.
(Leonard Cohen) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
SUZANNE - Joan Baez
(Cohen)
https://www.youtube.com/watch?v=39eFrEzZmYE (Capo 6)
TIP: You can play uncapo'd in [G] which will match some of Joan's earlier recordings
(but not this one) however you'll have to deal with the (Bm). I usually don't like to
capo this high but this version is the easiest to play and still sounds good up there.
INTRO: C F-C, C
Suzanne takes you down, to her place near the river.

Dm
You can hear the boats go by, you can spend the night forever.
C
And you know that she's half crazy, and that's why you want to be there.
Em F
And she feeds you tea and oranges, that come all the way from China.
C Dm
And just when you mean to tell her, that you have no love to give her,
Dm
She gets you on her wave-length, and she lets the river answer,
C
That you've always been her lover.
Em F
C
And you think you maybe trust her,
Dm C C F-C, C . . .
Cuz she’s touched your perfect body with herrrr mind.
Jesus was a sailor, when He walked upon the water.

Dm
He spent a long time watching, from a lonely wooden tower.
C
And when He knew for certain, only drowning men could see Him,
Em F
He said "All men shall be sailors then, until the sea shall free them."
C
But He Himself was broken, long before the sky would open,
Dm C C F-C, C . . .
Forsake, almost human, He sank beneath your wisdom like a star.
Em F
And you want to travel with him, and you want to travel blind,
C
And you think you maybe trust him
Dm C C F-C, C . . .
Cuz He’s touched your perfect body, with his mind.
Suzanne takes your hand, and she leads you to the river.
Dm
She's wearing rags and feathers, from Salvation Army counters,
C
And the sun pours down like honey, on our lady of the harbor.
Em F
And she shows you where to look among the garbage and the flowers.
C Dm
There are heroes in the seaweed, there are children in the morning,
C
They’re leaning out for love, they will lean that way forever,
C
While Suzanne holds the mirror.
Em F
C
And you think you maybe trust her,
Dm C C F-C, C . . . |C|
Cuz she’s touched your perfect body with her mind.
(Joan Baez) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
SWEET BABY JAMES
James Taylor
https://www.youtube.com/watch?v=iSkaEP2ZqbY (Capo 2)
INTRO: F, Dm, G G
C G F Em Em
There is a young cowboy, he lives on the range.
Am F C Em Em
His horse and his cattle are his only companions.
Am F C Em
He works in the saddle, and he sleeps in the canyons.
F C G Dm Dm G
Waiting for summer, his pastures to change.
F G C
And as the moon rises he sits by his fire,
Am F C G
Thinking about women and glasses of beer.
F G C
And closing his eyes as the dogies retire,
Am F C
He sings out a song which is soft but it's clear,
Dm G G G7 G7
As if maybe someone could hear.
C F G C Am F C C
Goodnight you moonlight ladies. Rockabye sweet baby James.
Am F C
Deep greens and blues are the colors I choose.
Dm G G
Won't you let me go down in my dreams,
F G C C
And rockabye sweet baby James.
G F Em Em
Now the first of December, was covered with snow.
Am F C Em Em
And so was the turnpike from Stockbridge to Boston.
Am F C Em
Though the Berkshires seemed dream-like on account of that frosting.
F C G Dm Dm G7
With ten miles behind me and ten thousand more to go.
F G C
There's a song that they sing, when they take to the highway.
Am F C G
A song that they sing when they take to the sea.
F G C
A song that they sing of their home in the sky.
Am F C
Maybe you can believe it if it helps you to sleep,
Dm G G G7 G7
But singing works just fine for me.
C F G C Am F C C
So goodnight you moonlight ladies. Rockabye sweet baby James.
Am F C
Deep greens and blues are the colors I choose.
Dm G
Won't you let me go down in my dreams,
F G C C |C|
And rockabye sweet baby James.
(James Taylor) (Artist Index) - (Main Index) - (Song Index) (This Song)
SWEET BETSY FROM PIKE - Suzy Bogguss
(Traditional/Stone)
https://www.youtube.com/watch?v=FYFwOOH7tXM (Capo 1)
TIP: This venerable American classic has been recorded multiple times with an equal
number of variations in lyrics. The one here is a based on a version by Suzy Bogguss
which has a sort of harsh storyline to it. At the end are some other popular versions
including one recorded by Tom Roush which is more of a story-telling ballad. Afterwards
is the version I prefer which is a hybrid of the two.
INTRO: G Em C D-G G G
D7 G
Oh do you remember Sweet Betsy from Pike,
Em D D7
Who crossed the wide prairie with her lover Ike.
C D Am G
With two yoke of oxen, an old yellow dog,
D G
A tall Shanghai rooster and a one spotted hog.
D G G G
Singin' dang for dee die doe singin' dang for de day.
D7 G
One evenin' quite early they camped on the Platte,
Em D D7
Was near by the road on a green shady flat.
C D Am G
Where Betsy sore footed, lay down to repose,
D G G G
With wonder Ike gazed on that Pike County rose.
D7 G
The Shanghai ran off and their cattle all died.
Em D D7
That morning the last piece of bacon was fried.
C D Am G
Poor Ike was discouraged, Betsy got mad.
D G G G
The dog drooped his tail and looked wonderously sad.
D7 G
They soon reached the desert where Betsy gave out.
Em D D7
And down in the sand she lay rolling about.
C D Am G
While Ike half distracted, looked on with surprise,
D G
Sayin' "Betsy get up you'll get sand in your eyes."
D G
D7 G
The terrible desert was burning and bare,
Em D D7
And Isaac he drank from the death lurkin' there.
C D Am G
"Dear old Pike County I'll come back to you".
D G G G
Says Betsy "You'll go by yourself if you do."
D7 G
They suddenly stopped on a very high hill.
Em D D7
With wonder looked down on old Plasserville.
C D Am G
Ike sighed when he said, as he cast his eyes down,
D G G G
"Sweet Betsy my darlin' we've got to Hangtown."
D7 G
They swam the wild rivers and climbed the tall peaks.
Em D D7
Camped on the prairies for weeks upon weeks.
C D Am G
Starvation and cholera, hard work and slaughter,
D G
They reached California despite hell-and-high water.
G G D7 G, G Em D D7, C D Am G G D G G
D7 G
Long Ike and Sweet Betsy attended a dance.
Em D D7
Ike wore a pair of his Pike County pants.
C D Am G
Sweet Betsy was dressed up in ribbons and rings.
D G G G
Says Ike, "You're an angel but where are your wings?"
D7 G
Was out on the prairie one bright starry night.
Em D D7
They broke out the whiskey and Betsy got tight.
C D Am G
She sang and she howled and she danced o'er the plains,
D G
And showed her bare legs to the whole wagon train.
D G G G
D7 G
A miner said Betsy will you dance with me?
Em D D7
I will you old hoss if you don't make two-three.
C D Am G
Don't dance me hard, do you wanna know why?
D G G G
Dol gone ye I'm chalked full of strong alkali.
D7 G
Long Ike and sweet Betsy got married of course,
Em D D7
But Ike getting jealous obtained a divorce.
C D Am G
While Betsy well satisfied said with a shout,
D G
"Goodbye you old lummox I'm glad you backed out.
D |G|
<Other popular lyrics>
D7 G
Their wagon broke down with a terrible crash,
Em D D7
And out on the prairie rolled all kinds of trash.
C D Am G
A few little baby clothes done up with care,
D G
Was rather suspicious but all on the square.
D G
Tru low low, oooh low low, oooh low low lah.
D7 G
The Injuns came down in a thundering horde.
Em D D7
And Betsy was scared they would scalp her adored.
C D Am G
So under the wagon bed Betsy did crawl,
D G
And she fought off the Injuns with musket and ball.
D G
D7 G
They stopped at Salt Lake to inquire on the way,
Am D D7
When Brigham declared that sweet Betsy should stay.
C D Am G
Betsy got frightened and ran like a deer,
D G
While Brigham stood pawing the ground like a steer.
D G
D7 G
Sweet Betsy got up in a great deal of pain.
Am D D7
Declared she'd go back to Pike County again.
C D Am G
But Ike gave a sigh and they fondly embraced.
D G
They traveled along with his arm 'round her waist.
D G
D7 G
This Pike County couple got married of course.
Am D D7
Ike built a log cabin and got them a horse.
C D Am G
Besty panned gold in a river nearby.
D G
They lived in that valley til the day that they died.
D |G|
(Suzy Bogguss) (Traditional) (Folk) (Artist Index)

SWEET BETSY FROM PIKE
(Traditional/Stone)
INTRO: G Em C D-G G G
D7 G
Oh do you remember Sweet Betsy from Pike,
Em D D7
Who crossed the wide prairie with her lover Ike.
C D Am G
With two yoke of oxen, an old yellow dog,
D G
A tall Shanghai rooster and a one spotted hog.
D G G G
D7 G
One evenin' quite early they camped on the Platte,
Em D D7
Was near by the road on a green shady flat.
C D Am G
Where Betsy sore footed, lay down to repose,
D G G G
With wonder Ike gazed on that Pike County rose.
D7 G
Their wagon broke down with a terrible crash,
Em D D7
And out on the prairie rolled all kinds of trash.
C D Am G
A few little baby clothes done up with care,
D G G G
Was rather suspicious but all on the square.
D7 G
The Shanghai ran off and their cattle all died.
Em D D7
That morning the last piece of bacon was fried.
C D Am G
Poor Ike was discouraged, Betsy got mad.
D G G G
The dog drooped his tail and looked wonderously sad.
D7 G
The Injuns came down in a thundering horde.
Em D D7
And Betsy was scared they would scalp her adored.
C D Am G
So under the wagon bed Betsy did crawl,
D G
And she fought off the Injuns with musket and ball.
D G G G
D7 G
Was out on the prairie one bright starry night.
Em D D7
They broke out the whiskey and Betsy got tight.
C D Am G
She sang and she howled and she danced o'er the plains,
D G G G
And showed her bare legs to the whole wagon train.
D7 G
A miner said Betsy will you dance with me?
Em D D7
I will you old hoss if you don't make two-three.
C D Am G
Don't dance me hard, do you wanna know why?
D G G G
Dol gone ye I'm chalked full of strong alkali.
G G D7 G, G Em D D7, C D Am G G D G G
D7 G
They stopped at Salt Lake to inquire on the way,
Am D D7
When Brigham declared that sweet Betsy should stay.
C D Am G
Betsy got frightened and ran like a deer,
D G G G
While Brigham stood pawing the ground like a steer.
D7 G
Sweet Betsy got up in a great deal of pain.
Am D D7
Declared she'd go back to Pike County again.
C D Am G
But Ike gave a sigh and they fondly embraced.
D G G G
They traveled along with his arm 'round her waist.
D7 G
They soon reached the desert where Betsy gave out.
Em D D7
And down in the sand she lay rolling about.
C D Am G
While Ike half distracted, looked on with surprise,
D G G G
Sayin' "Betsy get up you'll get sand in your eyes."
D7 G
The terrible desert was burning and bare,
Em D D7
And Isaac he drank from the death lurkin' there.
C D Am G
"Dear old Pike County I'll come back to you".
D G
Says Betsy "You'll go by yourself if you do."
D G G G
D7 G
They suddenly stopped on a very high hill.
Em D D7
With wonder looked down on old Plasserville.
C D Am G
Ike sighed when he said, as he cast his eyes down,
D G G G
"Sweet Betsy my darlin' we've got to Hangtown."
D7 G
They swam the wild rivers and climbed the tall peaks.
Em D D7
Camped on the prairies for weeks upon weeks.
C D Am G
Starvation and cholera, hard work and slaughter,
D G G G
They reached California despite hell-and-high water.
D7 G
Long Ike and Sweet Betsy attended a dance.
Em D D7
Ike wore a pair of his Pike County pants.
C D Am G
Sweet Betsy was dressed up in ribbons and rings.
D G G G
Says Ike, "You're an angel but where are your wings?"
D7 G
Long Ike and sweet Betsey got married of course.
Am D D7
Ike built a log cabin and got them a horse.
C D Am G
Besty panned gold in a river nearby.
D G
They lived in that valley til the day that they died.
D G G |G|
(Traditional) (Folk) (Artist Index) - (Main Index) - (Song Index) (This Song)
SWEET CAROLINE
Neil Diamond
https://www.youtube.com/watch?v=jzXt7YvK9Hw (Capo 4)
TIP: The chords in |brackets| mean strike once (or two or three times as indicated)
which emulate the horns prior to the chord.
INTRO: D-Am, Am Am; Am Am; Am-Am7, Am- Am7 D G D; |G|-|G|
G G |C|-|C| C
Where it began, I can't begin to knowin',
|G|-|G| G D D
But then I know it's growin' strong.
|G|-|G| G G |C|-|C| C
Was in the spring, then spring became the summer.
|G|-|G| G D D
Who'd a believed you'd come along?
G Em D C D C-D
Hand. Touchin' hands. Reachin' out. Touchin' me. Touchin' you.
G C |C|-|C|-|C| C Am7 D D C-D

Sweet Caroline, good times never seemed so good.
G C |C|-|C|-|C| C Am7 D C Bm Am
I've been inclined, to believe they never would but now I,
|G|-|G| G G |C|-|C| C
Look at the night, and it don't seem so lonely.
|G|-|G| G D D
We fill it up with only two.
|G|-|G| G G |C|-|C| C
And when I hurt, hurtin' runs off my shoulders.
|G|-|G| G D D
How can I hurt when holdin' you?
G Em D C D C-D
Warm. Touchin' warm. Reachin' out. Touchin' me. Touchin' you.

G C |C|-|C|-|C| C Am7 D C Bm Am
I've been inclined, to believe they never would oh no no.
D-Am, Am Am; Am Am; Am-Am7, Am- Am7 D G D

Sweet Caroline, I believe they never could.
G C |C|-|C|-|C| C Am7 D D C-D-G
SWING LOW SWEET CHARIOT
Traditional
TIP: Several different versions of the lyrics exist.
TIP: Either the (D7) or a (D) will work.
G C G D7
Swing low sweet chariot, coming forth to carry me home.
G C G D7 G
Swing low, sweet chariot, coming forth to carry me home.
C G D7
I looked over Jordan and what did I see, coming forth to carry me home?
G C G D7 G
A band of angels coming after me-ee, coming forth to carry me home.
G C G D7
G C G D7 G
C G D7
Sometimes I'm up, and sometimes I'm down, coming forth to carry me home.
G C G D7 G
But still my soul feels heavenly bou-ound, coming forth to carry me home.
G C G D7
G C G D7 G
C G D7
The brightest day, that I can say, coming forth to carry me home.
G C G D7 G
When Jesus washed my sins a way-ay, coming forth to carry me home.
G C G D7
G C G D7 G
C G D7
If I get there, before you do, coming forth to carry me home.
G C G D7 G
I'll cut a hole and pull you through-ooh, coming forth to carry me home.
G C G D7
G C G D7 G
C G D7
If you get there, before I do, coming forth to carry me home.
G C G D7 G
Tell all my friends I'm coming too-ooh, coming forth to carry me home.
G C G D7
G C G D7 G
(Traditional) (Spiritual) (Artist Index) - (Main Index) - (Song Index) (This song)
SYLVIA’S MOTHER – Dr. Hook
(Silverstein)
https://www.youtube.com/watch?v=QN_89-_K3f0 (Capo 0)(MC0)
INTRO: A, D-A; A, D-A
E
Sylvia's mother, says Sylvia's busy. Too busy to come to the phone.
A
Sylvia's mother says, Sylvia's tryin', to start a new life of her own.
D A E A
Sylvia's mother says, Sylvia's happy. So why don't you leave her alone?
E
And the op,erator says 40 cents more, for the next, three, minutes.
D A E A
Pleee-eease Mrs Avery I just gotta talk to her. I'll only keep her a while.
D A E
Please Mrs Avery I, just wanna tell 'er, goodbye.
A E
Sylvia's mother says, Sylvia's packin'. She's gonna be leavin' today.
A
Sylvia's mother, says Sylvia's marryin', a fella down Galveston way.
D A E A
Sylvia's mother says, please don't say nothin', to make her start cryin' and stay.
E
And the operator says 40 cents more, for the next, three, minutes.
D A E A
Pleee-eease Mrs Avery I, just gotta talk to her. I'll only keep her a while.
D A E
A E
Sylvia's mother says, Sylvia's hurryin'. She's catchin' the nine o'clock train.
A
Sylvia's mother says, take your umbrella. 'Cause Sylvia it's startin' to rain.
D A E A
And Sylvia's mother says, thank you for callin'. And sir won't you call back again?
E
And the op,erator says 40 cents more, for the next, three, minutes.
D A E A
Pleee-eease Mrs Avery I, just gotta talk to her. I'll only keep her a while.
D A E
A
Tell her goodbye. Please, tell her goodbye. Tell her goodbye.
(Dr. Hook) (Artist Index) - (Main Index) - (Song Index) (This Song)
TAKE A MESSAGE TO MARY – The Everly Brothers
(Bryant/Bryant)
https://www.youtube.com/watch?v=_Hkx_CDExfI (Capo 4)
TIP: In the intro, one strum each for the chords in |brackets|.
INTRO: |C| |C|

These are the words of a frontier lad,
|Em| |G| C
Who lost his love, when he turned ba–ad.
G7 C
Take a message to Mary, but don't tell ‘er where I am.
G7 C
Take a message to Mary, but don't say I'm in a jam.
Am Em Am D7 G G7
You can tell her I had to see the world, or tell ‘er that my ship set sail.
C Em F C Am G Am
You can say she better not wait for me but don't tell her I'm in jail.
C G7 C
Oh don't tell her I'm in jail.
G7 C
Take a message to Mary, but don't tell ‘er what I've done.
G7 C
Please don't mention the stagecoach, and the shot from a careless gun.
Am Em Am D G G7
You can tell her I had to change my plans, and cancel out the wedding day.
C Em F C Am G Am
But please don't mention my lonely cell, where I'm gonna pine a way.
C G7 C
Until my dying day.
G7 C
Take a message to Mary, but don't tell ‘er all you know.
G7 C
My heart's achin’ for Mary, Lord knows I miss her so.
Am Em Am D G G7
Just tell her I went to Timbuktu. Tell her I'm searchin’ for gold.
C Em F C Am G Am
You can say she better find someone new, to cherish and to hold.
C G7 C
Oh Lord this cell is cold.
Am C G7 C
Marrr-ry, Marrr-arr-ry. Oh Lord this cell is cold.
(The Everly Brothers) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
TAKE IT EASY - Eagles
(Browne/Frey)
https://www.youtube.com/watch?v=VzEmHYEggxM (Capo 0)
TIP: The intro is strike once and strum. Strike |G|, then strum (G) lightly; then
strike |C|, and strum (C) lightly; end with a strike of |D| and strum (D) lightly.
Repeat. Then it's (G) (brief pause), (G) (brief pause) and 5 single-strums of (G) down-
up-down-up-down.
INTRO: |G| G, |C| C, |D| D; |G| G, |C| C, |D| D; |G| |G|, |G|-|G|-|G|-|G|-|G|
D C
Well I'm runnin' down the road tryin' to loosen my load I’ve got seven women on my mind.
G D C G
Four that wanna own me two that wanna stone me one says she's a friend of mine.
Em G C G
Take it ea sy, take it ea sy.
Am C Em
Don't let the sound of your own wheels drive you crazy.
C G C G
Lighten up while you still can, don't even try to understand.
Am C G |G| |G|, |G|-|G|-|G|-|G|-|G|
Just find a place to make your stand, and take it easy.
D C
Well I'm a standing on a corner in Winslow Arizona it's such a fine sight to see.
G D C G
It's a girl my Lord in a flatbed Ford slowin' down to take a look at me.
Em G C G
Come on ba by, don't say maybe.
Am C Em
I gotta know if your sweet love is gonna save me.
C G C G
We may lose and we may win, but we will never be here again.
Am C G
So open up I'm climbin' in. So take it easy.
G G G D-C, G D C G, Em D C G Am C Em Em-D
G
Well I'm runnin' down the road trying to loosen my load
D C
Got a world of trouble on my mind.
G D C G
Lookin' for a lover who won't blow my cover she's so hard to find.
Em G C G
Take it ea sy, take it ea sy.
Am C Em
Don't let the sound of your own wheels make you crazy.
C G C G
Come on ba by, don't say maybe.
Am C |G|
I gotta know if your sweet love is gonna saaaave me.
C G
Oooh ooh, oooh ooh. Oooh ooh, oooh oh.
C G G- C
Oooh ooh, oooh oh we got it ea - e - sy.
G G- C |C|-|C|-|C|-|D|-|Em|
We ought to take it ea - e - sy.

TAKE IT TO THE LIMIT - Eagles
(Meisner/Frey/Henley)
https://www.youtube.com/watch?v=tJkW0Clsvrk (Capo 4)
INTRO: G, G C C; G, G D C
G C
All alone at the end of the of the evening.
G C
And the bright lights have faded to blue.
G B7 Em D
I was thinkin' 'bout a woman who might have loved me, and I never knew.
G C
You know I've always been a dreamer, spent my life running around.
G C
And it's so hard to change. Can't seem to settle down.
Am Am C
But the dreams I've seen lately,
Am D C D C D
Keep on turnin' out, and burnin' out, and turnin' out the sa-ame.
C G C G
So put me on a highway, and show me a sign.
|C| |D| G G C, C G, G D C
And take it, to the limit, one more time.
G C
You can spend all your time makin' money.
G C
You can spend all your love making time.
G B7 Em D
If it all fell to pieces tomorrow, would you-still be mine?
G C
And when you're looking for your freedom, nobody seems to care,
G C
If you can't find the door. Can't find it anywhere.
Am Am C
When there's nothing to believe in,
Am C C D C D
Still you're comin' back, you're runnin' back, you're comin' back for mor-ore.
C G C G
So put me on a highway, and show me a sign,
|C| |D| Em D
And take it, to the limit, one more ti-ime.
C D C D
Take it, to the limit, take it, to the limit,
|C| |D| G
Take it, to the limit, one more time.
C D C D
Take it, to the limit (pleeeease), take it, to the limit.
C D G
Come on take it, to the limit, one more time.
C D C D
Take it, to the limit, take it, to the limit,
C D G
Take it to the limit one more time.

TAKE ME HOME COUNTRY ROADS
John Denver
https://www.youtube.com/watch?v=1vrEljMfXYo (Capo 2)
TIP: An alternative opening would be to skip the intro completely and play a single
chord strum for each chord throughout the first verse, and then begin a normal cadence
strum for the rest of the song beginning with the 1st chorus.
INTRO: G, G; G-Gadd Gadd G
Em D C G
Almost heaven, West Virginia. Blue Ridge Mountains, Shenandoah River.
Em
Life is old there, older than the trees.
D C G
Younger than the mountains, growin’ like a breeze.
D Em C
Country Roads, take me home, to the place, I belong.
G D C G
West Virginia, mountain Momma, take me home, country roads.
Em D C G
All my mem'ries, gather 'round her. Miner's lady, stranger to blue water.
Em
Dark and dusty, painted on the sky.
D C G
Misty taste of moonshine teardrop in my eye.
D Em C
G D C G
Em D G
I hear her voice in the mornin' hour as she calls me.
C G D
The radio reminds me of my home far away.
Em F C G D
And drivin' down the road I get a feelin' that I should have been home yesterday,
D7
Yesterday.
D Em C
G D C G
D Em C
G D C G
D G D G D G-C-G
Take me home, country roads. Take me home, country roads.
TAKE ME TO THE RIVER - Eva Cassidy
(Green/Hodges)
https://www.youtube.com/watch?v=bQJxRRv3R_c (Capo 0)
TIP: The Talking Heads version is more popular, and Annie Lennox also did a nice cover
too, but Eva Cassidy's version is more high energy and that's the version I've gone with.
TIP: The first chord is (E7-full) which is just (E) with your pinky added to the 2nd
string/3rd fret. Just tickle it for a measure or so at the very beginning. The rest of
the intro is a walk up/walk down done four times, two strums on the (E), one strum each
on the (A) and (D).
TIP: The (E)(D)(A)-(E) lick is a little tricky to get comfortable with and Eva's jazzy
style can be a little hard to follow but just stick with it.
INTRO: E7-Full; E A D A, E A D A, E A D A, E A D A
E D A-E
I don't know why, I love you like I do,
D A-E
After all the changes you put me through.
D A-|E|
You stole my money, my cigarettes.
C G
I haven't seen the worst of it yet I want to know, boy now won't you tell me.
D E A A
Tell me how, how can I stay, here with you?
E D-A E D-A E
Won't you take me to the river, wash me down,
D-A D A E |D| |A|
Take me to the river put my feet back on the ground yeah yeah.
E D A D-E
I don't know why you treat me so bad.
A D-E
After all the good times, that we've had.
D A
Your sixteen candles that burn on my wall.
|A| C G
Now who's the biggest fool of us all I want to know, won't you tell me,
D A A
Tell me how, can I stay, here with you?
E D-A E D-A E
D-A D A E
Bm4 A Bm4 A
Hold me, squeeze me, love me, and you can tease me,
G B E E E E
Til I can't, take no more. Hold me til I can't yeah.
D A-E
I don't know why, I love you like I do.
A D A-E
After all the changes, you put me through.
D A
Love is a notion I can't forget.
|A| C G
My sweet sixteen I would never regret I want to know, won't you tell me,
D A A
Tell me how, can I stay, here with you.
E D-A E D-A E
D-A D A E D-A E
D-A E D D E D-A D
Take me to the river, wash me down, won’t you take me to the river
A E D A-E,
Put my feet back on the ground yeah yeah.
E E D A-E, E E D A-E, E E D A-E, E E, |D| |A| |E| <trill> |E|
(Eva Cassidy) (Artist Index) - (Main Index) - (Song Index) (This Song)
TAMMY - Debbie Reynolds
(Livingston/Evans)
https://www.youtube.com/watch?v=ew3mtNZFrMY (Capo 1)
[Afterwards in [C] which may be easier to play although you'd have to capo 8 to play
along with Debbie.]
FUN FACT: As an 11-year-old I fell madly in love with our 17-year-old blonde-haired,
blue-eyed babysitter while watching "Tammy" and "Where the Boys Are" with her.
TIP: The (Gm) only appears in the intro.
INTRO: E A Gm Am Am7
G Bm C G Bm Em Am D7
I hear the cottonwoods whisperin' above. Tammy, Tammy, Tammy's in love.
G Bm C G Bm Em D7 G
The ol’ hooty owl hooty hoos to the dove. Tammy, Tammy, Tammy’s in love.
C A D7
Does my lover feel, what I feel, when he comes near?
B7 Em C Bm Em D
My heart beats so joyfully, you'd think that he, could hear.
G Bm C G
Wish, I knew, if he knew, what I'm dreamin' of.
Em Bm D7 G
Tammy, Tammy, Tammy's in love.
G C G Am7 D7
G Bm C G Bm Em Am D7
Whippoorwill whippoorwill you and I know. Tammy, Tammy, can’t let him go.
G Bm C G Bm Em Am G
The breeze from the bayou keeps murmuring low. Tammy, Tammy, you love him so.
C A D7
When the night is warm, soft and warm, I long for his charms.
B7 Em C Bm Em D
I'd sing like a violin, if, I were in his arms.
G Bm C G
Wish, I knew if he knew, what I'm dreamin' of.
Em Bm D7 G G Bm C G Em Bm D7 D G
(Debbie Reynolds) (Artist Index) - (Main Index) - (Song Index) (This Song)
TAMMY - Debbie Reynolds
(Livingston/Evans)
TIP: The (Bm) appears only in the intro.
INTRO: A D Bm Dm Dm7
C Em F C Em Am Dm G7
I hear the cottonwoods whisperin' above. Tammy, Tammy, Tammy's in love.
C Em F C Em Am G7 C
The ol’ hooty owl hooty hoos to the dove. Tammy, Tammy, Tammy’s in love.
F D G7
Does my lover feel, what I feel, when he comes near?
E7 Am F Em Am G
My heart beats so joyfully, you'd think that he, could hear.
C Em F C
Wish, I knew, if he knew, what I'm dreamin' of.
Am Em G7 C
C F C Dm7 G7
C Em F C Em Am Dm G7
Whippoorwill whippoorwill you and I know. Tammy, Tammy, can’t let him go.
C Em F C Em Am Dm C
The breeze from the bayou keeps murmuring low. Tammy, Tammy, you love him so.
F D G7
When the night is warm, soft and warm, I long for his charms.
E7 Am F Em Am G
I'd sing like a violin, if, I were in his arms.
C Em F C
Wish, I knew if he knew, what I'm dreamin' of.
Am Em G7 C
C Em F C Am Em G7 Gadd C
(Debbie Reynolds) (Artist Index) - (Main Index) - (Song Index) (This Song)
TANGLED UP IN BLUE
Bob Dylan
https://www.youtube.com/watch?v=QKcNyMBw818 (Capo 0)
TIP: Widely regarded as Dylan's masterpiece for how he spins time, and as poetry it's
brilliant, but as the narrative of a failed relationship and hopes to reclaim it it's
disjointed since the verses are out of chronological order. Chronologically the order is
verse 4, 5, and 6 (first meeting and life together), then verse 2 and 3 (recalling the
split and his time thereafter), then the 1st verse and last verse (envisioning
reconciliation).
TIP: For the (Asus4) in the intro you can either slide your ring finger up one fret or
simply add and remove your pinky. And if you play the (F#m) like you would an (A),
instead of an index barre, you can then just move up one string-set for the (A) that
follows.
TIP: At the end the harmonica just repeats the chords.
INTRO: |A| A Asus, |A| A Asus, |A| A Asus, |A| A Asus
A G A G
Early one mornin' the sun was shinin'. I was layin' in bed.
A G D
Wonderin' if she'd changed at all if her hair was still red.
A G A G
Her folks they said our lives together, sure was gonna be rough.
A G D
They never-did-like mama's homemade dress papa's bank book wasn't big enough.
E F#m A D
And I was standin' on the side of the road, rain fallin' on my shoes.
E F#m A D E
Heading out for the east coast Lord knows I've paid some dues gettin' through.
|G| |D| |A| A Asus, |A| A Asus, |A| A Asus, |A| A Asus
Tangled up in blue.
A G A G
She was married when we first met. Soon to be divorced.
A G D
I helped her out of a jam I guess but I used a little too much force.
A G A G
We drove that car as far as we could abandoned it out west.
A G D
Split up on a dark sad night both agreeing it was best.
E F#m A D
She turned around to look at me as I was walkin' away.
E F#m A D E
I heard her say over my shoulder we'll meet again someday on the avenue.
Tangled up in blue.
A G A G
I had a job in the great north woods, working as a cook for a spell.
A G D
But I never did like it all that much and one day the axe just fell.
A G A G
So I drifted down to New Orleans where I was looking for to be employed.
A G D
Workin' for a while on a fishin' boat right outside of Delacroix.
E F#m A D
But all the while I was alone the past was close behind.
E F#m A D E
I seen a lot of women, but she never escaped my mind and I just grew.
Tangled up in blue.
A G A G
She was workin' in a topless place and I stopped in for a beer.
A G D
I just kept lookin' at the side of her face in the spotlight so clear.
A G A G
And later on as the crowd thinned out I's just about to do the same.
A G D
She was standing there in back of my chair said to me "Don't I know your name?"
E F#m A D
I muttered somethin' under my breath she studied the lines on my face.
E F#m A D E
I must admit I felt a little uneasy when she bent down to tie the laces of my shoe.
Tangled up in blue.
A G A G
She lit a burner on the stove and offered me a pipe.
A G D
I thought you'd never say hello she said you look like the silent type.
A G A G
Then she opened up a book of poems and handed it to me.
A G D
Written by an Italian poet from the thirteenth century.
E F#m A D
And everyone of them words rang true and glowed like burnin' coal.
E F#m A D E
Pourin' off of every page like it was written in my soul from me to you.
Tangled up in blue.
A G A G
I lived with them on Montague Street in a basement down the stairs.
A G D
There was music in the cafés at night and revolution in the air.
A G A G
Then he started into dealing with slaves and somethin' inside of him died.
A G D
She had to sell everything she owned and froze up inside.
E F#m A D
And when finally the bottom fell out I became withdrawn.
E F#m A D E
The only thing I knew how to do was to keep on keepin' on like a bird that flew.
Tangled up in blue.
A G A G
So now I'm goin' back again, I got to get to her somehow.
A G D
All the people we used to know they're an illusion to me now.
A G A G
Some are mathematicians, some are carpenters' wives.
A G D
Don't know how it all got started I don't know what they're doin' with their lives.
E F#m A D
But me I'm still on the road, headin' for another joint.
E F#m A D E
We always did feel the same we just saw it from a different point of view.
Tangled up in blue.
<harmonica> A G A G, A G D D, A G A G, A G D D
E F#m A D, E F#m A D E, |G|-|D|-|A|
TAXI
Harry Chapin
https://www.youtube.com/watch?v=4qYU9b5OF8M (Capo 0)(MC0)
TIP: To go from (C) to (C7) add your pinky to the 3rd string/3rd fret.
TIP: At the end of the verse there's a sequence where you single-strum the chord. Don't
overthink it, just drop your pick across the strings. (F4) is actually (G#) but played
with an (F) shape on the 4th fret.
TIP: In the bridge there's an (Am)-(Asus2)-(Am) sequence. Just lift off the bottom
string to go from (Am) to (Asus2) and back.
INTRO: C
C7 C
It was raining hard, in 'Frisco. I needed one more fare to make my night.
|Bb| |F4| C
A lady up ahead waved to flag me down. She got in at the light.
C7 C
Oh where you going to, my lady blue? It's a shame you ruined your gowwwn in the rain.
|Bb| |F4| C
She just looked out the window, she said "Sixteen Parkside Lane.
<cello> <firmly> C, C Bb D, C C D7
D D7 D
Somethin' about her was familiar, I could swear I'd seen her face before.
|C| |Bb| D
But she said, "I'm sure you're mistaken,” and she didn't say anything more.
It took a while, but she looked in the mirror.

D7 D
Then she glanced at the license for my name.
|C| |Bb| D
A smile seemed to come to her slowly. It was a sad smile just the same.
G D C G D
And she said, "How are ya Harry?" I said, "How are ya Sue?
G Em D Bm Em A D
Through the too many miles and the too little smiles, I still-ill remember you.
<cello> D D D7 D7 D D, C-|Bb|-D D
D7 D
It was somewhere, in a fairy tale, I used to take her home in my car.
|C| |Bb| D
We learned about love in the back of the Dodge, the lesson hadn't gone too far.
G Em D Bm
You see, she was gonna be an actress, and I was gonna learn to fly.
G D |C| |Bb| D
She took off to find the footlights, and I took off to find the sky.
<cello> D D C C, <galloping> C C
Bm E7
Whoa I've got, something inside me, to drive a princess blind.
Am Asus2 Am Asus2 Am D Em Em
There's a wild man wiz ard he's hiding in me, illuminating my mind.
C Bm E7
Oh I've got, something inside me, not what my life's about.
Am Asus2 Am Asus2 Am F Gm
'Cause I've been lettin' my outside tide me over 'till my time, runs out.
<cello> Gm Gm F F F
C Gm C7
Baby's so high that she's skyin'. Yes she's flyin', afraid to fall.
F Em Am Gm
I'll tell you why baby's cryin', 'cause she's dyin', aren't we all?
D, D, D, D
D7 D
There was not much more for us to talk about, whatever we had once was gone.
|C| |Bb| D
So I turned my cab into the driveway, past the gate and the fine trimmed lawns.
D7 D
And she said, “We must get together,” but I knew it'd never be arranged.
|C| |Bb| D
And she handed me twenty dollars for a two-fifty fare she said, “Harry, keep the change.”
D7 D
Well another man mighta been angry, and another man mighta been hurt.
|C| |Bb| D
But another man never woulda let her go. I stashed the bill in my shirt.
G D C D
And she walked away in silence. It's strange how you never kno-oww.
G D Em A D
But we'd both gotten what we'd asked for, such a lonnnn-nnng long time ago.
D7 D
You see, she was gonna be an actress, and I was gonna learn to fly.
|C| |Bb| D
She took off to find the footlights, I took off for the sky.
G Em D Bm
And there, she's actin' happy, inside her handsome home.
G D |C| |Bb| D D
And me, I'm flying in my taxi, taking tips, and getting stoned.
Em A D D . . . |D|
I go flyyyyyyyin' so high, when I'm stoned.
TEACH YOUR CHILDREN – Crosby, Stills, Nash & Young
(Nash)
https://www.youtube.com/watch?v=EkaKwXddT_I (Capo 0)
INTRO: D, G, D, A |A|
D G D A
You, who are on the road. Must have a code, that you can live by.
D G D A
And so, become yourself, because the past, is just a goodbye.
D G D A
Teach, your children well, their father’s hell, did slowly go by.
D G D A
And feed, them on your dreams. The one they picks, the one you’ll know by.
D G D
Don’t you ever ask them why. If they told you you will cry.
Bm G A D D
So just look at them and sigh-igh-igh. And know they love you.
G G D D A |A|
D G D A
And you, of tender years. Can’t know the fears, that your elders grew by.
D G D A
And so please help, them with your youth. They seek the truth, before they can die.
D G D A
Teach, your parents well, their children’s hell, did slowly go by.
D G D A
And feed, them on your dreams. The one they picks, the one you’ll know by.
D G D
Don’t you ever ask them why. If they told you you will cry.
Bm G A D D
So just look at them and sigh-igh-igh. And know they love you.
G G D D A |A|
(Crosby, Stills, Nash & Young) (Artist Index) - (Main Index) - (Song Index) (This Song)
TEDDY BEAR – Elvis Presley
(Mann/Low)
https://www.youtube.com/watch?v=NkDbk-egHH4 (Capo 0)
TIP: The first set of intro chords are played as rapidly as you can.
INTRO: G – F – C – F - G
C F C
Ah baby let me be, your lovin' Teddy Bear.
F C
Put a chain around my neck, and lead me anywhere.
|G7| C
Oh let me be, your-or Teddy Bear.
F G F G
I don't wanna be your tiger, 'cause tigers play too rough.
F G F G C |C|
I don't wanna be your lion, 'cause lions ain't the kind you, love enough.
NC C
Just wanna be, yourrr Teddy Bear.
F C
|G7| C
F C
Baby let me be, around you every night.
F C
Run your fingers through my hair, and cuddle me real tight
|G7| C
Oh let me be, your Teddy Bear.
F G F G
I don't wanna be your tiger, 'cause tigers play too rough.
F G F G C |C|
I don't wanna be your lion, 'cause lions ain't the kind you, love enough.
NC C
Just wanna be, your Teddy Bear.
F C
|G7| C
G7 C
Oh let me be, (oh let him be your Teddy Bear).
|C|
I just want to be your Teddy Bear.
THE TENNESSEE WALTZ – Patsy Cline/Tom Jones/Anne Murray
(Stewart/King)
https://www.youtube.com/watch?v=L_PRWKS1his Patsy Cline (Capo 2)
https://www.youtube.com/watch?v=Iy3vgDPAuVU Tom Jones with The Chieftains (Capo 2)
https://www.youtube.com/watch?v=hP4K3aZ4YtQ Anne Murray (Capo 4)
[There are many versions of the classic old tune. The lyrics and musical pacing here is
based on Tom Jones' version because I like how he finishes (although I didn't include the
Chieftain's outro). For Patsy and Anne the lyrics may be slightly different but the
music is the same. Both of their versions end before the reprise included here.]
TIP: The (C7) will follow (C) so just hold the (C) and add your pinky to the 3rd
string/3rd fret.
INTRO: C G C
C7 F
I was dancin', with my darlin', to the Tennessee Waltz.
C Am D7 G
When an old friend I happened to see.
C C7 F
Introduced him, to my darlin', and while they were dancin',
C G7 C
My friend stole my sweetheart, from me.
E7 F C
I remember the night and the Tennessee Waltz.
D7 G
Now I know just how much, I have lost.
C C7 F
Yes I lost my, little darlin', the night they were playin',
C G7 C
The beautiful Tennessee Waltz.
C C7 F C Am D7 G, C C7 F C G7 C
E7 F C
I remember the night and the Tennessee Waltz.
D7 G
Now I know just how much, I have lost.
C C7 F
Yes I lost my, little darlin', the night they were playin',
C G7 C
The beautiful Tennessee Waltz.
C C7 F C Am D7 G
C C7 F
Yes I lost my little darlin' the night they were playin',
C G C F C G7 C
The beautiful, the wonderful, the marvelous, the glorious, the beautiful Tennessee Waltz.
(Patsy Cline)(Tom Jones)(Anne Murray) (Artist Index)

TEQUILA SUNRISE - Eagles
(Henley/Frey)
https://www.youtube.com/watch?v=1K0N7UaZpz8 (Capo 0)
INTRO: G Em, G Em, G Em, G Em, Em, D, G Em, G Em G
D Am D
It's another tequila sunrise, starin' slowly 'cross the sky.
G Em G Em G
Said goodbye.
D Am D
He was just a hired hand, workin' on the dreams he planned to try.
D7 G Em G
The days go by.
Em G Em C Em
Ev'ry night when the sun goes down, just another lonely boy in town,
Am D D7
And she's out runnin' 'rou-ond.
G D Am D
She wasn't just another woman, and I couldn't keep from comin' on.
G Em G Em G
It's been so long.
D Am D
Oh and it's a hollow feelin', when it comes down to dealin' friends.
D7 G Em G
It never ends.
Gadd Gadd D D Am D G D
Am D Bm E Am B7
Take another shot of courage, wonder why the right words never come.
Em A
You just get numb.
G D Am D7
It's another tequila sunrise, this old world still looks the same.
G F G G Gadd |Gadd|
Another frame. Mmmm.

TEXARKANA - R.E.M.
https://www.youtube.com/watch?v=jP--MxYzTuo (Capo 0)
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 <up> or <down>.
INTRO: Em G Bm Bm, Em A G G; Em G Bm Bm, Em A G G
Em G Bm Em A G G
Twenty-thousand miles to an oasis. Twenty-thousand years will I burn.
Em G Bm Bm Em A G G
Twenty-thousand chances I wasted. Waiting for the moment to tur-urn.
C D Bm
I would give my life to find it, I would give it all.
C Am Em D, Em D
Catch me if I fall.
Em G Bm Bm Em A G G
Walking through the woods I have faced it. Looking for something to learn.
Em G Bm Bm Em A G G
Thirty-thousand thoughts have replaced it. Never in my time to retur-urn.
C D Bm
C D Em D, Em D
Catch me if I fall.
A A G G A A G G-A D D G D D E
All alone. Waiting to fall.
Em G Bm Bm Em A G G
Forty-thousand stars in the evening. Look at them fall from the sky.
Em G Bm Bm Em A G G
Forty-thousand reasons for living. Forty-thousand tears in your eye-eye.
C D Bm
C Am Em D, Em D Em Em D Em
Catch me if I fall. Catch me if I fall.
D Em D
Catch me if I fall/Catch me if I fall.
Em D Em D
Catch me if I fall/Catch me if I fall/Catch me if I fall <down>.
Em D Em D Em D D D
Catch me if I fall <up>. Catch me if I fall <down>. Catch me if I fall <up>.

TEXAS RIVER SONG
Lyle Lovett
https://www.youtube.com/watch?v=syQRcMjISYw (Capo 1)
D G D
We crossed the wild Pecos, we forded the Nueces,
A
We swum the Guadalupe and we followed the Brazos.
D G D
Red River runs rusty, the Wichita clear.
A D
But down by the Brazos I courted my dear.
G D
Singing lie da lie lee da lee, lend me your hand.
A D
Lie da lie lee da lee, lend me your hand.
G D
Lie lie lie lee lee lee, lend me your hand,
A D
There's many a river that waters the land.
G D
Now the fair Angelina, runs glossy and gliding.
A A7
The crooked Colorado runs weaving and winding.
D G D
The slow San Antonio, courses the plains,
A D
But I never will walk by the Brazos again.
G D
A D
G D
A D
G D
Well she kissed me and she hugged me. She called me her dandy.
A A7
The Trinity is muddy but the Brazos quicksandy.
D G D
She kissed me and she hugged me. She called me her own.
A D
But down by the Brazos she left me alone.
G D
A D
G D
A D
D G D D A D, D G D D A D D
G D
Now the girls of Little River, they're plump and they're pretty.
A A7
The Sabine and the Sulphur hold beauties a-many.
D G D
The banks of the Neches, there's girls by the score.
A D
But down by the Brazos I'll wander no more.
G D
A D
G D
A D
G D
A D
G D
A D
THANK GOD FOR THE RADIO – Alan Jackson/The Kendalls
(Barnes/Jones)
https://www.youtube.com/watch?v=naA57eeGVns Alan Jackson (Capo 0)
https://www.youtube.com/watch?v=bBJKHWEdfOI The Kendalls (Capo 0)
[Both versions are very similar in music and lyrics but this is based on Alan's
recording.]
TIP: In the intro, strum once for each chord ahead of singing the following word.
INTRO: |D| |Bm|

On the wrong end of the highway, when the long night has no end.
|G| |A7|
When there's no one there beside me, 'til I hold you once a gain.
NC D A
Thank God for the radio. When I'm on the road.
G A D A
When I'm far from home, and feelin' blue.
D A
Thank God for the radio. Playin' all night long.
G A D
Playin' all the songs that mean so much, to me and you.
A D
There's a song, that we first danced to.
A D
And there's a song, they played the night we met.
Bm G D
And there's a song, we first made love to.
G A D
That's a song, I'll never forget.
D A
So thank God for the radio. When I'm on the road.
G A D A
When I'm far from home, feelin' blue.
D A
G A D
D A, G A D A; D A, G A D
A
Thank God for the radio. When I'm on the road.
G A D A
When I'm far from home, feelin' blue.
D A
G A D
G A D
|D|
Thank God for the radi-o.
(Alan Jackson) (The Kendalls) (Artist Index) - (Main Index) - (Song Index) (This Song)
THAT’S ALL RIGHT MAMA – Elvis Presley
(Crudup)
https://www.youtube.com/watch?v=NmopYuF4BzY (Capo 0)
INTRO: A A
Well that's all right mama. That's all right for you.
A7 D
That's all right mama just anyway you do that's all right. That's all right.
E A
That's all right now mama anyway you do.
Well Mama she done told me, Papa done told me too,
A7 D
“Son that gal you're foolin' with she ain't no good for you” but that's all right.
E A
That's all right. That's all right now mama anyway you do.
A A A A7, D D E E A
I'm leaving town here baby. I'm leaving town for sure.
A7 D
Well then you won't be bothered with me hangin' round your door but that's all right.
E A
That's all right. That's all right now mama anyway you do.
D
Ah da da dee, de de de dee. Dee, de de de dee. Dee de de de dee I'll meet you up there,
E A A A A |A|
That's all right, that's all right now mama anyway you do.
THAT’S AMORE – Dean Martin
(Warren/Brooks)
https://www.youtube.com/watch?v=OnFlx2Lnr9Q (Capo 0)
TIP: There's a key shift midway through which will require placement of a capo at the
1st fret to continue playing with the recording.
TIP: For the intro strum the first three chords rapidly in a saw-like manner.
TIP: When transitioning from the (E) to the (F#7) and then to the (F#) think (F) chord
and then just don’t roll your index finger over to form the mini-barre like you normally
would to play (F) and you’ve got (F#7). Then play the (F) on the same fret which will be
(F#).
INTRO: |Am| Am |Dm| Dm |Am| Am

In Napoli, where love is king, when boy meets girl,
|E| E |E| E |E| E A A A
Here's what they say.
NC A E
When the moon hits your eye like a big pizza pie that's amore.
A
When the world seems to shine like you've had too much wine that's amore.
E
Bells will ring ting-a-ling-a-ling ting-a-ling-a-ling and you'll sing "Vita bella."
A
Hearts will play tippy-tippy-tay tippy-tippy-tay like a gay tarantella.
NC A E
When the stars make you drool just like a pasta fazool that's amore.
D F#7 F#
When you dance down the street with a cloud at your feet you're in love.
Bm D A
When you walk in a dream but you know you're not dreamin' signore.
A F
Scuzza me but you see back in old Napoli that's amore.
<capo +1>
NC A E
When the moon hits your eye like a big pizza pie that's amore.
A
When the world seems to shine like you've had too much wine that's amore.
E
Bells will ring ting-a-ling-a-ling ting-a-ling-a-ling and you'll sing "Vita bella."
A
Hearts will play tippy-tippy-tay tippy-tippy-tay like a gay tarantella. Lucky fella.
NC A E
When, the, stars make you drool just like a pasta fazool that's amore.
F#7 F#
When you dance down the street with a cloud at your feet you're in love.
Bm D A
When you walk, in a dream, but you know, you're not dreaming signore.
E D
Scuzza me but you see back in old Napoli that's amore.
F E A E E-|A|
Amore, that's a-mor-e.
(Dean Martin) (Artist Index) - (Main Index) - (Song Index) (This Song)
THAT'S THE WAY THE WORLD GOES ROUND
John Prine
https://www.youtube.com/watch?v=PnMNBTc1DQU (Capo 3)
INTRO: D D G G D D A A, D D G G D A D
G
I know a guy that's got a lot to lose he's a pretty nice fellah, kind of confused.
D A A
He's got muscles in his head, ain't never been used. Thinks he own half of this town.
D G
Starts drinkin' heavy gets a big red nose. Beats his old lady with a, rubber hose
D
Then he takes her out to dinner, buys her new clothes.
A D
That's the way that the world goes 'round.
G
That's the way that the world goes 'round. You're up one day, the next you're down.
D
It's half an inch of water and you think you're gonna drown.
A D
D D G G D D A A, D D G G D A D
G
I was sittin' in the bathtub, countin' my toes when the radiator broke, water all froze.
D A A
I got stuck in the ice, without my clothes, naked as the eyes of a clown.
D G
I was cryin' ice cubes, hoping I'd croak when the sun come through the window,
D
The ice all broke. I stood up and laughed, thought it was a joke.
A D
G
D
A D
D D G G D D A A, D D G G D A D
G
D
A D
A D
A A D
That's the way that the world, goes 'round.
D D G G D A D |D|
THE ONE I LOVE - R.E.M.
https://www.youtube.com/watch?v=j7oQEPfe-O8 (Capo 0)
TIP: The (D#) will follow a (D) so just slide up one fret and either add your pinky to
the 4th string/5th fret or don't hit the 4th string.
INTRO: Em D, Em-Em; Em D, Em-Em
D Em
This one goes out to the one I love.
D Em Em G
This one goes out to the one I've left behind.
D Am C
A simple prop to occupy my time.
Em D Em
D Em Em D Em Em
Fire- -re. Fire- -er.
D Em
D Em Em G
This one goes out to the one I've left behind.
D Am C
A simple prop to occupy my time.
Em D Em
D Em Em D Em Em
G D Am C Em D Em Em
D Em
D Em Em G
This one goes out to the one left, behind.
D Am C
Another prop to occupy my time.
Em D Em
D Em Em D Em Em
D Em Em D Em Em |Em|, |Em|-|Em|-|Em|-|D|, |D#|, |Em|


THEME FROM DETECTORISTS
Johnny Flynn
https://www.youtube.com/watch?v=Q5LbTeti0sw (Capo 4)
[Afterwards in [G] mainly for fingerstyle.]
TIP: When originally released Johnny only wrote two verses. He later added a third and
this version has all three. It's a lovely little earworm dedicated it to my baby sister,
Flopper.
INTRO: C C C G-Am, C C C G-Am
C F C
Will you search through the lonely earth for me, climb through the brier and bramble?
G G G
I'll be your-er treasure.
Am C Am C
I felt the touch of the kings and the breath of the wind
Am C Am C G
I knew the call of all the song birds, they sang all the wrong wor-ords.
Am C
I'm waiting for you. I'm waiting for you.
Am G C F Am G C
Mmmm mmm mmm mmm, mmmm mmm mmm.
Am G C F Am G C
F C
Will you swim through the briney sea for me, roll along the ocean's floor?
G G G
Am C Am C
I'm with the ghost of the men who can never sing again,
Am C Am C G
There's a place follow me where a love lost at se- e -ea.
Am C
Is waiting for you. Is waiting for you-ou.
Am G C F Am G C
F C
Would you drift o'er the rollin' fields for me, hoard-me in the highest bough?
G G G
Am C Am C
But in history's rhyme there's a place and a time
Am C Am C G
And a truth to the gold that the folds cannot ho-oh-old.
|Am| Am C
I'm waiting for <slow down> you. <gently> I'm waiting for you-ou.
C F C, C G; G G; G Am C Am C Am C Am C G; G Am, Am C C C; |C|
(Johnny Flynn) (Artist Index) - (Main Index) - (Song Index) (This Song)
THEME FROM DETECTORISTS
Johnny Flynn
TIP: This version may be a little easier for fingerpicking but you can strum it too,
although you'll have to capo at the 9th fret to play with the recording.
INTRO: G G G D-Em, G G G D-Em
G C G
Will you search through the lonely earth for me, climb through the brier and bramble?
D D D
Em G Em G
I felt the touch of the kings and the breath of the wind
Em G Em G D
I knew the call of all the song birds, they sang all the wrong wor-ords.
Em G
I'm waiting for you. I'm waiting for you.
Em D G C Em D G Em D G C Em D G
Mmmm mmm mmm mmm, mmmm mmm mmm. Mmmm mmm mmm mmm, mmmm mmm mmm.
C G
Will you swim through the briney sea for me, roll along the ocean's floor?
D D D
Em G Em G
I'm with the ghost of the men who can never sing again,
Em G Em G D
There's a place follow me where a love lost at se- e -ea.
Em G
Is waiting for you. Is waiting for you-ou.
Em D G C Em D G
C G
Would you drift o'er the rollin' fields for me, hoard-me in the highest bough?
D D D
Em G Em G
But in history's rhyme there's a place and a time
Em G Em G D
And a truth to the gold that the folds cannot ho-oh-old.
|Em| Em G
I'm waiting for <slow down> you. <gently> I'm waiting for you-ou.
G C G, G D; D D; D Em G Em G Em G Em G D; D Em, Em G G G; |G|
(Johnny Flynn) (Artist Index) - (Main Index) - (Song Index) (This Song)
THEME FROM THE MONKEES - The Monkees
(Boyce/Hart)
https://www.youtube.com/watch?v=hUzexePjWlI (Capo 0)
TIP: The vocal transition between the first chorus and the 2nd verse can be a bit
tricky. You end the chorus on a downward inflection on note <a>, open 5th string of the
|Am|. For the next line (first line of the second verse) you stay on that note but walk
up so the next (Am) comes on note <e>, covered 4th string of the (Am).
INTRO: |E|
Am F
Here we come, walkin' down the street.
D G
We get the funniest looks from, everyone we meet.
C F G C
Hey hey we're the Monkees, and people say we monkey around.
F G C F G |Am|
But we're too busy singin', to put anybody down.
Am F
We go wherever we want to. Do what we like to do.
D G
We don't have time to get restless. There's always something new.
C F G C
F G C F G A
D G A D
We're just trying to be friendly. Come watch us sing and play.
G A D G A Em E
We're the young generation, and we've got something to say. Ahh.
Am F D
Anytime, or anywhere, just look over your shoulder.
G
Guess who'll be standing there?
C F G C
F G C F G C F G
E <15 measures>
C F G C
F G C F G A
D G A D
We're just trying to be friendly. Come watch us sing and play.
G A D G A D
We're the young generation, and we've got something to say.
G D G |D|
Hey hey we're the Monkees. Hey hey we're the Monkees.
THERE SHE GOES – The La’s
(Mavers)
https://www.youtube.com/watch?v=eu2iv-vMKT8 (Capo 0)
TIP: The La's did 6 or 7 versions of this fun-to-play song. The recording here is a tad
slower than some of the earlier quicker-paced ones. You can play (C) instead of (CaddG),
or come tardy on adding the pinky to the bottom <g> and it still sounds just fine.
INTRO: G D C C, G D C C, G D C C, G D C C
G D C C, G D C C, G D C C
Am G C C <brief pause> |D|-|D|-|D|-|D|-|D|-|D|-|D|
G D CaddG G D CaddG
There she goes. There she goes again.
G D CaddG Am G C
Racing through my brain. And I just can't contain.
Am G C |D|-|D|-|D|-|D|-|D|-|D|-|D|
This feeling that rema-a-ains.
G D CaddG G D CaddG
G D CaddG Am G C
Pulsing through my veins. And I just can't contain.
Am G C |D|-|D|-|D|-|D|-|D|-|D|-|D|
G D C C, G D C C, G D C C
Am G C C, Am G C C <brief pause> |D|-|D|-|D|-|D|-|D|-|D|-|D|
G D CaddG G D CaddG
D G D C D G C
She calls my name, she pulls my train. No one else could heal my pain.
Am G C Am G C
But I just can't conta-ain. This feeling that rema-a-ains.
G D CaddG G D CaddG
G D CaddG Am G C
Chasing down my lane. And I just can't contain.
Am G C |D|-|D|-|D|-|D|-|D|-|D|-|D|
G D CaddG G D CaddG G D CaddG |G|
There she goes. There she goes. There she goes.
(The La's) (Artist Index) - (Main Index) - (Song Index) (This Song)
THERE’S A KIND OF HUSH – Herman’s Hermits
(Reed/Stephens)
https://www.youtube.com/watch?v=ryg6nl_GMWc (Capo 0)
TIP: Regarding the (Am) to (C7), you can also slide your ring finger up one fret (or add
your pinky) and don’t strum above the 4th string.
TIP: The (F) sequence which is pretty easy to play, just requires a little
concentration. From (F) to (FaddD) is exactly what it sounds like. You play (F) and
then, still holding (F), you add your pinky to the 2nd string/3rd fret note <d>. Then to
get to the (Fmaj7) you lift off both the pinky and the index finger from the mini-barre
on the bottom string. Then come right back down to get back to (FaddD). Then finish the
sequence with either (C) or (G). Not difficult at all, just go through it a couple of
times.
; ;
INTRO: |F|-|C| |C|, |C| |G| |C| |CaddG|; |F|-|C| |C|, |C| |G| |C| |CaddG|
NC C E7 Am C7
There’s a kind of hush, all over the world, tonight.
F G C
All over the world you can hear the sounds of lovers in love.
G
You know what I mean.
C E7 Am C7
Just the two of us, and nobody else, in sight.
F G C C7
There’s nobody else and I’m feeling good, just holding you tight.
F FaddD Fmaj7 FaddD C

So listen very carefully, get closer now and you will see what I mean.
F C C
It isn’t a dream.
F FaddD Fmaj7 FaddD G G
The only sound that you will hear, is when I whisper in your ear “I love you.”
G7 G
Forever and ever.
C E7 Am C7
F G C
All over the world you can hear the sound, of lovers in love.
E7 Am C7
La-la la la-la-la la, la la la la la-la-la la,
F G C C7
La la la la la, la la la la, la la la la la.
F FaddD Fmaj7 FaddD C
So listen very carefully, get closer now and you will see what I mean.
F C C
It isn’t a dream.
F FaddD Fmaj7 FaddD G G
The only sound that you will hear, is when I whisper in your ear “I love you.”
G7 G
Forever and ever.
C E7 Am C7
F G C
All over the world you can hear the sound, of lovers in love.
G C G C G C
Yeah falling in love. Hush falling in love. Hushhhhhhh.
(Herman's Hermits) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
THERE'S A TEAR IN MY BEER
Hank Williams Sr. & Hank Williams Jr.
(Williams)
https://www.youtube.com/watch?v=rM8tROzp4Dc Hank Sr. and Hank Jr. (Capo 1)
https://www.youtube.com/watch?v=O5ksJz0BMlM Hank Williams Sr.
INTRO: |C|
NC C
There's a tear in my beer, 'cause I'm cryin' for you dear.
G
You are on my lonely mind.
Into these last few beers I have shed a million tears.

C
F C
I'm gonna keep drinkin' until I'm petrified.
D7 G
Annnd, then maybe, these tears will leave my eyes.
C
There's a tear in my beer, cause I'm crying for you dear.
D7 G C
Last night I walked the floor, and the night before.

G G7
G G7
It seems my life is through and I'm so doggone blue.
G C C7
F C
I'm gonna keep drinkin' till I can't move a toe,
D G7
Aannnd, then maybe, my heart won't hurt me so.
C
There's a tear in my beer cause I'm cryin' for you dear.
D7 G C
Lord I've tried and I've tried but my tears I can't hide.
G G7
All these blues that I've found, have really got me down.
C
F C
I'm gonna keep drinkin' till I can't even think,
D D7 G G7
Cause in the last week, I ain't slept a wink.
C
There's a tear in my beer cause I'm crying for you dear.
D7 G C |F|-|C|
You are on my lonely mi-ind.
(Hank Williams) (Hank Williams Jr.) (Artist Index)

THINGS YOU DON’T SAY TO YOUR WIFE – Tim Hawkins
(Hawkins/Armstrong)
https://www.youtube.com/watch?v=FigEdtFHpq8 (Capo 0)
TIP: For the instrumental flourish coming out of the chorus the first (G) in the
sequence begins with the last (G) of “life”.
TIP: The last chorus is one Tim occasionally does live but is not in the video.
INTRO: G G C D, G G C D
G C D
Hey honey have you gained some weight in your rear end.
G C D
The dress you’re wearin’ reminds me of my old girlfriend.
Em D C G
And where’d you get those shoes I think they’re pretty lame.
Em D C D
Would you stop talking cuz I’m trying to watch the game.
Em G Em G
If you’re a man who wants to live a long and happy life,
These are the things you don’t say to your wife.
G C D
I planned a hunting trip next week on your birthday.
G C D
I didn’t ask you but I knew it’d be okay.
Em D C G
Go make some dinner while I watch this fishing show.
Em D C D
I taped it over our old wedding video.
Em G Em G
G C D
Your cooking is okay but not like mother makes.
G C D
The diamond in the ring I bought you is a fake.
Em D C G
Your eyes look puffy dear are you feeling ill?
Em D C D
Happy anniversary I bought you a treadmill.
Em G Em G
Em D G G C D
Em G Em G
If you’re a man who doesn’t want to get killed with a knife,
Em D G G C D, G G C D, |G|
(Tim Hawkins) (Artist Index) - (Main Index) - (Song Index) (This Song)
30,000 POUNDS OF BANANAS
Harry Chapin
https://www.youtube.com/watch?v=OGldNpngDws&ab_ (Capo 1)
TIP: Harry wrote the song in an ascending key so move the capo where indicated. It
really helps to have a gliding/rolling capo.
TIP: Fun song but requires a little work. The intro (the absolutely brilliant Chet
Atkins guitar lick that it took Harry about 4 hours to steal) is a tad tricky. It
consists of two parts. For the first part form (Eadd) by forming (E) and adding your
pinky to the 3rd fret/3rd string <a#>. Now just pick the strings shown and after picking
the top string again strum an up-down couplet four times aiming for the 3rd and 2nd
string. Then lift off to form the (E7) and do that (incredible banjo part) sequence four
times. It's not hard, just try it a few times first.
TIP: In most cases you can play either a (B), (B7) or the (Bm) for any B chords in the
"thirty thousand pounds" line, whichever you're most comfortable with.
TIP: The ending of the song is an ascending (F) shape right up the fretboard to (F4) and
then back to (A), but play this (A) with your bottom three fingers because the next two
chords are the (Bb) and (B). End with (C).
INTRO (Form Eadd): 5 – 6 - 4, 6 - (Eadd) . . . ; 6 - 5, 6 - (Eadd) . . .
E7-E E, E7-E E, E7-E E, E7-E E
It was just after dark when the truck started down,

A E
The hill that leads into Scranton Pennsylvania.
D A Bm E
Carrying thirty thousand pounds, of bananas.
D A B |B| E E
Carrying thirty thousand pounds, hit it Big John, of bananas.
A Am
He was a young driver, just out on his second job
E B
And he was carrying the next day's pasty fruits, for everyone in that coal-scarred city.
E A
Where children play, without despair, in backyard slag-piles
Am E D A Bm E
And folks manage to eat each day, about thirty thousand pounds, of bananas.
D A B |B| E E
Yes just about thirty thousand pounds scream it again John, of bananas.
He passed a sign that he should have seen,
A Am E
Sayin' "Shift to low gear a fifty dollar fine my friend."
B7
He was thinking perhaps about the warm-breathed woman
E
Who was waiting at the journey's end.
A Am E B7
He started down the two mile drop, the curvin' road that wound from the top of the hill.
E
He was pushing on through the shortenin' miles that ran down, to the depot.
Just a few more miles to go,

A Am E
Then he'd go home and have her ease his long cramped day away
D A Bm E
And the smell of thirty thousand pounds, of bananas.
D A Bm E
Yes the smell of thirty thousand pounds, of bananas.
C <capo +1> E
A Am E
He was pickin' speed as the city spread its twinkling lights, below him.
A Am E
But he paid no heed as the shiverin' thoughts of the nights, delights, went through him.
B
His foot nudged the brakes to slow him down.
B7 E
But the pedal floored easy without a sound. He said "Cha-rist!"
B7
It was funny how he had named the only man, who could save him now.
E E7
He was trapped inside a dead-end hell slide ridin' on his fear-hunched back
A Am E
Was every one of those, yellow green.
D A Bm E
I'm telling you thirty thousand pounds, of bananas.
D A Bm E
Yes there were thirty thousand pounds, of bananas.
F <capo +1> E
A Am E
He barely made the sweepin' curve that led into, the steepest grade.
A Am E
And he missed the thankful passing bus at ninety miles, an hour.
Bm G D E
And he said "Godddddd make it a dream!" as he rode his last ride down.
Bm G D A
He said "Goddddd make it a dream!" as he rode his last ride dow-own.
Am E
And he sideswiped nineteen neat parked cars clipped off thirteen telephone poles
A Am E
Hit two houses bruised eight trees and Blue-Crossed seven people.
B E
It was then he lost his head, not to mention an arm or two before he stopped.
B
And he smeared for four hundred yards,
E
Along the hill that leads into Scranton Pennsylvania.
|D| |A| |Bm| NC E E E
All those thirty, thousand pounds, of bananas.
You know the man who told me, about it on the bus
A Am E
Says it went up the hill out of Scranton Pennsylvania.
B E
He shrugged his shoulders, he shook his head, and he said,
And this is exactly what he said:
"Boy, it sure must've been shomethin'.
Just imagine, thirty, thousand, pounds, of bananas.
|D| |A| |Bm| NC E

Yes there were thirty, thou-sand pounds, of mashed bananas.
F F# F3
Of bananas. Of bananas. Just bananas. Thirty thousand pounds. Of Bananas.
F4 A Bb B |C|
Not no driver now. Just banana - a - a – a - a – a - a."
(Harry Chapin) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
THIS AIN’T MY FIRST RODEO – Vern Gosdin
(Cochran/Barnes/Gosdin)
https://www.youtube.com/watch?v=DdTkeqdm1QA (Capo 3)
TIP: Can also be played with Capo 1 with chords (A), (E), (E7), and (D).
INTRO: G G G G G G G G
You-say you're Mama called and you must go.

D7
She's down in the bed and needs you so.
D
And you don't know if you'll be coming home tonight or not,
D7 G G
But honey ain't you're mama sick a lot.
Lately, you're head hurts every night.

D7
Could it be you wear your cloths too tight?
D
Since you don't seem to hear a single thing I say or do,
D7 G G
Then I know there's nothing I can do for you.
C G G
This ain't my first rodeo.
D D7
This ain't the first time this old cowboy's been throwed.
D
This ain't the first I've seen this dog and pony show.
G G
D D D D D G
You're telling me you lost you're wedding band?

D7
Somehow you say it slipped right off you're hand.
D
And when I asked about those boxes stacked there by the door,
D7 G G
You say it's just some old things you don't wear no more.
I didn't make it all the way through school,
D7
But my mama, didn't raise any fool.
D
I may not be the Einstein, of our time,
D7 G G
But honey I'm not dumb and I'm not blind.
C G G
D D7
D
This ain't the first I've seen this dog and pony show. Honey,
G G
C G G
D D7
D
This ain't the first I've seen this dog and pony show.
G G |G|
(Vern Gosdin) (Artist Index) - (Main Index) - (Song Index) (This Song)
THIS BOY (RINGO’S THEME) – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=VhuU8KDLdO4 (Capo 0)
TIP: This song has a (D)(Bm)(Em) sequence and you can just add your pinky to complete
the (Bm) chord from (D).
TIP: When you get to the (F#7) in the chorus just think (F) played up one fret and then
don't roll down on the bottom string. After playing (F#7) just drop down one string-set
to play the (Bm).
INTRO: |D| |D| |D| D Bm Em A
D Bm Em A7 D Bm Em
That boy, took my love away.
A7 D Bm
He’ll regret it, someday.
|G| |A| Em D Em A
But this boy, wants you back aga - in.
D Bm E A7 D Bm Em
That boy, isn’t good for you,
A7 D Bm
Though he may want, you too.
|G| |A| Em D D7
This boy, wants you back aga - in.
G F#7 Bm
Oh and this boy, would be happy, just to love you.
D7 G E
But oh my hi hi hi that boy, won’t be happy,
A A7
Till, he’s seen you cry hi hi hi.
D Bm Em A7 D Bm Em
This boy, wouldn’t mind the pain,
A7 D Bm
Would always feel, the same.
|G| |A| Em D Em A
If this boy, gets you back aga - in.
D Bm, Em, A D Bm, Em, A

This boy. This boy.
D Bm, Em, A, |D|

This boy.
THIS LAND IS YOUR LAND
Woody Guthrie
https://www.youtube.com/watch?v=wxiMrvDbq3s (Capo 0)
[Afterwards there's a version by Peter, Paul and Mary in [C]
TIP: There's something not quite right about the recording in that it will sound just
slightly out of tune. Woody recording it in 1944 so perhaps the recording equipment was
off by an rpm or two. Or perhaps Woody's guitar is slightly out of tune.
INTRO: D A D, D G D A D
G D
This land is your land, this land is my land.
A D
From California, to the New York Island.
G D
From the redwood forest, to the gulf stream waters.
A A7 D D
This land was made for you and me.
G D
As I went walking that ribbon of highway
A D
And I saw above me that endless skyway.
G D
I saw below me that golden valley.
A A7 D D
D G D A D G D A A7 D
G D
I roamed and rambled and I follered my footsteps.
A D
To the sparkling sands, of her diamond deserts.
G D
All around me a voice was a sounding,
A A7 D D
“This land was made for you and me.”
G D
There was a big high wall there that tried to stop me.
A D
A sign was painted, said "Private Property."
G D
But on the back side it didn't say nothin'.
A A7 D D
This land was made for you and me.”
G D
When the sun come shining, then I was strolling.
A D
The wheat fields waving, and the dust clouds rolling.
G D
A voice was chanting, as the fog was lifting,
A A7 D D
G D
A D
From California, to the New York Island.
G D
From the redwood forest, to the gulf stream waters.
A A7 D D
D G D A D
(Woody Guthrie)(Artist Index)(Folk) - (Main Index) - (Song Index) (This Song)

THIS LAND IS YOUR LAND – Peter, Paul and Mary
(Guthrie)
https://www.youtube.com/watch?v=BGsz0eV-Ckk (Capo 2)
TIP: This version is from their 25th Anniversary Concert. It starts acapella with the
opening note a <g>, open 3rd string. Pick it once to get your bearings.
TIP: At the end you see "<trill>" which means to rapidly strum the (G), starting on the
treble side and finishing on the bass side.
|C| |G|
I've roamed and I’ve rambled, and followed my, footsteps,
|D| |G|
From the sparkling, sands of her diamond desert.
|C| |G|
And all around me I heard a voice, calling, calling, singing
|D| G
C G
D G
From California, to the New York Islands.
C G
From the redwood forests, to the gulf stream waters.
D D7 G
C G
I roamed and I rambled, and I followed my footsteps,
D G
To the sparkling sands of, her diamond deserts.
C G
And all around me, a voice was, sing-in',
D G
C G
D G
C G
D D7 G
C G
Well I went walkin', and the sun was shining.
D G
The wheat fields waving and the dust clouds rolling.
C G
The fog was lifting, and I heard this voice singin' (it might have been Woody!)
D D7 G
C G
D G
C G
D D7 G
C G
As I went walking, that ribbon of highway.
D G
I saw above me, that endless skyway.
C G
I saw below me, a golden val-ley.
D D7 G
C G
D G
C G
D D7 G
D D7 G
This land was maaaade, for you and, <trill> me.
(Peter, Paul and Mary) (Folk) (Kid Friendly) (Artist Index)

THIS MAGIC MOMENT – Jay and the Americans/The Drifters
(Pomus/Shuman)
https://www.youtube.com/watch?v=bacBKKgc4Uo The Drifters (Capo 0)
https://www.youtube.com/watch?v=pKfASw6qoag Jay and the Americans (Capo 0)
INTRO: C Am F G |G|
NC C Am F G |G|
This magic moment, so different and so new was like any other, until I kissed you.
NC C Am F
And then it happened. It took me by surprise I knew that you felt it too,
G |G|
By the look in your eye.
NC Am F
Sweeter than wine, softer than the summer night.
C G
Everything I want I have, whenever I hold you tight.
C Am F
This magic moment, while your lips are close to mine, will last forever.
G C
Forever till the end of time.
Am F G
Hoa-oh-oh oh-oh. Oh-oh-oh oh-oh. Mm-mm-mm mm.
C C Am F G |G|
NC Am F
Sweeter than wine, softer than the summer night.
C G
Everything I want I have, whenever I hold you tight.
C Am F
This magic moment, while your lips are close to mine, will last forever.
G C
Forever till the end of time.
Am F G C
Hoa-oh-oh oh-oh. Magic moment. Magic moment. Magic moment.
Am F G |C|
Hoa-oh-oh oh-oh. Oh-oh-oh oh-oh. Oh-oh-oh oh.
(The Drifters) (Jay and the Americans) (Artist Index) (Oldies)

(Main Index) - (Song Index) - (This Song)
THIS OLD GUITAR
Neil Young
https://www.youtube.com/watch?v=lrKVuKCD7Qo (Capo 0)
TIP: The whole (D)(Dsus2)(D)(Dsus2) sequence is easy to play as all you’re doing is
lifting off the bottom string to get from (D) to (Dsus2) and replacing it again to get
back to (D).
TIP: For the (D)-(Bm) in the instrumental bridge hold the (D) and add your pinky to the
3rd string/4th fret and then remove it to get back to (D).
INTRO: D Dsus2 D Dsus2; D Dsus2 D Dsus2
D Dsus2 D Dsus2 D Dsus2

This old guitar ain't mine to keep,
D G G A
Just takin’ care of it now.
It's been around, for years and years.
D G G G
Just waitin’ in its old case.

It's been up and down, the country roads.
D G G A
It's brought a tear and a smile.
It's seen its share, of dreams and hopes,
D G G G
And never went out of style.

The more I play it, the better it sounds.
D G G A
It cries when I leave it alone.
Silently, it waits for me,
D G G G
Or someone else I suppose.
D Dsus2 D Dsus2 D Dsus2 D Dsus2 G G A

This old guitar. This old guitar.
D Dsus2 D Dsus2 D Dsus2 D Dsus2 G G
This old guitar.
D-Bm D-Bm, D D-Dsus2; D-Bm D-Bm, D D-Dsus2
D Dsus2 D Dsus2, D Dsus2 D Dsus2

This old guitar, has caught some breaks,
D G G A
But it never searched for gold.
It can't be blamed, for my mistakes.
D G G G
It only does what it's told.

It's been a messenger, in times of trouble.
D G G A
In times of hope and fear.
When I get drunk, and seeing double,
D G G G
It jumps behind the wheel and steers.

This old guitar ain't mine to keep.
D G G A
It's mine to play for a while.
This old guitar ain't mine to keep.
D G G G
It's only mine for a while.
D Dsus2 D Dsus2 D Dsus2 D Dsus2 G G G


This old guitar.
D-Bm D-Bm, D D-Dsus2; D-Bm D-Bm, D D-Dsus2
D Dsus2 D Dsus2, D Dsus2 D Dsus2

This old guitar.
D Dsus2 D Dsus2 D Dsus2 D Dsus2 |D|

This old guitar.
THIS OLD GUITAR AND ME
Vince Gill
https://www.youtube.com/watch?v=alBaSfZTSUo (Capo 1)
TIP: Except for the instrumental bridge the (Bm) will follow (D) so in those cases you
can just add your pinky to the 4th string/4th fret.
INTRO: D D D D
G D
This old guitar and me, the things that we've been through.
Bm G A
C. F. Martin built it, back in nineteen fourty-two.
D G D
And I remember when we met, I was only seventeen.
Bm G D D
I spent all my college money, on a half a dozen strings.
G D
I thought my folks would kill me, I found out I was wrong.
Bm G A
They said your future's written on your face when you sing those travelin' songs.
D G D
So we headed for Kentucky, with a suitcase full of dreams.
Bm G D D
My rough out boots, a few t-shirts, a worn out pair of jeans.
G D G Bm
Ooooh- ooh. Ooooh hooo- hooo.
G D Bm G A D
Ooooh- oooh – hoooh.
G D
This old guitar and me, we spent a lot of nights alone.
Bm G A
Sometimes we'd get lucky, and take a barmaid home.
D G D
One night stands for breakfast, two strangers with the blues.
Bm G D D
We'd wake up in the mornin’, and both feel a little used.
G D
Home was just a highway, we'd roam from town to town.
Bm G A
Just me and that old flattop, not caring where we're bound.
D G D
From Maine to California, with a five piece travelin' band.
Bm G D D
Singin' songs about the hard times, that face the common man.
G D G Bm
G D Bm G A D
G D
This old guitar and me, Lord we did the best we could.
Bm G A
One was born a sinner, and one a piece of wood.
D G D
God sent a wooden angel, to guide me on my way.
Bm G D D
We were meant to be together, until my dyin' day.
G D
Now my dearest old companion, lies underneath my bed.
Bm G A
Well our travelin' days are over, man but the memories fill my head.
D G D
Well I've settled with my family, here in the hills of Tennessee.
Bm G D D
To teach my children's children, 'bout this old guitar and me.
G D G Bm
G D Bm G A D |D|
THOSE WERE THE DAYS - Mary Hopkins
(Raskin/Russian Traditional)
https://www.youtube.com/watch?v=QptZ8tYZAkE (Capo 2)
TIP: The song changes key (is sharped) for the final verse/chorus so slide the capo up
one fret to continue playing with the recording.
TIP: It all looks a bit complicated but it's not too bad if you'll just give it a go.
In the intro start by forming (Em) with your index and middle fingers instead of middle
and ring. This will give your pinky a little more room to cover the bottom two strings.
Now (Em3) is just (Em) with your pinky added to the bottom string/3rd fret. Then slide
the pinky up down to the 2nd fret for (Em2) and lift off for (Em). In the second part of
the intro there's an (Em7) which is (Em) with your pinky added to the 2nd string/3rd
fret. In the verse (Esus) is just (Em) with your pinky tucked under the ring finger on
the 3rd string/2nd fret.
TIP: There's an (F#) in the chorus which is just (F) played on the 2nd fret. And you
can play a (B) instead of the (B7) if you find the (B) easier to play. I do not so it's
a (B7) for me.
INTRO: |Em3| |Em3| |Em2| |Em2| |Em| |Em|; |Em| |Em| |Em/D| |Em/D| |Am| |Am|
Am B7 B7 Em Em
Esus Em E Am
Once upon a time there was a tavern, where we used to raise a glass or two.
Em F# B7
Remember how we laughed away the hours, and think of all the great things we would do?
Em3 Em2 Em E Am
Those were the days my friend, we thought they'd never end.
D D7 G
We'd sing and dance, forever and a day.
Am Em
We'd live the life we choose, we'd fight and never lose.
B7 Em
For we were young and sure to have our way.
Am B7 Em
La la la la la la. La la la la la la. La la la lah, la la la la la lah.
Esus Em E Am
Then the busy years went rushing by us, we lost our starry notions on the way.
Em F# B7
If by chance I'd see you in the tavern, we'd smile at one another, and we'd say.
Em3 Em2 Em E Am
D D7 G
Am Em
B7 Em
Am B7 Em
Esus Em E Am
Just tonight I stood before the tavern. Nothing seemed the way it used to be.
Em F# B7
In the glass I saw a strange reflection. Was that lonely woman really me?
Em3 Em2 Em E Am
D D7 G
Am Em
B7 Em
Am D D7 G
Am Em B7 Em
La la la la la la, la la la la la la. La la la lah, la la la la la lah.
<capo +1> Em
Esus Em
Through the door there came familiar laughter.
E Am
I saw your face and heard you call my name.
Em
Oh my friend we're older but no wiser,
F# B7
For in our hearts the dreams are still the same.
Em3 Em2 Em E Am
D D7 G
Am Em
B7 Em
Am D D7 G
Am Em B7 Em
La la la la la la, la la la la la la. La la la lah, la la la la la lah.
G A C E
La la la la la la. La la la la la la. La la la la la lah.
(Mary Hopkins) (Artist Index) - (Main Index) - (Song Index) (This Song)
THUNDER ROAD
Bruce Springsteen
https://www.youtube.com/watch?v=JGBXnw86Mgc (Capo 3)
TIP: When (Bm) follows (D) just hold the (D) shape and add your pinky to the 4th
string/3rdd fret.
INTRO: D Bm D, D G, D F#m, G A
D G D
The screen door slams, Mary's dress sways.
G
Like a vision she dances across the porch as the radio plays.
A D G
Roy Orbison singing for the lonely, hey that's me and I want you only.
D A
Don't turn me home again I just can't face myself alone again.
D G D Bm-D
Don't run back inside darling you know just what I'm here for.
A D A G
So you're scared and you're thinkin' that maybe we ain't that younnng anymore.
A
Show a little faith there's magic in the night,
D G G D A
You ain't a beauty but hey you're alright. Ohhh and that's alright with me.
D Bm
You can hide 'neath your covers and study your pain.
D G
Make crosses from your lovers throw roses in the rain.
D F#m G A
Waste your summer praying in vain for a savior to rise from these streets.
D Bm
Well now I'm no hero that's understood,
D G
All the redemption I can offer girl is beneath this dirty hood.
D F#m G A
With a chance to make it good somehow, hey what else can we do now.
D G D |G|-D
Except roll down the window and let the wind blow back your hair.
F#m G
Well the night's busting open these two lanes will take us an-y-where.
A D G
We got one last chance to make it real, to trade in these wings on some wheels.
D A
Climb in back heaven's waiting down on the tracks.
D Bm D G
Oh oh come take my hand, riding out tonight to case the promised land.
D F#m G A
Oh oh oh oh Thunder Road, oh Thunder Road, oh Thunder Road.
D Bm
Lying out there like a killer in the sun,
D G
Hey I know it's late we can make it if we run.
D F#m G A D
Oh oh oh oh Thunder Road sit tight, take hold, Thunder Road.
G A D Bm-D
Well I got this guitar and I learned how to make it talk.
Bm G A
And my car's out back if you're ready to take that lonnnng walk,
G A
From your front porch to my front seat.
F#m Bm
The door's open but the ride it ain't free.
G Bm Em G
And I know you're lonely for words that I ain't spoke.
A
Tonight we'll be free all the promises will be broken
D G D |G|-D
There were ghosts in the eyes of all the boys you sent away.
F#m G
They haunt this dusty beach road in the skeleton frames of burned-out Chevrolets.
A
They scream your name at night in the street.
D G
Your graduation gown lies in rags at their feet.
F#m G
And in the lonely cool before dawn, you hear their engines roaring on.
Em A G G Em
But when you get to the porch they're gone on the wind, so Mary climb in.
G A D
It's a town full of losers, I'm pulling out of here to wiiiiiin.
D A, D G; D A G A; D A, D G
D A G-D-Em-G-A-G-F#m-A
D A D G; D A G A; D A, D G; D A G A |D|
THE TIDE IS HIGH - Blondie
(Holt/Evans)
https://www.youtube.com/watch?v=ypWXEnK_0T8 (Capo 2)
INTRO: A A D E, A A D E, A A D E
A A D E, A A D E, A A D E
A D E A D E
The tide is high but I'm holdin' on. I'm gonna be your number one.
A D E A D E
I'm not the kinda girl who gives up just like that, oh no-oh-oh-oh.
A D E
It's not the things you do that tease and hurt, me bad.
A D E
But it's the way you do the things you do, to me.
A D E A D E
A D E A D E
The tide is high but I'm holdin' on. I'm gonna be your number one,
D E D E E
Nuuuum-ber one, nuuuum-ber one.
A D E A D E
Ev'ry girl wants you to be, her man. But I'll wait my dear till it's my-y turn.
A D E A D E
A D E A D E
D E D E A-E-D-E
Nuuuum-ber one, nuuuum-ber one.
A A D E, A A D E, A A D E, A A D E
A D E A D E
Ev'ry girl wants you to be, her man. But I'll wait my dear till it's my-y turn.
A D E A D E
I'm not the kinda girl who gives up just like tha-hatt, oh no-oh-oh-oh.
A D E A D E
D E D E D E A-E-D-E
Nuuuum-ber one, nuuuum-ber one, nuuum-ber one.
A D E A D E
A D E A D E
A D E A D E
The tide is high, I'm holdin' on. I'm gonna be your number one.
A D E A D E
The tide is high, I'm holdin' on. I'm-gonna-be your-number-one-your number one.
A A D E, A A D E, A A D E, A A D E, A A D E, A A D E, |A|
(Blondie) (Artist Index) - (Main Index) - (Song Index) (This Song)

TIME FOR ME TO FLY - REO Speedwagon
(Cronin)
https://www.youtube.com/watch?v=rMMXoCuwcOM (Capo 0)
TIP: Chords in |brackets| you strike once. Gets a little messy at the end with the
refrain. Just stick with it.
INTRO: |D| D G A G, |D| D G A G
D A G D D
I've been around for you, been up and down for you but I just can't get any relief.
A
I've swallowed my pride for you, lived and lied for you
G D
But you still make me feel like a thief.
A G D
You-got-me stealin' your love away 'cause you never give it.
A G D
Peeling the years away and we can't relive it.
G D G D
Oh I make you laugh, and you make me cry.
|A| D G A D G-A
I believe it's time for me to fly – y - y.
D A
You said we'd work it out, you said that you had no doubt,
G D G D
That deep down we were really in love.
A
Oh but I'm tired of holding on to a feeling I know is gone.
G D G D
I do believe that I've had enough.
A G D
I've had enough of the falseness of a worn out relation,
A G D
Enough of the jealousy and the intoleration.
G D G D
Oh I make you laugh, and you make me cry.
|A| D G A D |D| <palm mute>
I believe it's time for me to fly – y - -y.
NC A G D
Time for me to fly-y oh I've got to set myself free.
A G D
Time for me to fly-y and that's just how it's got to-oo be.
G A
I know it hurts to say goodbye,
D G A D
But it's time for me to fly- y – y – y – eye – yy -y.
D A; D, A; G G; A A, D D
A G D
Oh don’t you know it’s time for me to fly-y oh I've got to set myself free.
A G D
Time for me to fly-y oh babe that's just how it's got to-oo be.
G A
Oh oh-oh I know it hurts to say goodbye,
G A G A
But it's time for me to fly- y–y–y-y-y. It’s time for me to fly-y-y-yiy-y-yiy.
D G A G D G A
It's time for me to fly – y - y. It's time for me to fly-y y- y.
G D G A G |D|
It's time for me to fly – y - y. It's time for me to fly.
(REO Speedwagon) (Artist Index) - (Main Index) - (Song Index) (This Song)
TIME IN A BOTTLE
Jim Croce
https://www.youtube.com/watch?v=dO1rMeYnOmM (Capo 0)
TIP: In the intro the first note is <a> and you need to concentrate on hitting that 3rd
string while playing the first (D). Then you move to the (Dm). Then for the (Dm#7) just
slide your ring finger down into the 2nd fret. Now, not in the intro but in the verse
you then move to the (Dm7) so sneak the index finger up form a mini-barre on the first
two strings in the 1st fret while lifting off the ring finger. Finish with a (G) before
moving on to the (Gm).
TIP: For the (A)(Asus)(A) either slide your ring finger up one fret or use your pinky to
cover the 2nd string/3rd fret.
TIP: The chorus ends with a (D)(Em/D)(A)-(Asus)-(A). For the transition from (D) to
(Em/D) leave your ring finger where it is on the <d> and use your index and middle finger
to cover the (Em).
TIP: At the end the outro is strums of (Dm) followed by picks of the 3rd and 2nd strings
while still holding the (Dm). That's what the 3-2 means.
INTRO: D Dm Dm#7 G Gm Gm A Asus A
Dm Dm#7 Dm7
If I could save time in a bottle,
Gm A Asus A
The first thing that I'd like to do.
Dm Dm7 F Gm Dm
Is to save every day til eternity passes away,
Gm A Asus A
Just to spend them with you.
Dm Dm#7 Dm7
If I could make days last forever,
Gm A Asus A
If words could make wishes come true.
Dm Dm7 F Gm
I'd save every day like a treasure and then,
Dm Gm A Asus A
Again, I would spend them with you.
D Dmaj7
But there never seems to be enough time
Bm D G D Em/D A-Asus-A
To do the things you want to do once you find them.
D Dmaj7
I've looked around enough to know,
That you're the one I want to go through time with.
D Dm Dm#7 G Gm Gm A Asus A
Dm Dm#7 Dm7 G
If I had a box, just for wishes,
Gm A Asus A
And dreams that had never come true.
Dm Dm7 F Gm Dm
The box, would be empty except for the memory of how,
Gm A Asus A
They were answered by you.
D Dmaj7
But there never seems to be enough time
To do the things you want to do once you find them.
D Dmaj7
I've looked around enough to know,
That you're the one I want to go through time with.
Dm 3 – 2, Dm 3 – 2, |Dm|
THE TIMES THEY ARE A CHANGIN' - Bob Dylan/The Seekers
(Dylan)
https://www.youtube.com/watch?v=90WD_ats6eE (Dylan)(Capo 0)
https://www.youtube.com/watch?v=kqDgQOc5kCo (Seekers)(Capo 0)
[The versions are essentially the same but there are different intros and the Seekers
don't play the instrumental bits like Dylan does.]
INTRO (Dylan): G
INTRO (Seekers): D C G D
G Em D G
Come gather 'round people, wherever you roam.
Gadd Em C D
And admit that the waters around you have grown
G Em C G
And accept it that soon you’ll be drenched to the bone.
Gadd Am D
If your time to you is worth saving,
D7 C D
Then you’d better start swimming or you’ll sink like a stone,
G C D G G Em C G G
For the times they are a changin'.
Em D G
Come writers and critics who prophesize with your pen.
Gadd Em C D
And keep your eyes wide the chance won’t come again,
G Em C G
And don’t speak too soon for the wheel's still in spin.
Gadd Am D
And there’s no telling who that it’s namin'.
D7 C D
Oh the loser now will be later to win
G C D G G Em C G, Gadd D C D D
G Em D G
Come senators, congressmen please heed the call.
Gadd Em C D
Don’t stand in the doorway don’t block up the hall.
G Em C G G
For he that gets hurt will be he who has stalled.
Gadd Am D
The battle outside ragin',
D7 C D
Will soon shake your windows and rattle your walls
G C D G G D C D G
Em D G
Come mothers and fathers throughout the land.
Gadd Em C D
And don’t criticize what you can’t understand.
G Em C G
Your sons and your daughters are beyond your command.
Gadd Am D
Your old road is rapidly agin'.
D7 C D
Please get out of the new one if you can’t lend your hand
G C D G
G Em C G, Gadd D C D, G C D G G
Em D G
The line it is drawn, the curse it is cast.
Gadd Em C D
The slow one now will later be fast
G Em C G G
As the present now, will later be the past.
Gadd Am D
The order is rapidly fading.
D7 C D
And the first one now will later be last,
G C D G G Em C G, G Em C |G|
For the times, they are a changin'.
(Bob Dylan) (The Seekers) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
TINY DANCER - Elton John
(Taupin/John)
https://www.youtube.com/watch?v=aqlGlaNlcWE (Capo 0)
TIP: The bridge is a little cumbersome. You start with (G#) which we're gonna call (F4)
because it looks like an (F) played on the 4th fret. Then comes a (Bb) which you can
either play low on the 3rd fret but you might as well play it with an (F) formation since
you're already at the 4th fret and just slide up two frets and play it as (F6). Then
comes the trickiest part which is coming off the (Bb/F6) to the (Gm). From there you
play (Cm) but it looks like a (Bm) played on the 3rd fret so I'm calling it (Bm3).
INTRO: C F, C F, C F, C F, C
F C F C F F
Blue jean baby, L.A. lady, seamstress for the band.
C F C F C F F
Pretty eyed, pirate smile, you'll marry a music man.
Em Am D Dm7 Em Am G7
Ballerine ah - ah, you must have seen her, dancing in the sand.
C F C F C
And now she's in me, always with me,
G F-Em-G, C F, C F, C
Tiny dancer in my hand.
F C F C F F
Jesus freaks, out in the street, handing tickets out for God.
C F C F C F F
Turning back, she just laughs, the boulevard is not that bad.
Piano ma ha an, he makes his stand, in the auditorium.
C F C F C
Looking on, she sings the songs,
G F-Em-G, C F, C F
The words she knows, the tune she hums.
F4 F6 Gm Bm3
But oh how it feels so real, lying here, with no one near.
F4 F6 G7
Only you, and you can hear me, when I say softly, slowly,
F C Dm F C Am G
"Hold me closer tiny dancer." Count the headlights on the highway.
F C Dm F C Am G
Lay me down in sheets of linen. You had a busy day today-ay.
F C Dm F C Am G
F C Dm F C Am G
F F G G F G; C F, C F, C
F C F C F F
Blue jean baby, L.A. lady, seamstress for the band.
C F C F C F F
Pretty eyed, pirate smile, you'll marry a music man.
Ballerine ah - ah, you must have seen her, dancing in the sand.
C F C F C
And now she's in me, always with me,
G F-Em-G, C F, C F
Tiny dancer in my hand.
F4 F6 Gm Bm3
But oh how it feels so real, lying here, with no one near.
F4 F6 G7
Only you, and you can hear me, when I say softly, slowly,
F C Dm F C Am G
F C Dm F C Am G
F C Dm F C Am G
F C Dm F C Am G G
F F; C F, C F, C F, C F-C
TO BE WITH YOU - The Mavericks
(Malo/House)
https://www.youtube.com/watch?v=TZaCZ6FyEIc (Capo 2)
TIP: To keep the music flowing you need to hold the chord until after the trailing word
and then come in on the lead chord for the next line early. It's just how Raul sings.
INTRO: G Am G, G Em Em G
Em G Em G
A shoulder to cry-y on. Someone to lean on.
Am D D
Someone to take, you away.
G Em G Em G
Someone to ta-alk to. And somewhere to wa-al-alk to- oo.
Am Em Am D
I need to remind you, someway.
Em B7 C Bm3 G G
Whenever you need me, I'll make the ti-ime to be with you.
D D
To be with you.
G Em G Em G
A night to remember. The rain in Septem-em-ber-er-er.
Em Am D
I want to share it, wi-ith you.
G Em G Em G
The month by the ocean. We swore our devo-o-tion-ion,
Em Am D
Would make all our wishes, come true.
Em B7 C Bm3 G G
D D
To be with you.
C Bm3 G
I want you to know, I've never before, felt this way.
E Am
No other words can say. I was lost just yesterday-yay.
G D
Until I found you- ou.
G Am G, G Em Em G, G Am-G-Am Am D, Em
Em B7 C Bm3 G G
D D
To be with you.
G Em G Em G
A night to remember. The rain in Septem-em-ber-er-er.
Em Am D
I want to share it, wi-ith you.
G Am G, G Em Em G; G Am G, G Em Em G
G Am G, G Em Em G; G Am G, G Em Em G
TO KNOW HIM IS TO LOVE HIM
Emmylou Harris/Dolly Parton/Linda Ronstadt (Trio)
(Specter)
https://www.youtube.com/watch?v=XNBUuYOJg10 (Capo 1)
TIP: There's a key change for the bridge so move the capo from the 1st fret to the 4th
fret and then back to the first fret where indicated.
INTRO: C G C G
C G
To know know know him is to love love love him.
Am F
Just to see him smile, makes my life worthwhile.
C G C F C G
To know know know him is to love love love him and I do.
C G
I'll be good to him, I'll bring love to him.
Am F
Everyone says there'll come a day, when I'll walk alongside of him.
C G C F C
Yes just to know him, is to love love love him and I do-oo-oo.
<capo +3>
G F E7
Why, can't he see, how, blind can he be?
C A7 Dm Am B7 E
Some, day, he will see, that he, was meant, for me. Ohh-oh-oh.
<capo -3>
C C G G Am Am F F C C G G C F C A
D A
To know know know him is to love love love him.
Bm G
Just to see him smile, makes my life worthwhile.
D A D G D
To know know know him is to love love love him and I do-oo-oo.
D D A A Bm Bm G G D D A A D G D A
D D A A Bm Bm G G D D A A D G |D|
(Emmylou Harris)(Dolly Parton)(Linda Ronstadt) (Artist Index)

TOM DOOLEY – The Kingston Trio
(Land/Traditional)
https://www.youtube.com/watch?v=VhXuO4Gz3Wo (Capo 2)
[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 and this one is the version
made popular by the Kingston Trio in 1958. However, it's rather abbreviated and doesn't
tell the full story so afterwards is a version in [G] based on additional lyrics found in
traditional lore which paints a more complete picture.]
TIP: The introduction is spoken over the picked (banjo) notes of the chorus.
INTRO: <spoken> Throughout history, there've been many songs written about the eternal
triangle. This next one tells the story of a Mr. Grayson, a beautiful woman, and a
condemned man named Tom Dooley. When the sun rises tomorrow, Tom Dooley must hang.
<Strum>: D
A7
Hang down your head Tom, Dooley. Hang down your head and cry.
A D
Hang down your head Tom, Dooley. Poor boy you're bound to die.
A7
I met her on the mountain. There I took her life.
D
Met her on the mountain, stabbed her with my knife.
A7
A D
A7
This time tomorrow, reckon where I'll be.
D
Hadn't a been for Grayson, I'd a been in Tennessee.
A7
A D
A7
A D
A7
This time tomorrow, reckon where I'll be.
D
Down in some lonesome valley, hangin' from a white oak tree.
A7
A D
A7
A D
A D A7 D
Poor boy you're bound to die. Poor boy you're bound to die.
A D
Poor boy you're bound to, die.
(Traditional) (Folk) (The Kingston Trio) (Artist Index)

TOM DOOLEY
(Land/Traditional)
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 so give the opening notes in the intro a try.
INTRO: G
D
D7 G
Hang down your head Tom, Dooley. Poor boy, you're bound to die.
D
I met her on the mountain. I swore she’d be my wife.
D7 G
But the gal refused me, so I stabbed her with my knife.
D
I left her by the roadside, I begged to be excused.
D7 G
I left her by the roadside, then I hid her clothes and shoes.
D
D7 G
D
I dug the grave four feet long, and I dug it three feet deep.
D7 G
I rolled the cold clay over her, and tromped it with my feet.
D
Trouble, oh it's trouble. A-rollin' through my breast.
D7 G
As long as I'm a livin', boys, they ain't a-gonna let me rest.
D
D7 G
D
In this world and one more, then reckon that’s where I'll be.
D7 G
If it wasn't for Sheriff Grayson, I'd be in Tennesee.
D
I know they're gonna hang me, tomorrow I'll be dead.
D7 G
Though I never even harmed a hair, on poor little Laurie's head.
D
D7 G
D
Take down my old violin, and play it all you please.
D7 G
For at this time tomorrow boys. It'll be of no use to me.
D
This here time tomorrow, I know just where I'll be.
D7 G
In some lonesome valley, hanging from a white oak tree.
D
D7 G
D
D7 G
(Traditional) (Folk) (Artist Index) - (Main Index) - (Song Index) (This Song)
TOM TRAUBERT'S BLUES (Waltzing Mathilda) - Rod Stewart
(Waits)
https://www.youtube.com/watch?v=cvwpsXEYCXU (Capo 4)
TIP: When the (Asus2) follows an (A7) just move your bottom finger up one string. When
it follows an (Am) just lift off your bottom (index) finger.
INTRO: G A G C C G G A A D |D|
C G Am7 D7 G G-D7-G
Wasted and wounded, and it ain't what the moon did. I got what I paid for now.
C G A7 Asus2 D7
See you tomorrow. Hey Frank, can I borrow, a couple of bucks from you.
G D7 G C G Am7 D7
To, go, waltzing Mathilda. Waltzing Mathilda. You'll, go waltzing Mathilda with me.
C G
I'm an innocent victim, of a blinded alley,
Am7 D7 G G-D7-G
And I'm tired of all these soldiers here.
C G A7 Asus2 D7
No one speaks English, and everything's broken, and my strength, is soaking away.
G D7 G C G Am7 D7
C G
Now the dogs they are barking, and the taxi cab's parking.
Am D7 G G-D7-G
A lot they can do for me-ee.
C G Am Asus2 D7
I begged you to stab me. You tore my shirt open, and I'm down on my knees tonight.
C G Am D
Old bushmills I staggered. You buried the dagger. Your silhouette window light.
G D7 G C G Am7 D7
C G
Now I've lost my St. Christopher, now that I kissed her,
Am7 D G G-D7-G
And the one-arm, bandit knows.
C G
And the maverick Chinaman, with the cold-blooded sigh,
A7 Asus2 D7
And the girls, down, by, the, striptease shows go.
G D7 G C G Am7 D7
Waltzing Mathilda. Waltzing Mathilda. You'll, go waltzing Mathilda with me.
C G
No I don't want your sympathy, fugitives say,
Am D G G-D7-G
That the streets aren't for dreaming now.
C G
Manslaughter dragnets, and the ghost that sell memories,
A7 D7
Want a piece of the action, anyhow go.
G D7 G C G Am7 D7
C G
And you can ask any sailor, and the keys from the jailor,
Am7 D7 G G-D7-G
And the old men in wheelchairs know,
C G
That Matilda's the defendant. She killed about a hundred,
Am D7
And she follows wherever, you may go.
G D7 G C G Am7 D7
C G
And it's a battered old suitcase, in a hotel someplace,
Am7 D7 G G-D7-G
And a wound that will never heal.
C G Am D7 G Am G
No prima donnas, the perfume is on, an old shirt that is stained with blood and whiskey.
C G
And goodnight to the street-sweepers, the night watchmen, flame-keepers,
Am D7 G G C G Am D7 G G |G|
And goodnight, Matilda, too. Goodnight, Matilda, too.
TOMMY CAN YOU HEAR ME - The Who
(Townshend)
https://www.youtube.com/watch?v=bXTe3K7BllM (Capo 0)
INTRO: G C-G, G C-G
C G C-G C G C-G
Tommy can you hear me? Can you feel me near you?
F Em Em
Tommy can you see me? Can I help to cheer you.
D
Oooh Tommy. Tommy. Tommy. Tommy.
G C G C-G C G C-G
F Em Em
D
Oooh Tommy. Tommy. Tommy. Tommy.
G C G C-G C G C-G
F Em Em
D
Oooh Tommy. Tommy. Tommy. Tommy. Tommy. Tommy. Tommy. Tommy.
|D| |D| |D|

Tommy? Tommy? Tommy?
TONIGHT YOU BELONG TO ME
Zahida, Sara Wee & Julia Wei
Steve Martin & Bernadette Peters
(Rose/David)
https://www.youtube.com/watch?v=tZzRLxU-biw (Zahida, Sara & Julia) (Capo 3)
https://www.youtube.com/watch?v=wyinJyWUhas (Steve & Bernie)(Capo 4)
[First recorded in 1926 this song has been covered by many over the years. More recently
it appeared in the 1979 movie “The Jerk” and in the series “American Horror Story”. I’ve
pattered the version here after one performed by the Singaporean singer Zahida and
sisters Sara and Julia Wee. The Steve Martin/Bernadette Peters link is also present,
indicated by <SM/BP>. It has a slightly different intro and they end the song with the
wacky coronet reprise after the third verse.]
TIP: The song of course is a duet. One singer’s lines are in black (1st and 3rd) and the
harmony singer is in red (2nd and 4th).
TIP: For the (D)(D4)-(D) in the Steve Martin intro just add your pinky to the bottom
string/3rd fret. This appears again after the first verse but is not shown.
INTRO (Z,S&H): D D7 G Gm D A7 D |A7|
INTRO (SM/BP): D D4-D, D D4-D
NC D D7 G Gm
I know, you belo-o-ong to so-o-ome body new-ew-ew.
D D7 G Gm
I know you belong, to some, body new.
D A7 D D
But tonight, you belo-ong, to me.
D A7 D D
D7 G Gm
Although, we're apar-ar-art, you're pa-ar-art of my hear-ar-art.
D7 G Gm
Although we're apart, you're part, of my heart.
D A7 D D7
D A7 D D7
Gm
Wait down, by the stream, how sweet, it will seem.
Gm
Wait down, by the stream, how sweet, it will seem.
D B7 E7 |A| D
Once more just to dream, in the moonlight my honey I know,
D B7 E7 |A|
Once more just to dream, in the moonlight
D7 G Gm
With the daw-aw-awn, that you-ou-ou, will be go-on-one.
D D7 G Gm
I know with the dawn, that you, will be gone.
D A7 D D7 A D
But tonight, you belo-ong, to me. <SM/BP> Just to little old me.
D A7 D D7 A D
But tonight, you belo-ong, to me. <SM/BP> Just to little old me.
<SM/BP coronet>: D D7 G Gm D A D <end song>
Gm
Wait down (wait down) along the stream. How very very sweet it will seem.
Gm
Wait down (wait down) along the stream. How very very sweet it will seem.
D B7 E7 |A| D
Once more just to dream, in the silvery moonlight my honey I know
D B7 E7 |A|
Once more just to dream, in the silvery moonlight
D7 G Gm
With the daw-aw-awn, that you-ou-ou, will be go-on-one.
D D7 G Gm
I know with the dawn, that you, will be gone.
D A7 D A D D |D|
But tonight, you belo-ong, to me just to little old me.
D A7 D A D D |D|
But tonight, you belo-ong, to me just to little old me.
(Zahida)(Sara & Julia Wee) (Steve Martin)(Bernadette Peters) (Artist Index)

TRAGEDY – Bee Gees
(R. Gibb/M. Gibb/B. Gibb)
https://www.youtube.com/watch?v=lk0alJGhSp0 (Capo 2)
TIP: At the end of the intro there are double-strums (down-up-down-up) of the (C) which
you do for eight times. It’s important to get this strum pattern down as you continue it
right on through the first verse.
TIP: The second instrumental pass is different from the first and there’s a tricky
little bit involving a (Dm) sequence after the first section. So you start with the
double bar of (Am) and then you move to the (Dsus4) which is (Dm) but with your pinky
included on the bottom string of the 3rd fret which cancels out the index finger (see
diagram). Then remove the pinky to get to (Dm) and then remove your index finger from
the <f> on the bottom string/1st fret for (Dsus2). Then it’s a double bar of (E) and a
quick (Am)-(F).
; - -
INTRO: Am Am Dm-C-Em-Am, Em, Em G, G C F-C
C-C x 8 . . .
Here I lie, in a lost and lonely part of town.
Held in time, in a world of tears I slowly drown.

D E
Goin' home, I just can't make it all alone.
D F
I really should be holding you, holding you, loving you, loving youuuuuuuuuuuuuuuu.
Am Em Am
Tragedy. When the feeling's gone and you can't go on it's tragedy.
Em Dm7
When the morning cries and you don't know why it's hard to bear.
G Am F-E
With no one to love you you're goin' nowhere.
Am Em Am
Tragedy. When you lose control and you got no soul it's tragedy.
Em Dm7
G Am F-E
With no one beside you you're goin' nowhere.
Am Am Dm-C-Em-Am, Em, Em G, G C F-C; C-C x 8 . . .

Night and day, there's a burning down inside of me.
Oh-oh. Burning love, with a yearning that won't let me be.

D E
Down I go, and I just can't take it all alone.
D F
I really should be holding you, holding you, loving you, loving youuuuuuuuuuuuuuuu.
Am Em Am
Em Dm7
G Am F-E
Am Em Am
Em Dm7
G Am F-E
With no one beside you you're goin' nowhere. Ahhhh.
Am Am Dm-C-Em-Am, E; Am Am Dsus4-Dm-Dsus2 E E Am-F F F
Am Em Am
Em Dm7
G Am F-E
Am Em Am
Em Dm7
G Am F-E
With no one beside you you're goin' nowhere. Ahhhhhhhh.
Am Em Am
Em Dm7
G Am F-E
Am Em Am
Em Dm7
G Am F-E
With no one beside you you're goin' nowhere. Ahhhhhhhh.
Am Em Am
Em Dm7
G Am F-E |Am|
(Bee Gees) (Artist Index) - (Main Index) - (Song Index) (This Song)
TRAVELIN' MAN - Rick Nelson
(Fuller)
https://www.youtube.com/watch?v=k0vFdCdNQP4 (Capo 2)
TIP: At the end of the first line of the verse there’s a (G) and then a (G7). Don’t
pause after the word, go straight from the (G) to the (G7).
INTRO: C Am Am C Am
Bo bo bo bo ooh-ooh ooh, Ooh-ooh ooh
C Am C G G7
I'm a travelin' man, made a lotta stops, all over the world.
Am F C G C G-G
And in every port I own the heart of at least one lovely girl.
C Am C G G7
I've a pretty senorita, waitin' for me, down in old Mexico.
Am F C G C
If you're ever in Alaska stop and see my cute little Eskimo.
F Em F C
Oh my sweet fraulien down in Berlin town, makes my heart start to yearn.
F Em D7 G
And my China doll down in old Hong Kong, waits for my return.
C Am C G G7
Pretty Polynesian baby, over the sea, I remember the night,
Am F C G C G-G
When we walked in the sands of Waikiki and I held you oh so tight.
C Am C Am C F C-G-C
F Em F C
Oh my sweet fraulien down in Berlin town, makes my heart start to yearn.
F Em D7 G
And my China doll down in old Hong Kong, waits for my return.
C Am C G G7
Pretty Polynesian baby, over the sea, I remember the night,
Am F C G C
When we walked in the sands of Waikiki and I held you oh so tight.
Am C Am
Road I'm a travelin' man. Yes I'm a travelin' man.
C Am C Am C Am Am |C|-|C| |G|-|G| |C|
Yes I'm a travelin' man. Road I'm a travelin' man. Mmmm hmmmm.
(Rick Nelson) (Artist Index) - (Main Index) - (Song Index) (This Song)
TRAVELIN’ SOLDIER – The Dixie Chicks
(Robison)
https://www.youtube.com/watch?v=0aI3QAU43TU (Capo 2)
Gadd
Two days past eighteen he was waitin' for the bus in his Army greens
C G
Sat down in a booth, in a cafe there gave his order to a girl with a bow in her hair.
Gadd
He's a little shy so she give him a smile
C
And he said would you mind sittin' down for a while and talking to me,
G
I'm feeling a little low?
F C G G G
She said I'm off in an hour and I know where we can go.
Gadd G
So they went down and they sat on the pier
Gadd C G
He said “I bet you got a boyfriend but I don't care I got no one, to send a letter to.
F C G
Would you mind if I sent one back here to you?”
Em D C G
How-ow-ow I cried never gonna hold the hand of another guy-y.
Gadd D
Too young for him they told her waitin' for the love of a travelin' soldier.
Em D C G
Our love will never end waitin' for the soldier to come back aga-in.
Gadd G D G
Nevermore to be alone, when the letter said a soldier's comin' ho-ome.
Gadd
So the letters came from an Army camp in California then Vietnam
C G
And he told her of his heart, it might be love and all of the things he was so scared of.
Gadd G
He said when it's getting kinda rough over here,
Gadd
I think of that day sittin' down at the pier
C G
And I close my eyes, and see your pretty smile.
F C G
Don't worry but I won't be able to write for a while.
Em D C G
I-i-i cried never gonna hold the hand of another guy-y.
Gadd D
Em D C G
Gadd G D G G
Nevermore to be alone, when the letter said a soldier's comin' ho-ome.
Gadd Gadd C C G, G G C C F C G G
Gadd G Gadd
One Friday night at a football game, the Lord's prayer said and the Anthem sang
C G D
A man said “Folks, would you bow your heads for a list of local, Vietnam dead?”
Gadd G Gadd
Crying all alone under the stands was a piccolo player in the marching band
C G G
And one name read and nobody really cared,
F C G
But a pretty little girl, with a bow in her hair.
Em D C G
Gadd D
Em D C G
Gadd G D
Nevermore to be alone, when the letter said a soldier's comin'
Em D C G
Gadd D
Em D C G
Gadd G D G G
Nevermore to be alone, when the letter said a soldier's comin' hoooo-ome.
Gadd Gadd C C, Gadd Gadd C C, Gadd Gadd C C, Gadd Gadd C C
Gadd Gadd C C, Gadd Gadd C C, Gadd Gadd C C, Gadd Gadd C C, |G|
(The Dixie Chicks) (Artist Index) - (Main Index) - (Song Index) (This Song)
TRIANGLE
Gordon Lightfoot
https://www.youtube.com/watch?v=LV5dTPjYF6I (Capo 2)
TIP: If you’ve got a 12-string, now’s the time.
INTRO: D D
G
Oh the gist of it all is the first day of fall is the day when my ship will set sail.
A
And the best of all friends will say good-bye again
D
There's still time for one last glass of ale.
G
We'll sail away proudly our backs to the wall on a southwind and lots of good cheer.
A
And when we've looked over the white cliffs of Dover
D D
We'll be in Bahama next year.
G
From Bermuda on down the Triangle around us will teach us a lesson or two.
A D
There's many a mate who unevenyly stated that the course he had chartered was true.
G
"Don't worry 'bout me" he said "Go down below give a certified sailor a turn,
A
Just sip on your rum or I'll give you my thumb
D
And say son you got something t' learn.”
A D A
It's a mighty hard way to come down, and a mighty fine way to be fou-ound.
D G D G D G A
So hand me my grip, from an old sailing ship, put the kiss of the dawn on my lips.
D D
With some luck tonight I might have her at my fingertips.
G
Oh the best of all things is the first day of spring when the water runs heavy and fast.
A
The mermaids have all gone to Davy Jones' Ball
D
And I swear their first trip was their last.
G
They had so much fun they don't wish to return to the beach where they lay all day long.
A D
They'd rather stay under and boy it's no wonder when all the rock lobsters roll on.
A D D
It's a mighty fine way to be found.
G
Triangle Triangle oh see my ship dangle we're bound for Bahama my friend.
A D
Like lovers like danger like babies like mangers but that’s where my storybook ends.
G
Like soldiers of fortune believers in God and all kings without crosses to bear.
A D
All sweepers and cleaners with no misdemeanors should try the triangle out there.
A D A
D G D G D G A
D D
G
When she took her last tumble the sea bottom rumbled there was no confusion or blame.
A D
The Captain said "Men we must answer again to the sea so ye many not complain.”
G
And as they lay sleeping down there in the deep with their faces turned up to the stars,
A D
A tuna fish turned to a mermaid in bed and said "There goes another sandbar.”
A D A
D G D G D G A A A
A7 D D |D|
TULSA TIME - Don Williams
(Flowers)
https://www.youtube.com/watch?v=DlnE2vNqpTw (Capo 2)
INTRO: D C, G A, A D D
A
I left Oklahoma, drivin' in a Pontiac, just about to lose my mind.
A7 A D
I was goin' to Arizona maybe on to California, where the people all live so fine.
A
My baby said I'd's crazy, my momma called me lazy, I was goin' to show 'em all this time.
'Cause you know I ain't no fool an' I don't need no more schoolin'.
D
I was born to just walk the line.
A
Livin' on Tulsa time. Livin' on Tulsa time.
A7
Well you knowww I've been through it, when I set my watch back to it.
A D
Livin' on Tulsa time.
D D D A, A7 A7 A D
A
Well there I was in Hollywood, wishin' I was doin' good, talkin' on the telephone line.
A7
But they don't need me in the movies and nobody sings my songs.
A D
Guess I'm just a wastin' time.
A
Well then I got to thinkin', man I'm really sinkin', and I really had a flash this time.
D
I had no business leavin' and nobody would be grievin' if I went on back to Tulsa time.
A
A7 A D
Gonna set my watch back to cuz you know I’ve been through it, livin’ on Tulsa time.
A
A7 A D
Gonna set my watch back to cuz you know I’ve been through it, livin’ on Tulsa time.
D D D A, A7 A7 A D; D D D A, A7 A7 A D
TUMBLING TUMBLEWEEDS
Sons of the Pioneers/Michael Martin Murphey
(Nolan)
https://www.youtube.com/watch?v=Q-jWVvuut5U Michael Martin Murphey (Capo 0)
https://www.youtube.com/watch?v=JQc5gDXQGIs Sons of the Pioneers (Capo 0)
[The version here is based on Michael Martin Murphey’s superb rendition. To play the
original version from the Pioneers skip the first verse and play the last verse twice
with the chords from the previous verse played in between as an instrumental bridge.]
TIP: For the intro strum one |A| strongly and sing the line and begin strumming with the
(D) on "weeds." The note to begin singing is the <a> - 3rd string of the (A).
INTRO: |A| D D
Driftin' along with the tumblin', tumble weeds.
G D
I'm a rovin' cowboy, ridin' all day long.
A7 D D7
Tum,bleweeds around me, sing their lonely song.
G D E7 A
Nights underneath the prairie moon. I'll ride alone and sing a tune.
G F#
Seeee them tumblin' down. Pledg,ing their love to the ground.
G D A D
Lone,ly but free I'll be fou-ound, drifting along with the tumblin' tumble weeds.
G F#
Carrres of the past are behind. No,where to go but I'll find,
G D A D
Juuust where the trail will wi-ind. Drifting along with the tumblin' tumble weeds.
A A7 D E A
I know, when night has gone. That a new, day's, born at dawn.
G F#
I'll keep rolling along. Deeeeep in my heart is a song.
G D
Heeere on the range I belong,
A D |D|
<slowly> Driftin' along with the tumblin', tumble weee-eeds.
(Sons of the Pioneers)(Michael Martin Murphey)(Artist Index)

TURN IT ON, TURN IT UP, TURN ME LOOSE - Dwight Yoakam
(Kostas/Patton)
https://www.youtube.com/watch?v=8LuUYzdAgXg (Capo 2)
TIP: There's a distinct strumming cadence which you'll pick up quickly. But don't play
too fast.
INTRO: D
A
Well I'm back again, for another night,
D
Of trying to break free from this sadness that I can't lay to rest.
A A7
This old honky tonk, sure does feel like home,
D
And the music with the laughter seem to soothe my loneliness.
G
Turn it on, turn it up, turn me loose, from her memory,
D
Driving me lonely, crazy and blue.
G
It helps me forget her so the, louder the better.
D A D D
Hey mister turn it on, turn it up, turn me loose.
D D, D A A7, A7 A A7 A D; D D, D A A7, A7 A A7 A D D
A A7
If a tear should fall. If I should whisper her name,
D
To some stranger I'm holdin' while we're dancin' to an old Buck Owens song.
A A7
I know she won't mind. She won't even know.
D
She'll be dancing with a memory cryin' teardrops of her own.
G
D
G
D A D
G
D
G
D A D
A D D |D|
TURN THE PAGE
Bob Seger
https://www.youtube.com/watch?v=GONmFCkCGCc (Capo 0)
TIP: The intro/outro emulates the saxophone. Form up (Dsus4) which is just (D) with
your pinky added to the bottom string/3rd fret. Start with a single strum of |Dsus4| and
|D|, and then strum (D) and (Em). The same sequence closes the song.
TIP: In the last line of the verse hold onto the (Am) through the final word in the line
and then move immediately to the (Em). E.g. “ (Am) . . . before (Em).”
INTRO: |Dsus4| - <lift> - 1, 2 – 3 - |Em|, 3/3 - 2;
|Dsus4| - <lift> - 1, 2 – 3 - |Em|, 3/3 – 3 - 4/4 – 4 - 5
Em
On a long and lonesome highway, east of Omaha,
D
You can listen to the engine moanin' out his one note song.
Am Em Em
You can think about the woman, or the girl you knew the night before.
But your thoughts will soon be wandering, the way they always do,
D
When you're ridin' sixteen hours and there's nothin' much to do.
Am Em Em
And you don't feel much like ridin'. You just wish the trip was through.
D Em D Em
Say here I am, on the road again. There I am, up on the stage.
D Em C D Em Em Em
Here I go, playin' star again. There I go, turn the pa-aaaa-jah.
Well you walk into a restaurant, strung out from the road,
D
And you feel the eyes upon you, as you're shakin' off the cold.
Am Em
You pretend it doesn't bother you, but you just want to explode.
Most times you can't hear 'em talk, other times you can.
D
All the same old cliches, "Is that a woman or a man?"
Am Em Em
And you always seem outnumbered, you don't dare make a stand.
D Em D Em
Here I am, on the road again. There I am, up on the stage.
D Em C D Em Em Em
Here I go, playin' star again. There I go, turn the pa-aaaa-jah.
Out there in the spotlight you're a million miles away.
D
Every ounce of energy, you try to give away
Am Em Em
As the sweat pours out your body like the music that you play.
|Em| |Em|
Later in the evening as you lie awake in bed,
|D| |D|
With the echoes from the amplifiers ringin' in your head.
|Am| |Am| |E| |E|
You smoke the day's last cigarette, rememberin' what she said.
D Em D Em
Now here I am, on the road again. There I am, up on the stage.
D A C D Em
Here I go, playin' star again. There I go, turn the page.
D Em D Em
Now here I am, on the road again. There I am, up onnnnn the stage.
D A C C D Em
Here I go, playin' star again. There I go, there IIIIIII go.
OUTRO: |Dsus4| - <lift> - 1, 2 – 3 - |Em|;
|Dsus4| - <lift> - 1, 2 – 3 - |Em| - 3/3 – 3 - 4/4 – 4 – 5 - Em
TURN, TURN, TURN - The Byrds
(Seeger/Ecclesiastes 3:1-8)
https://www.youtube.com/watch?v=W4ga_M5Zdn4 (Capo 2)
TIP: Chords in upright brackets, i.e. the |C|-|G| sequence, are struck just once.
INTRO: C G-G . . . |C|-|G|, C G-G . . . |C|-|G|, C-G-Em-Dm |C|-|G|, C-G-Em-Dm
G C F Em G C F Em G
To every thing turn turn turn. There is a season turn turn turn.
F Em Dm G C G C
And a time to every purpose, under heaven.
G C G C
A time to be born, a time to die, a time to plant, a time to reap.
G C
A time to kill, a time to heal.
F Em F G C G |C|
A time to lau-augh a ti- ime to weep.
NC C F Em G C F Em G
F Em Dm G C G C
G C G C C
A time to build up, a time to break down, a time to dance, a time to mourn.
G C
A time to cast away stones,
F Em Dm G C G |C|
A time to ga- ather sto- ones together.
F Em Dm G C G C
G C G C C
A time of love, a time of hate, a time of war, a time of peace.
G C
A time you may embrace,
F Em Dm G C G |C|
A time to refrain fro- om embracing.
G-C C F C G, G-C C F C G, F Em Dm G C G-C,
G C, G C, G C, F Em Dm G C G-|C|
F Em Dm G C G C
G C G C
A time to gain, a time to lose, a time to rend, a time to sew.
G C
A time for love, a time for hate.
F Em Dm G C G |C|
A time for pe- eace I swear it's not too late.
G-C-Em-Dm |C|-|G|, G-C-Em-Dm |C|-|G|, G-C-Em-Dm |C|-|G|, G-C-Em-Dm |C|-|G|
G-C-Em-Dm |C|-|G|, G-C-Em-Dm |C|-|G|, G-C-Em-Dm |C|-|G|, G-C-Em-Dm |C|-|G|, |C|
TUTTI FRUTTI - Little Richard
(LaBostrie/Penniman)
https://www.youtube.com/watch?v=F13JNjpNW6c (Capo 3)
TIP: No, I don't know who Rudy is either. Some accounts have the lyrics as "aw rutti,"
supposedly a slang term meaning "all right".
INTRO: (NC) Whop-bop-a-loom-om-a-lop-bop-bom
D
Tutti Frutti, oh Rudy. Tutti Frutti, oh Rudy.
G D
A G |D|
Tutti Frutti, oh Rudy. A whop-bop-a-loom-om-a-lop-bop-bom.
D
I got a girl, named Sue. She knows just what to do.
G D
I got a girl, named Sue. She knows just what to do.
|D| |D|
She rock to the east, she rock to the west.
|D| |D|
But she's the gal that I love the best.
D
G D
A G |D|
D
I got a gal, named Daisy. She almost drive me crazy.
G D
Got a gal named Daisy. She almost drive me crazy.
|D| |D|
She knows how to love me, yes indeed.
|D|
Boy you don't know she do to me.
D
G D
A G |D|
Tutti Frutti, oh Rudy. A whop-bop-a-loom-om owwwwww.
D D, G D; A, G D
D
G D
A G |D|
D
I got a gal, named Daisy. She almost drive me crazy.
G D
Got a gal named Daisy. She almost drive me crazy.
|D| |D|
She knows how to love me, yes indeed.
|D|
Boy you don't know she do to me.
D
G D
A G |D| |D|
Tutti Frutti, oh Rudy. A whop-bop-a-loom-om-a-lop-bap-boom.
(Little Richard) (Oldies) (Artist Index) - (Main Index) - (Song Index) (This Song)
25 OR 6 TO 4 – Chicago
(Lamm)
https://www.youtube.com/watch?v=iUAYeN3Rp2E (Capo 0)
TIP: The guitar solo is a bitch; so are those damn horns.
INTRO: Am, G, F#, F-E; Am, G, F#, F-E
Am D F E, Am C D F E
Am C Dm F E7 Am C Dm F E7 Am
Waiting for the break of day. Searching for something to say.
C Dm E E7 Am C Dm F E7 Am
Flashing lights against the sky-y. Giving up I close my eyes.
C G F
Sitting cross-legged on the floorrrrrrrr. Twenty-five or six to four-or.
Am C D F E, Am F, Am F
Staring blindly into space. Getting up to splash my face.
C Dm E E7 Am C Dm F E7 F
Wanting just to stay awa-ake. Wond'ring how much I can take.
C G F
Should I try to do some morrrre. Twenty-five or six to four-or-or.
Am C D F E Am F Am F Am F E Am Am D E Am Am G D F E Am Am D E
Am C Am F E Am C D A C D F E Am G D F E Am C D F E Am Am Dm F
E Am Am Dm F E
Am, G, F#, F-E; Am, G, F#, F-E; Am D F E, Am C D F E
Feeling like I ought to sleep. Spinning room is sinking deep.
C Dm E E7 Am C Dm F E7 F
Searching for something to say-ay. Waiting for the break of day.
C G F
Twenty-five or six to fourrrr. Twenty-five or six to four-or-or.
Am, G, F#, F-E; Am, G, F#, F-E; |Dm| |Bm3| |B| |Bb| |Bb| |B7|
(Chicago) (Artist Index) - (Main Index) - (Song Index) (This Song)

TWIST AND SHOUT - The Beatles
(Russell/Medley)
https://www.youtube.com/watch?v=2RicaUqd9Hg (Capo 0)
TIP: For the "Ahhh" part in the bridge and 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>. Easy.
TIP: Remember to shake your head on the "woooh." "Bueller . . . Bueller . . . "
INTRO: A D G A, A A D G A
D G A
Well shake it up baby now. Shake it up baby.
A7 D G A
Twist and shout. Twist and shout.
A7 D G A
C'mon c'mon c'mon c'mon baby now. Come on baby.
A7 D G A
Come on and work it on out. Work it on out. Wooooh.
A7 D G A
Well work it on ouuu-ut. Work it on out.
A7 D G A
You know you look so good. Look so good.
A7 D G A
You know you got me goin' now. Got me goin'.
A7 D G A
Just like I knew you would. Like I knew you would. Woooooh.
D G A
Well shake it up baby now. Shake it up baby.
A7 D G A
Twist and shout. Twist and shout.
A7 D G A
A7 D G A
A7 D G A
You know you twist you little girl. Twist little girl.
A7 D G A
You know you twist so fine. Twist so fine.
A7 D G A
Come on and twist a little closer now. Twist a little closer.
A7 D G A
And let me know that you're mine. Let me know you're mine. Ooooh.
D G A, |G|-|G|-D G A, |G|-|G|-D G A, |G|-|G|-D G A, |G|-|G|

<base> A <mid> A <treble> A
Ahhh, Ahhh, Ahhh, Ahhh, Whoa-ahhhh
D G A A7 D G A
Baby now shake it up baby. Twist and shout. Twist and shout.
A7 D G A
A7 D G A
A7 D G A
You know you twist you little girl. Twist little girl.
A7 D G A
You know you twist so fine. Twist so fine.
A7 D G A
Come on and twist a little closer now. Twist a little closer.
A7 D G A
And let me know that you're mine. Let me know you're mine. Woooh.
A7 D G A
Well shake it shake it shake it baby now. Shake it up baby.
A7 D G A
A7 D G A
<base> A <mid> A <treble> A |A|-|A|-|A|-|A|-|A|-|A|-|D|

Ahhh, Ahhh, Ahhh
TWO OF US – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=cLQox8e9688 (Capo 5)
TIP: There’s a distinct strumming pattern for “home.” It’s a downstroke on |D| followed
by three more strums of (D) and an (A). It repeats twice more on the subsequent lines.
TIP: For the drums entering the chorus you’ll finish the previous verse on a |D| so just
lightly strum additional |D|s and then hit the (F).
FUN FACT: Charles Hawtrey was an English comic and the lads referred to their amplifiers
as “deaf aids.”
INTRO: <spoken> "I Dig a Pygmy" by Charles Hawtrey on the deaf aids.
Phase one in which Doris gets her oats.”
INTRO: D D D D
G D Em Em
Two of us riding nowhere, spending someones, hard, earned, pay.
D G D Em |D| D A
You and me Sunday driving, not arriving, on, our, way, back, home.
|D| D A |D| D A G |D|
We're on our way home. We're on our way home. We're going home.
D D D D
G D Em Em
Two of us sending postcards, writing letters, on, my, wall.
D G D Em |D| D A
You and me burning matches, lifting latches, on, our, way, back, home.
|D| D A |D| D A G |D|

<drums> |D| x 8 . . . .
F Am Dm7 Dm Em A
You and I have memories, longer than the road that stretches out ahead.
D G D Em Em
Two of us wearing raincoats, standing solo, in, the, sun.
D G D Em |D| D A
You and me chasing paper, getting nowhere, on, our, way, back, home.
|D| D A |D| D A G |D|

<drums> |D| x 8 . . . .
F Am Dm7 Dm Em A
You and I have memories, longer than the road that stretches out ahead.
D G D Em Em
Two of us wearing raincoats, standing solo, in, the, sun.
D G D Em |D| D A
You and me chasing paper, getting nowhere, on, our, way, back, home.
|D| D A |D| D A G |D|

D D D D (You better believe it.) <whistle> D . . . . . . and fade . . .
TWO STORY HOUSE - George Jones and Tammy Wynette
(Wynette/Tubb/Lindsey)
https://www.youtube.com/watch?v=4AHwBCvip_Y (Capo 1)
TIP: There's a key shift (sharped) for the last verse so slide the capo up one fret to
continue playing along with the recording.
INTRO: C C F-C; G G C, F-C
G7 C
We always wanted a big two story house,
G7 C
Back when we lived in that little two room shack.
F
We wanted fame and fortune, and we'd live life the way the rich folks do.
C G7 C
We knew some how we'd make it, together me and you.
G7 C
With dreams and hopes of things to come we worked and never stopped.
G7 C
Not much time for you and me we had to reach the top.
F
We bought that big two story house and soon became the envy of the town.
C G7 |C| |C| |C| C
With all our work behind us, we'd finally settle down.
F G
Now we live (yes we live) in a, two story house,
C F G
Whoa what splendor, but there's no love about.
C G7 C F
I've got my story and I've got mine too.
C F C G7 C
How sad it is, we now live, in a, two story house.
<capo +1> C
G7 C
The house is filled with rare antiques there's marble on the floor.
G7 C
Beauty all around us like we've never seen before.
F
There's chandeliers in every room imported silks and satin all about.
C G7 |C| |C| |C| C
We filled the house with everything but somehow left love out.
F G
Now we live (yes we live) in a, two story house,
C F G
Whoa what splendor, but there's no love about.
C G7 C F
I've got my story and I've got mine too.
C F C G7 C
C F C G7 C F C
(George Jones) (Tammy Wynette) (Artist Index) - (Main Index) - (Song Index) (This Song)
UNCHAINED MELODY - The Righteous Brothers
(North/Zaret)
https://www.youtube.com/watch?v=qiiyq2xrSI0 (Capo 0)
TIP: Wow, Bobby Hatfield's soaring vocals are hard to reproduce melodically in print as
to how he sings the syllables so you may feel you need to adjust the chord placement here
and there.
TIP: (D#) is just (D) slid up one fret but you need to either include the 4th string or
just take care to strum only the bottom three strings.
C Am F
Whoa, my-y love, my darlin'.
G C Am G G
I've hungered for, your touch, a long, lonely time.
C Am F G C
And time, go-oes by, so slowly, and time, can do so much.
Am G G
Are-are you, still mi-i-ine?
C G Am Em
I need your love, I-I-I-I need your love.
F G C
God, speed your love, to-oo-oo-oo me-ee.
F G F D#
Lonely rivers flow, to the sea, to the sea.
F G C
To the open arms, of the sea-ea yeah.
F G F D#
Lonely rivers sigh, wait for me, wait for me.
F G C
I'll be coming home, wait for me-ee-ee.
C Am F
Whoa, my-y love, my darlin'.
G C Am G G
I've hungered for, your-or touch, a long, lonely time.
C Am F G C
And ti-i-imeme, go-oes by, so slowly, and time, can do, so much.
Am G G
Are-are you, still mi-i-ine?
C G Am Em
I-I-I need your love, I-I-I-I need your love.
F G C Am F C
God speed your love, to-oo-oo-oo me-ee-ee.
(The Righteous Brothers) (Artist Index) - (Main Index) - (Song Index) (This Song)
UNDER THE BOARDWALK - The Drifters
(Young/Resnick)
https://www.youtube.com/watch?v=EPEqRMVnZNU (Capo 0)
TIP: The numbers in the intro indicate which strings to pick and they're all open except
for the third note. So form up (G) and pick the strings and when you get to that 3rd
note simply drop your ring finger down onto the 2nd string/3rd fret <d> like you're
playing a (Gadd) and lift off when the 2nd string comes around again. Play this sequence
twice.
INTRO (Form G): 3 - 2 - 2/3 - 4 - 3 – 2, 3 - 2 - 2/3 - 4 - 3 - 2
G D
Oh when the sun beats down and burns the tar up on the roof.
D7 D G G7
And your shoes get so hot you wish your tired feet were fireproof.
C G
Under the boardwalk, down by the sea-ee, ee-ee-yeah.
D G
On a blanket with my baby is where I'll be.
Em
Under the boardwalk, out of the sun.
D
Under the boardwalk, we'll be having some fun.
Em
Under the boardwalk, people walking above.
D Em
Under the boardwalk, we'll be falling in love under the boardwalk, boardwalk.
G D
From the park you hear the happy sound of the carousel.
D7 D G
Mmmmm you can almost taste the hot dogs and French fries they sell.
C G
Under the boardwalk, down by the sea-ee, ee-ee-yeah.
D G
Em
D
Em
D Em
C G, G D, D D7 G
C G
Ohhhh under the boardwalk, down by the sea-ee, ee-ee-yeah.
D G
Em
D
Em
D Em
THEME FROM UNDERDOG - Robert Ragaini
(Harris/Covington/Biggars/Stover)
https://www.youtube.com/watch?v=tEVsRLhet2k (Capo 1)
TIP: Either (B7) or (B) works.
INTRO: There's no need to fear, Underdog is here!
E B7
Oooh, ah ooh, ah ooh, ah ooh, ah ooh, ah ooh
E
When criminals in this world appear
B7
And break the laws that they should fear
And frighten all who see or hear

E B7 F E F
The cry goes up both far and near for Underdog! Underdog! Underdog! Underdog!
E G E G
Speed of lightning, roar of thunder, fighting all who rob or plunder,
B7 B7 E
Underdog. Underdog!
E B7
Oooh, ah ooh, ah ooh, ah ooh, ah ooh, ah ooh
E
When in this world the headlines read
B7
Of those whose hearts are filled with greed
Who rob and steal from those who need

E B7 F E F
To right this wrong with blinding speed goes Underdog! Underdog! Underdog! Underdog!
E G E G
Speed of lightning, roar of thunder, fighting all who rob or plunder,
B7 B7 E
Underdog. Underdog! Underdog.
(Robert Ragaini) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE UNICORN – The Irish Rovers
(Silverstein)
https://www.youtube.com/watch?v=_EPsuOEH1fY (Capo 3)
INTRO: D D A D
Em
A long time ago when the earth was still green,
A7 D
There was more kinds of animals, than you've ever seen.
G
They'd run around free, while the earth was being born.
D A D
But the loveliest of them all was the unicorn.
Em
There was green alligators and long-necked geese,
A D
Some humpty-backed camels and some chimpanzees.
G
Some cats and rats and elephants, but sure as you're born,
D A D D D A D
The loveliest of all was the unicorn.
Em
Now God seen some sinnin', and it gave Him pain.
A7 D
And He says "Stand back, I'm going to make it rain."
G
He says "Hey brother Noah, I'll tell you what to do.
D A D
Build me a floating zoo.
Em
And take some of them green alligators and long-necked geese,
A D
G
D A D D D A D
Don’t you forget my unicorn.”
Em
Old Noah was there, to answer the call.
A7 D
He finished up making the Ark, just as the rain started fallin'.
G
He marched in the animals two by two,
D A D
And he called out as they went through.
Em
“Hey Lord, I got yer green alligators and long-necked geese,
A D
G
Some cats and rats and elephants, but Lord I’m so forlorned,
D A D D D A D
I just can’t see no unicorn.”
Em
Then Noah looked out, through the driving rain.
A7 D
Them unicorns was hiding, playin' silly games.
G Em
Kickin' and splashin', while the rain was pouring.
D A D
Oh them silly, unicorns.
Em
There was green alligators and long-necked geese,
A D
G
Noah cried “Close the door, ‘cause the rain is fallin’,
D A D D D A D
And we just can’t wait, for no unicorn.
Em
The Ark started movin', it drifted with the tides.
A7 D
Them Unicorns looked up, from the rocks and they cried.
G
And the waters came down and sorta floated them away,
<spoken> And that's why you've never see a unicorn, to this very day.
D Em
You’ll see green alligators and long-necked geese,
A D
G
D A D D D A D |D|
You’re never gonna see no u- ni- corn.
(The Irish Rovers) (Folk) (Kid Friendly) (Artist Index)

UP ON THE ROOF – The Drifters
(King/Coffin)
https://www.youtube.com/watch?v=puM1k-S86nE (Capo 1)
[Afterwards is James Taylor's version, in [D], which is sung a bit differently and more
like Carole wrote it.]
TIP: The intro is a voicing that repeats throughout the song (although only presented
here in the intro). If you want, you can just strum (G).
TIP: Prior to the (Am) Sam drops his voice down to <d> and then comes back to <e> for
the (Am). If you don't then the (D) will sound more appropriate at this point right
through to the (G).
INTRO: G-Em-G-Em, G-Em-G-Em
G Em
When this old world starts getting me down,
C Am D G G
And people are just too much for me to face.
Em
I climb way up to the top of the stairs,
C Am D G
And all my cares just drift right into spaaaaaace.
C
On the roof it's peaceful as can be.
G Em C |D|
And there the world below can't bother me.
NC G Em
Let me tell you now when I come home feelin' tired and beat,
C Am D G
I go up where the air is fresh and sweet.
Em
I get away from the hustling crowd,
C Am D G
And all that rat-race noise, down in the streeeeeet.
C
On the roof the only place I-I know,
G Em C D G
Where you just have to wish to make it so let's go up on the roof.
G Em C Am D G
C
At night the stars put on a show for freeeee,
G Em C |D|
And darling you can share it all with meeee.
NC G Em
I keep a-tellin' you right smack dab in the middle of town,
C D G
I've found a paradise, that's trouble proof.
Em
And if this world starts getting you down,
C D G
There's room enough for two, up on the rooooof.
Em G Em
Up on the roof. Oh come on baby. Oh come on on it.
G |G|
Ev-erything is alright. I'm up on the roof.
UP ON THE ROOF – James Taylor
(King/Coffin)
https://www.youtube.com/watch?v=tDqS1d7tE8o (Capo 3)
TIP: If you don't like the (Bm) you can capo 5 and play it in [C] and transpose the
chords down one step, i.e. (D) becomes (C), (Bm) becomes (Am), etc.
TIP: The intro chords are played right in a row without much delay. The accent chords
following the lines are also played immediately so don't dawdle.
INTRO: Em-D-D-G-A
D Bm A
When this old world, starts a getting me down,
Em A D A D G A
And people are just too much, for me to face.
D Bm A
I'll climb way up, to the top of the stair,
Em A D A D G A
And all my cares just drift, right into spa-a-ace.
G D G A
On the roof, it's peaceful as can be.
Bm Em7 A
And there the world below don't bother me, no no.
D Bm A
So when I come home, feelin' tired and beat,
Em A D A D G A
I'll go up where the air, is fresh and sweet.
D Bm A
I'll get away from the hustling crowd
Em A D A D |G|-|A| D-D
And all that rat-race noise, down in the street.
G
On the roof, that's the only, place I know,
Bm D Bm Em7
Look at the city baby, where you just have to wish, to make it so,
A D <strings> A D Bm Bm Em7 D G A, D A D |G|-|A| D-D
Let's go-oh up on the roof.
G Bm G D G A
At night the stars, they put on a show for free,
D Bm Em7 A
And darlin', you can share it all with me, just what I said.
D Bm A
'Keep on tellin' you that right smack dab, in the middle of town,
Em G A D A D G A
I found a paradise, that's trouble proof.
D Bm A
And if this old world, starts a getting you down,
Em A D A D D A D
There's room enough for two, up on the ro-oof.
Em7 D GA D Bm Em D G A D
Up on the roo-oof up on the rooof.
Bm Em Em7 G A
Everything is all right, anything is all right.
D A D Bm Bm Em D G A
Come on.
Bm Em D G A
Stop what you're doin' tonight and climb up the stairs be and see me.
D Bm
We got the stars above and the city lights below,
Em A G A D A D Bm Bm Em7, D, G, A, D
Ohh ohh oh oh on every roof now.
(James Taylor) (Artist Index) - (Main Index) - (Song Index) (This Song)
VINCENT
Don McLean
https://www.youtube.com/watch?v=oxHnRfhDmrk (Capo 0)
TIP: There are a couple of chords only played once. The (Bm3) is played in the bridge
on the word "starry". You really need to cover that 4th string with your pinky if you
can. If not, don't hit the 4th string and just strum the bottom three strings. In the
last verse, there's one lonely (Asus2) sandwiched in between two (Am)'s or the word
"still". Just lift off the bottom string from the (Am). And the last chord in the song
is a (Gadd) in which you just add your ring finger to the 2nd string above the bottom
finger.
TIP: At the end there's a nifty little walk-up all played in the 2nd fret. You'll end
on the (Gadd) so hold the (G) form and use the pad of your index finger to press down on
the strings in an on/off pattern. The notes are: open 4th string <d>, 4th string/2nd
fret <e>, open 3rd string <g>, 3rd string/2nd fret <a>, open 2nd string <b>. (These are
the same notes as "starry starry night.") Then pause for a moment and pick the final
note, bottom string/3rd fret <g>. Easy.
/
NC G C G Am
Starry starry night. Paint your palette blue and grey.
C D7 G
Look out on a summer's day, with eyes that know the darkness in my soul.
C G Am
Shadows on the hills. Sketch the trees and the daffodils.
C D7 G C G
Catch the breeze and the winter chills, in colors on the snowy linen land.
Am D7 G
Now I understand, what you tried to say to me.
Em Am D7 |Em|
How you suffered for your sanity, and how you tried to set them free.
NC Am Am7 D7 G
They would not listen they did not know how. Perhaps they'll listen now.
C G Am
Starry starry night. Flaming flowers that brightly blaze.
C D7 G
Swirling clouds in violet haze, reflect in Vincent's eyes of China blue.
C G Am
Colors changing hue, morning fields of amber grain.
C D7 G
Weathered faces lined in pain, are soothed beneath the artist's loving hand.
Am D7 G
Now I understand, what you tried to say to me.
Em Am D7 |Em|
And how you suffered for your sanity, and how you tried to set them free.
NC Am Am7 D7 G
They would not listen they did not know how. Perhaps they'll listen now.
Am D7 G Em
For they could not love you. But still your love was true.
|Am| |Bm3|
And when no hope was left in sight on that starry starry night,
G E7 E Am
You took your life as lovers often do. But I could have told you Vincent,
C D7 G C G
This world was never meant for one as beautiful as you.
C G Am
Starry starry night. Portraits hung in empty halls.
C D7 G
Frameless heads on nameless walls, with eyes that watch the world and can't forget.
C G Am
Like the strangers that you've met, the ragged men in the ragged clothes.
C D7 G
The silver thorn a bloody rose, lie crushed and broken on the virgin snow.
Am D7 G
Now I think I know, what you tried to say to me.
Em Am D7 |Em|
And how you suffered for your sanity, and how you tried to set them free.
Am Asus Am
They would not listen they're not listening still.
D7 Gadd Gadd d – e – g – a – b, g
Perhaps they never willllll.
(Don McLean) (Artist Index) - (Main Index) - (Song Index) (This Song)
VIVA LAS VEGAS – Elvis Presley/ZZ Top
(Pomus/Shuman)
https://www.youtube.com/watch?v=9MO1KyNUOIs (Elvis)(Capo 1)
https://www.youtube.com/watch?v=Y2nQJo_KD1k (ZZ Top)(Capo 3)
TIP: To play with Elvis, capo 1. To play with Top, capo 3. The original Elvis version
is a little faster paced and he skips the instrumental bridge completely. When ZZ Top
covered it they changed the lyrics here and there but nothing substantial, and the music
is the same. The rendition presented below is based on that ZZ Top cover.
TIP: In the instrumental bridge (B13) means slide up with your bottom finger from the
(G) to the 13th fret and strum the bottom 3 or 4 strings. And there's always a position
marker at the 12th fret so it's easy to find.
INTRO: G G G G
<spoken> Y'all still want me to come with ya?
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.
Em
There's a thousand pretty women, awaitin' out there.
They're all livin', devil may care. And I'm just the devil with a love to spare.
C G C G |G| G
Viva Las Vegas. Viva Las Vegas. Hey now. Thank you very much.
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.
Em
Oh there's black jack and poker and the roulette wheel,
A fortune won and lost on a every deal.
All you need's a strong heart and nerves of steel.

C G C G C G C G
Viva Las Vegas, Viva Las Vegas. Viva Las Vegas, Viva Las Vegas.
C
Viva Las Vegas with your, neon flashin' and your,
G
One arm bandits crashin' all those hopes down the drain.
C
Viva Las Vegas turnin', day into nighttime turnin', night into daytime
A D D
If you see it once, you'll never come home again.
G Gadd G B13, G Gadd G G, B13 B13 B13 B13, G G D
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 then 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,
C G C G
Let me shoot a seven with a every shot. Viva Las Vegas. Viva Las Vegas.
C G C G C D |D|
Viva Las Vegas. Viva Las Vegas. Viva, Viva well hel-hel-hel.
G G G G G G G G Em Em Em Em G G G G G G G G G G G G |G|
(Elvis Presley)(ZZ Top) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE VOICE – Moody Blues
(Hayward)
https://www.youtube.com/watch?v=20W4slP2PGg (Capo 0)
TIP: The opening chords for the intro are single strums with a pause in between each
one. (F7),(F3), and (D/A4) are really just (B), (G), and (E) but played as an (F) shape
at different frets. There should be position markers on your fretboard to make them easy
to find. And you need that 4th string on the (D/A4) - which is just (D) with your pinky
added to the 4th string/4th fret - and there will be time coming off the last (F7) to get
squared away.
INTRO: |F7|, |F3|, |Em|, |F3|, |F7| . . . |D/A4|
Em G C C, Em G C C
Em G C
Won't you take me back to school? I need to learn the golden rule.
Em G C
Won't you lay it on the line? I need to hear it, just one more time.
G Am G F
Oh-oh won't you tell me again? Oh-oh can you feel it?
G Am Em C
Oh-oh won't you tell me again tonight?
Em G C
Each and every heart it seems, is bounded by, a world of dreams.
Em G C
Each and every rising sun, is greeted by, a lonely one.
G Am G F
G Am Em C Em C
Oh-oh won't you tell me again tonight? Tonight.
D Am D Bm E7 Am
Cuz out on the ocean of life my love, there's so many storms, we must rise above.
F A
Can you hear the spirit calling, as it's carried across the waves?
Dm C G F
You're already falling it's calling you back to face the music,
A
And the song that is coming through.
Dm C Bb Am D
You're already falling, the one that is calling, is you.
Em G C
Make a promise, take a vow, and trust your feelings, it's easy now.
Em G C
Understand, the voice within, and feel the change, already beginning.
G Am G F
G Am Em C
Oh-oh won't you tell me again tonight?
Em G C C Em G C C
G Am G F
G Am Em C Em C
D Am D Bm E7 Am
And how many words have I got to say? And how many times, will it be this way?
F A
With your arms around the future, and your back up against the past.
Dm C G F
You're already falling it's calling you back to face the music,
A
And the song that is coming through.
Dm C Bb Am D
You're already falling, the one that is calling, is you.
Em G C
Each and every heart it seems, is bounded by a world of dreams.
Em G C G
Each and every rising sun, is greeted by, a lonely lonely one.
Am G F
Won't you tell me again? Oh-oh can you feel it?
G Am Em C Em C
G Am G F
Oh won't you tell me again? Oh can you feel it?
G Am Em C Em C
G F G Am Em C
Oh-oh can you feel it? Oh-oh won't you tell me again tonight?
G Am G F, G Am Em C; G Am G F, G Am Em C
G Am G F, G Am Em C |G|
WABASH CANNONBALL – Boxcar Willie
(Traditional)
https://www.youtube.com/watch?v=nSrEcPdA0hE (Capo 2)
TIP: There are several versions of this old standard done by many different performers
and each has their own take on the lyrics and the order of them. The one presented here
is by Boxcar Willie. The starting note for singing is D (open 4th string) and remember
the melody climbs to a peak on "ocean".
TIP: The opening line of each verse is a steady ascending march. For example, in the
first verse from "From ... to" and the second vers from "Our ... dandy".
INTRO: G G C, D D7 G
C
From the great Atlantic ocean to the wide Pacific shore.
D G
To the green ol' flowin' mountain by the south built by the shore.
C
Hear the mighty rush of the engine hear the lonesome hobo's call.
D D7 G
We're riding through to Dixie on the Wabash Cannonball.
C
Our Eastern states are dandy so the people always say.
D G
From New York to St. Louis and Chicago by the way.
C
From the hills of Minnesota where the rippling waters fall,
D D7 G
No changes can be taken on the Wabash Cannonball.
C
Well listen to the jingle the rumble and the roar,
D G
As she glides along the woodland by the hills and by the shore.
C
Hear the mighty rush of the engine hear that lonesome hobo's call.
D D7 G
We're travelin' though the jungle on the Wabash Cannonball.
G G C D D7 G, G G C D D7 G
C
She rolled into Birmingham one cold December day,
D G
As she pulled into the station you could hear all the people say.
C
There's a gal out there from Texas, she's long and she's tall.
D D7 G
She's a combination on the Wabash Cannonball.
C
D G
C
D D7 G
We're travelin' though to Dixie on the Wabash Cannonball.
G G C D D7 G, G G C D D7 G
C
Well here's to Daddy Claxton may his name forever stand.
D G
And always be remembered throughout this great land.
C
Is earthly race is over and we'll bury him to the drawl.
D D7 G
And we'll carry him up to Heaven on the Wabash Cannonball.
C
D G
C
D D7 G
We're travelin' though to Dixie on the Wabash Cannonball.
D D7 G
We're ridin' though the jungle on the Wabash Cannonball.
(Boxcar Willie) (Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
WAITING IN THE WEEDS - Eagles
(Henley/Smith)
https://www.dailymotion.com/video/x82262 (Capo 1)
TIP: This is really a gorgeous song but the pacing can be difficult to follow as
everything tends to run together. I've spaced the pacing out best I could to keep the
strum pattern intact, especially with Don's singing.
TIP: For the intro, form (Gadd). Now pick the strings indicated while holding form
throughout. The "S" means to strum gently the bottom 3 strings, twice. At the end,
instead of the strum you start the song with the (G).
TIP: There's a little instrumental bridge that goes (Bm)(Daug)(D)(Daug) and is a little
tricky. Play the sequence on the bottom three strings and try not to hit the 4th
string. Start with (Bm), and then for the (Daug) move your ring finger down into the 4th
fret while lifting off the pinky and avoiding playing the 4th string, then play (D), and
then add your pinky above your ring finger on the 3rd string/4th fret to get back to the
(Daug). Repeat.
; ; - - -
INTRO (Form Gadd): 3 – 2 – 3 – SS, 2 – 3 – 2 – 3 – SS, 2 – 3 – 2 – 3 – SS
2 – 3 – 2 – 3 – SS, 2 – 3 – 2 - 3
G Em
It's comin' on, the end of August.
G Em
Another summer's promise, almost gone.
G C G Em
And though I heard some wise man say, that every dog will have his day.
F Am D
He never mentioned that these dog days, get so long.
G Em
I don't know when I realized, the dream was over.
G Em
Well there was no particular hour, no given day.
G G C G Em
You know it didn't go down in flame, there was no final scene, no frozen frame.
F Am D
I just watched it slowly fade away.
Em G Am C D
I've been waiting in the weeds, waiting for my time to commmme around, again and
Em G Am C
Hope is floating on the breeze, carrying my soul high uuuuup above the ground and
Em G Am C D
I've been keepin' to myself, knowin' that the seasonnnnns are slowly chang-ing
Em G
You-and-though-you're with somebody else,
Am C C |C| <pause> D
He'll never love you-like-I do-ooh-ooh.
G Em
I've been biding time, with the crows and sparrows.
G Em
While peacocks prance and strut, upon the stage.
G C G Em
If finding love is just a dance, proximity and chance,
F Am D
You will excuse me if I skip the masqueraaaaade.
Em G Am C D
And I've been waiting in the weeds, waiting for the dussst to settttle down along the
Em G Am C
Back roads running through the fields, lying on the outskirrts of this lonesome town
Em G Am
And-I-imagine sunlight in your hair, you're at the county fair,
C D Em G
You're holding hands and laugh-ing and now the ferris wheel has stopped.
Bm F#
You're swinging on the top, suspended there with him and
G D Bm F#
He's that darling of the chic, the flavor of the week, is mel-tiiinng
G D F#
Down your pretty summer dress, baby what a mess, you'rrre maaa-king.
Bm Daug D Daug, Bm Daug D Daug
Bm Daug D Daug
I've been stumbling through some dark places. Now I'm following the plow.
Bm Daug Am D
I know I've fallen out of your good graces. It's alright now.
Em G Am C D
I've been waiting in the weeds, waiting for the summer raaaaain to fall upon the
Em G Am C D Em
Wild birds scattering the seeds, answering the call-ing of the tide's eternal tune,
G Am C
The phases of the moon, the chambers of the heart, the egg and dart,
D Em G
Of small grey spiders spinning in the dark,
Am C D
In spite of all the tiimes the webbb is torn apart and
Em G Am C D
I've been waiting in the weeds, waiting for the time-to-commme around again and
Em G Am C D
Hope is floating on the breeze, carrying my soul high up above the ground and
Em G Am C D
I've been keeping to myself, knowing that the seasonnnnns are slowly chang-ing
Em G Am C
You-and-though-you're with somebody else, he'll never love you-like-I do-ooh-ooh.
Em G Am C, Em G Am C,
Em G Am C Em G Am C
Ah ah ah, ah ah ah
Em G Am C Em G Am C
Ah ah ah, ah ah ah
Em G Am C, Em G Am C, |G|

WAKING UP THE DEAD
Matthew Perryman Jones
https://www.youtube.com/watch?v=8DlWau_DIAM (Capo 3)
TIP: For the (C) to (Am7) just hold the (C) and lift off the ring finger.
INTRO: G C G C G C G C
Am7 G C
Well the sun is sinking and I'm still dragging this bag of bones.
Am7 G
Like a homesick beggar with a rockstar swagger and a heart of stoooone.
Em C
My feet are on the riverbed, my hands are far from innocent.
D D7
Have mer, cy, on, my souuuuul.
G C C G D D
Where did I go wrong? Well I lost my head.
C Em D C
I want to dannce on fire, and be born again.
G C G C
I can hear the voice that's waking up the dead.
Am7 G G
Yeah well everything changes and the color start fading and the stars go dim.
C Am7 G
And the clock keeps tickin’ while the rattlesnake's shakin’ as he sheds his skiiiin.
Em C
Kill your heart, and never take a chance, lock it up inside a picket fence.
D D7
The illu, sions, of, controllll.
G C C G D D
C Em D C
G C G C
Em G G Em G G
Oh and a wooo – ooh- ooh. And a wooo – ooh- ooh.
Em C C
Wooo – ooh- ooh.
G |C| <gently> G D
C Em C
G C C G D D
C Em C
G C G C |G|
(Matthew Perryman Jones) (Artist Index) - (Main Index) - (Song Index) (This Song)
WALK AWAY RENEE – The Left Banke
(Lookofsky/Sansone)
https://www.youtube.com/watch?v=qDGDX-ke8D0 (Capo 0)
INTRO: D A Bm A
E G Bm
And when I see the sign that, points "One Way".
Dm A D B7
The lot we used to pass by, everyday.
A F#m D A E
Just walk away Renee, you won't see me follow you back home.
A F#m D Bm4 D A
The empty sidewalks on my, block are not the same. You're not to blame.
E G Bm
From deep inside the tears that, I'm forced to cry.
Dm A D B7
From deep inside the pain I, I chose to hide.
A F#m D A E
A F#m D Bm4 D A
Now as the rain beats down, upon my weary eyes. For me it cries.
<flute solo> F#m A B7, D A, D B7
A F#m D A E
A F#m D Bm4 D A
Now as the rain beats down, upon my weary eyes. For me it cries.
E G D
Your name and mine inside a heart, upon a wall.
Dm A D B7
Still finds a way to haunt me, though they're so small.
A F#m D A E
A F#m D Bm4 D A
The empty sidewalks on my, block are not the same. You're not to blame.
(The Left Banke) (Artist Index) - (Main Index) - (Song Index) (This Song)
WALK OF LIFE – Dire Straits
(Knopfler)
https://www.youtube.com/watch?v=Sys9LCUo-AU (Capo 2)
TIP: The opening two bars |in brackets| of the intro emulates the organ. It's a bit
funky but go with it. Things clean up once you hit the strum.
TIP: Even though it's presented on the next line by itself, at the end of the verse the
riff comes immediately from the last (D) of "life" so don't dawdle.
INTRO: <subdued> |D|, |A|-|G|, |D|-|A|, |A|-|G|, |D|-|A|
<restrained> D G, A G, A; D G, A G, A
<yeah baby> D G, A G, A; D D G A G, A
Woo-hoo Woo-hoo,
D
Here comes Johnny singing oldies goldies, “Be-Bop-A-Lula Baby What I Say.”
Here comes Johnny singin' “I Gotta Woman.” Down in the tunnel trying to make it pay.
G D
He got the action he got the motion, oh yeah the boy can play.
G |D| |D|
Dedication, devotion turning all the night time into the day.
D A D G
Do-the-song-about-the sweet lovin' woman. He do the song about the knife.
D A G A D
He do the walk, do the walk of life. Yeah he do the walk of life.
D G, A G, A
Woo-hoo,
D
Here come Johnny gonna tell you the story. Hand me down my walkin' shoes.
Here comes Johnny with the power and the glory. Backbeat, the talkin' blues.
G D
He got the action he got the motion, yeah the boy can play.
G |D| |D|
Dedication, devotion turning all the night time into the day.
D A D G
The song about the sweet lovin' woman. They do the song about the knife.
D A G A D
Yeah they do the walk, do the walk of life. Hey you do the walk of life.
D G, A G, A, D G A G, A
Woo-hoo,
D
Here come Johnny singing oldies goldies, “Be-Bop-A-Lula Baby What I Say.”
Here come Johnny singing “I Gotta Woman.” Down in the tunnels trying to make it pay.
G D
He got the action he got the motion, yeah the boy can play.
G |D| |D|
Dedication, devotion he turning all the night time into the day.
D A
And after all the violence and double talk,
D G
There's just a song in all the trouble and the strife.
D A G A D
You do the walk, hey you do the walk of life, mmm you do the walk of life.
D G A G, A
Woo-hoo
D G, A G, A
D G, A G, A
Woo-hoo-hoo
D G A G, A
Woo-hoo-hoo, Woo-hoo,
D G A G, A, |D|
Woo-hoo-hoo yeah you do the walk on life.
(Dire Straits) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE WANDERER - Dion
(Maresca)
https://www.youtube.com/watch?v=0FFtht9k87k (Capo 0)
TIP: The intro strum cadence is easy; just keep the (D) and add/lift pinky to 3rd
string/4th fret.
INTRO: D-Bm, D-Bm, D-Bm, D-Bm, D-Bm, D-Bm, D-Bm, D
Ohhh well I'm the type of guy who will never settle down.
Where pretty girls are well you know that I'm around.
G
I kiss'em and I love'em 'cause to me they're all the same.
D
I hug'em and I squeeze'em, they don't even know my name.
A G D
They call me the wanderer, yeah the wanderer. I roam around around around around.
Ohh well there's Flo on my left arm and there's Mary on my right.
And Janie is the girl well that I'll be with tonight.

G
And when she asks me, which one I love the best.
D
I’ll tear open my shirt and I show her "Rosie" on my chest
A G D
Cuz I'm a wanderer, yeah a wanderer. I roam around around around around.
A
Well I roam from town to town. I go through life, without a care.
|B7| E7 A7
And I'm as happy as a clown. And with my two fists of iron but I'm going on and 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.

G
And when I find myself, I'm fallin' for some girl yeah
D
I hop right into that car of mine and I drive around the world.
A G D
Yeah I'm a wanderer, yeah the wanderer. I roam around around around around.
<sax solo> D, D, G, D, A, G, D
A 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.

G
And when I find myself, I'm fallin' for some girl yeah
D
I hop right into that car of mine and I drive around the world.
A G D
Yeah I'm a wanderer, yeah a wanderer. I roam around around around around.
A G D
Cuz I'm a wanderer, yeah a wanderer. I roam around around around around.
A G D |D|
Cuz I'm a wanderer, I’m a wanderer. I roam around around around around.
(Dion) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
WAY OVER YONDER IN THE MINOR KEY
Billy Bragg & Wilco
(Guthrie/Bragg)
https://www.youtube.com/watch?v=vwcQAlRn0Gs (Capo 4)
TIP: Strumming pattern is <chord> down, down-up-down, down-up-down, down-up-down . . .
INTRO: G C, C G
C G G
I lived in a place called Okfuskee, and I had a little girl in a holler tree.
C
I said "Little girl it's plain to see,
G D Em Em Em Em
Ain't nobody that can sing like me ain't nobody that can sing like me."
G C G G
She said "It's hard for me to see, how one little boy got so ugly."
C
Yes my little girly that might be,
G D Em Em Em
But there ain't nobody that can sing like me ain't nobody that can sing like me."
C G G Am G
Way over yonder in the minor key, way over yonder in the minor key.
D Em Em Em Em
There ain't nobody that can sing like me.
G C G G
We walked down, by the Buckeye Creek, to see the frog eat the goggle-eye bee.
C
To hear that west wind whistle-to-the east,
G D Em Em Em
There ain't nobody that can sing like me ain't nobody that can sing like me."
G C G
Oh my little girly will you let me see, way over yonder where the wind blows free?
C
Nobody can see in our holler tree,
G D Em Em
And there ain't nobody that can sing like me ain't nobody that can sing like me."
C G G Am G
D Em
There ain't nobody that can sing like me.
<fiddle> Em C G, D G, D Em Em Em
G C G
Her mama cut a switch from a cherry tree, and laid it on to she and me.
C
It stung lots worse than a hive of bees,
G D Em Em Em
But there ain't nobody that can sing like me ain't nobody that can sing like me."
G C G G
Now I have walked a long long ways, still look back to my Tanglewood days.
C
I've led lots of girls since then to stray,
G D Em
Sayin’ ain't nobody that can sing like me ain't nobody that can sing like me."
C G G Am G
D Em
Ain't nobody that can sing like me.
C G G Am G
D Em
D Em D Em Em Em |Em|
(Billy Bragg) (Wilco) (Artist Index) - (Main Index) - (Song Index) (This Song)
WAYFARING STRANGER – Emmylou Harris
(Traditional)
https://www.youtube.com/watch?v=mDGTt63Yqtw (Capo 3)
TIP: Covered my many, many performers, this one is based on the version by Emmylou
Harris. She ends the song with an instrumental but another verse is often sung, which is
included after the dashed line and from which you can continue with the (Am).
TIP: For the intro, pick the 5th string and strum (Am), then the 6th string and strum
(Am). Repeat.
;
INTRO: 5-Am, 6-Am, 5-Am, 6-Am, 5-Am, 6-Am, 5-Am
Am
I am a poorrrrrr, wayfaring stranger,
Dm Am
While traveling throooough, this world of woe.
Yet there's no siiiickness toil or danger,

Dm Em Am
In that bright worrrrld to which I go.
Bm5
I'm going therrrrre, to see my father.
Bm5 C E
I'm going therrre-er no more to roam.
Am Dm Em Am
I'm only gooooooing over Jordan. I'm only gooooooing over home.
Am Am, Am Dm G Am; Am Am, Am Dm G Em Am
I know dark clouuuds, will gather round me.

Dm Am
I know my wayyyyyy is rough and steep.
Yet beauteous fieeeelds, lie just before me,

Dm Em Am
Where God's redeeeeemed their vigils keep.
Bm5 C
I'm going therrrrre to see my mother.
Bm5 C E
She said she'd meeee-eet me when I come.
Am Dm Em Am
Am F, F C, C F C E, E Am Am, Am Dm, Dm Em Am |Am|
<End Emmylou Version>

I want to wearrr that crown of glory,
Dm Am
When I get hooome to that good land.
Well I want to shouuuuut Salvation's story,

Dm Em Am
In concert wiiiith all the blood washed band.
Bm5 C
I'm going therrrrre, to see my savior.
Bm5 C E
I'm going therrr-ere no more to roam.
Am Dm Em Am
Dm Em Am
Well I'm only goooooing over home.
(Traditional) (Spiritual) (Emmylou Harris) (Artist Index)

THE WAYWARD WIND – Patsy Cline
(Newman/Lebowsky)
https://www.youtube.com/watch?v=lmEMvISUSLE (Capo 1)
TIP: There's a half-step key change (chords are sharped) for the last verse and chorus
so either shift the capo up one fret or if you don't mind not matching the recording,
just play the same.
INTRO: G G F F G |G|
NC G C
Oh the wayward wind, is a restless wind.
G D7
A restless wind, that yearns to wander.
G G7 C
And he was borrr-rn the next of kin.
G D7 G
The next of kin, to the wayward wind.
D G D G
In a lonely shack by a railroad track, he spent his younger days.
D D7 G |G|
And I guess the sound of the outward bound, made him a slaaaave to his wandering ways.
NC G C
G D7
G G7 C
G D7 G
The next of kin, to the wayward wind.
<capo +1>
G D G D G
Oh I met him there in a border town. He vowed we'd never part.
D D7 G
Though he tried his best to settle down, now I'm aloooone with a broken heart.
|G| G C
G D7
G G7 C
G D7 G |G| NC G G
The next of kin, to the wayward wind. The next of kin, to the wayward wind.
(Patsy Cline) (Artist Index) - (Main Index) - (Song Index) (This Song)
WE ARE THE LONELY - John Prine
(Prine/Nicholson)
https://www.youtube.com/watch?v=H0STMgGp7_s (Capo 0)
TIP: The (C) comes after the word in the line so play the (G) through til the end.
Also, the (C) has a distinct strumming pattern that goes down-down, up-down-up-down.
TIP: The recording fades out after the second line of the last verse but I completed the
verse and the chorus as a way to end the song when playing "live".
INTRO: G C G C, G C G C
G C G C
Down the hall upstairs from me, there's a girl I swear I never see.
G C G C
I hear the ringing of her phone, she must live up there all alone.
G C G C
She hangs her clothes out on the line, they're hanging there right next to mine.
G C G C
And if the wind should blow just right, she could be in my arms tonight.
F G F G
We are the lonely, all together. All together, we're all alone.
F G F G G C G C
G C G C
The cashier at the 'Pump And Pay', knows everything's gonna be okay.
G C G C
The all night all right rent a cop, is across the street at the donut shop.
G C G C
The waitress waits with a whiskey sour, at the single-mingle happy hour.
G C G C
The one man band begins to sing, accompanied by a drum machine.
F G F G
F G F G
G C G C, G C G C
G C G C
White divorced swinging male, seeks company to no avail.
G C G C
Worthless ruthless toothless man, wants wealthy woman with a plan.
G C G C
S W F with a P h D, seeks T L C at the A & P.
G C G C
G W M nice and trim, seeks S E X at the G Y M.
G C G C
Ugly man treats girls like dirt, wants buttons sewn upon his shirt.
G C G C
D U I at the B A R, seeks M A N with C A R.
F G F G
F G F G
F G F G
F G F G G C G C
G C G C
Toothy gal with breasts so large, takes Visa Amex Master Charge.
G C G C
Dial one nine-hundred girls for fun, you lonely little hot dog bun.
G C G C
Straight but curious thirty-three, seeks survivor of Wounded Knee.
G C G C
Farmer's daughter nympho Rose, will do it till the cows come home.
F G F G
F G F G
G C G C, G C G C, |G|
WE CAN WORK IT OUT - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=IgRrWPdzkao (Capo 0)
[Afterwards is a version in (G) which elimates the (Bm) and (F#) in favor of (Em) and
(B7) or (B) and is easier to play. But to play with the recording you have to capo the
7th fret. I think the version here sounds purer.]
TIP: There's no intro so give the opening note a good thump of |D| and then start
strumming (D) immediately.
TIP: The (Dsus2) will always follow the (D) so just lift off the bottom finger.
TIP: The transition from (F#) to (Bm) is easy as you're already in the same fret with
the same finger formation so just drop down one string with your index finger on the
bottom string.
TIP: The outro is a cute little variation on (D). Start with three strums of |D|, then
lift off the bottom string to get to (Dsus2) which you've been playing all along, then
replace the bottom finger to get back to (D), now keep that bottom finger anchored and
lift off the index finger while at the same time adding your pinky to the bottom string
to get to the (Dsus), and reverse what you just did to get back to a final (D).
|D| D Dsus2 C D
Try to see it my way.Do I have to keep on talking till I can't go on?
Dsus2 C D
Why-do-you-see-it your way, run the risk of knowing that our love may soon be gone?
G D G A
We can work it out. We can work it out.
D Dsus2 C D
Think of what you're saying. You can get it wrong and still you think that it’s alright.
Dsus2 C D
Think of what I'm saying. We can work it out and get it straight or say goodnight.
G D G A
Bm G F#
Life is very short, and there's no ti-i-i-i-ime.
Bm G Bm
For fussing and fighting my friend.
G F#
I have always thought, that it's a cri-i-i-i-ime.
Bm G Bm
So I will ask you once again.
D Dsus2 C D
Try to see it my way. Only time will tell if I am right or I am wrong.
Dsus2 C D
While you see it your way, there's a chance that we might fall apart before too long.
G D G A
Bm G F#
Bm G Bm
G F#
Bm G Bm
D Dsus2 C D
Dsus2 C D
G D G A |D|-|D|-|D|-|Dsus2|-|D|-|Dsus|-|D|
WE CAN WORK IT OUT - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=IgRrWPdzkao (Capo 7)
TIP: If you're really capoing at the 7th fret the (B7) may be a bit crowded. You can
also play a (B) although that won't help much.
TIP: There's no intro so give the opening note a good thump of |G| and then start
strumming (G) immediately.
TIP: For the outro just add your pinky to the 2nd string/4th fret to get to (CaddD).
|G| G F G
Try to see it my way.Do I have to keep on talking till I can't go on?
F G
Why-do-you-see-it your way, run the risk of knowing that our love may soon be gone?
C G C D
G F G
Think of what you're saying. You can get it wrong and still you think that it’s alright.
F G
Think of what I'm saying. We can work it out and get it straight or say goodnight.
C G C D
Em C B7
Em C Em
C B7
Em C Em
G F G
F G
C G C D
Em C B7
Em C Em
C B7
Em C Em
G F G
F G
C G C D |G|-|G|-|G|-|C|-|CaddD|-|C|-|G|
WE GOTTA GET OUT OF THIS PLACE - The Animals
(Mann/Weil)
https://www.youtube.com/watch?v=wJVpihgwE18&t=9s (Capo 3)
TIP: The cadence for the intro is 1, 2-3-4-5-6-7. Strum (A) seven times, lifting off
the middle finger briefly for the 4th strum.
TIP: In the first line of the verse the second (A) comes before the last word. But in
the second line of the verse you hold the (A7) through the last word and then the (A)
comes afterwards.
INTRO: A A-A7-A, A A-A7-A, A A-A7-A, A A-A7-A
A A7 A A7 A
In this dirty old part of the city. When the sun refused to shine.
A7 A A
People tell me there ain't no use in tryin'.
A7 A A7 A
Now my girl you're so young and pretty. And one thing I know is true.
A7 A A
You'll be dead before your time is due. I know.
A7 A A7 A
Watch my daddy in bed and dyin'. Watch his hair been turnin' grey.
A7 A
He's been workin' and slavin' his life away. Oh yes I know.
A7 A
He's been workin' so hard. I've been workin' too baby.
Every night and day yeah, yeah, yeah, yeah.
D G A D E A
We gotta get out of this place. If it's the last thing we ever do.
D G A
We gotta get out of this place.
|Bm| D C G A, D C G A
Cuz girl there's a better life for me and you.
A7 A A7 A
Now my girl you're so young and pretty. And one thing I know is true yeah.
A7 A A
You'll be dead before your time is due. I know.
A7 A A7 A
Watch my daddy in bed and dyin'. Watch his hair been turnin' grey.
A7 A
He's been workin' and slavin' his life away.
A7 A
I know he’s been workin’ so hard. I've been workin' too baby.
Every day baby. Whoaowwwwwwwww. Yeah, yeah, yeah, yeah.
D G A D E A
D G A |Bm| D C G
We gotta get out of this place. Girl there’s a better life for me and you.
A D C G A
Somewhere baby, somehow I know it.
D G A D E A
D G A
We gotta get out of this place.
|Bm| D C G A D C
Girl there's a better life for me and you be lieve me baby.
G A D C G |A|
I know it baby, you know it too.
(Animals) (Artist Index) - (Main Index) - (Song Index) (This Song)

WE MUST BELIEVE IN MAGIC - Jack Clement
(Reynolds/McDill)
https://www.youtube.com/watch?v=ORdz72GSNeA (Capo 2)
[Also recorded by Johnny Cash and Crystal Gale. And that’s Rachel Peer singing harmony.]
INTRO: D x 8
G D G D D D D
Mad is the captain of Alpha Centauri. We must be out of our minds.
G D A A A A
Though we are shipmates and bound for tomorrow, everyone here’s flying blind.
D G D G D
But we must believe in magic. We must believe in the guiding hand.
G D A D
Cuz if you believe in magic, you have the universe at your command.
D D D D D D D
G D G D D D D
Mad is the crew bound for Alpha Centauri, dreamers and poets and clowns.
G D A A A A
But bold is the ship bound for Alpha Centauri, and nothing can turn it around.
D G D G D
We must believe in magic. We must believe in the guiding hand.
G D A D
D G D, D G D, D G D, D D A A A A
D G D G D
We must believe in magic. We must believe in the guiding hand.
G D A D D D D
G D G D
Da-da da-la-da da da-da da da-da. Da-da da la-da da da.
G D A A A A
Da-da da-la-da da da-da da da-da. Da-da da la-da da da.
D G D G D
But we must believe in magic. We must believe in the guiding hand.
G D A D D D D D D D |D|
(Cowboy Jack Clement) (Artist Index) - (Main Index) - (Song Index) (This Song)
WE'VE GOT TONIGHT
Bob Seger
https://www.youtube.com/watch?v=uZQR3KqvYPc (Capo 2)
INTRO: A E D E, A E D E
A E A E
I know it's late, I know you're weary.
A D A E
I know your plans, don't include me.
A E A
Still here we are, both of us lonely.
D A E
Longing for shelter, from all that we see.
A D A E
Why should we worry, no one will care girl.
A D A E
Look at the stars, so far away.
A D A
We've got tonight, who needs tomorrow?
D A A
We've got tonight babe, why don't you stay?
E A E
Deep in my soul, I've been so lonely.
A D A E
All of my hopes, fading away.
A D A
I've longed for love, like everyone else does.
D A E
I know I'll keep searching, even after today.
A D A E
So there it is girl, I've said it all now.
A D A E
And here we are babe, what do you say?
A D A
D A C
A
I know it's late, I know you're weary. (Weary).
C A
Mmmmm I know your plans don't include me.
D F A D A D A A
Still here we are, both of us lonely. Both of us lonely.
D A
D D E
Let's make it last, let's find a way.
A D A
Turn out the light. Come take my hand now.
D A A
D A
<gently> We've got tonight, who needs tomorrow?
D D E
A D A
D A
We've got tonight babe, why don't you stay ohhhh
D A
D D E
A D A
D A A
D A E |A|
Ohhh oh, ohhh-oh why don't you stay.
WE'VE GOT TONIGHT - Kenny Rogers & Sheena Easton
(Seger)
https://www.youtube.com/watch?v=533wrou5ONw (Capo 1)
TIP: There's a single (D#) in the bridge. It's just (D) played up one fret.
INTRO: G Bm C D, G Bm C D
C D
I know it's late I know you're weary.
G D
I know your plans, don't include me.
C G
C G D
Longing for shelter, from all that we see.
C G D
Why should we worry, no one will care girl.
C G D
Look at the stars now, so far away.
G Bm C D
G C G
D C D
Deep in my soul, I've been so lonely.
G C G D
All of my hopes, fading away.
G C G
I've longed for love, like everyone else does.
C G D
I know I'll keep searching, after today.
G C G D
So there it is girl, we got it all now.
G C G G
And here we are babe, what do you say?
G C G
C G G
We've got tonight babe, why don't we stay?
Bb G
I know it's late, I know you're weary.
Bb G
I know your plans don't include me.
Bm C C D# G C
G G D
Both of us lonely.
G Bm C D
G C G
D G C G C
G C G C
G C G G C D7 G
We've got tonight babe, why don't we, stay?
(Kenny Rogers) (Sheena Easton)(Artist Index) - (Main Index) - (Song Index) (This Song)
WEAVE ME THE SUNSHINE – Peter, Paul and Mary
(Yarrow)
https://www.youtube.com/watch?v=XtM8JAHBmeg (Capo 0)
TIP: As with many of PPM’s arrangements they’ll often do it one way for an album and
another way live, mixing the verse and chorus. Many of the studio versions are on the
sedate side but this rendition with backing by the Czech Symphony Orchestra has a little
more jump in it.
TIP: The note to beginning singing on “they” is the <c>.
INTRO: <strum Am rapidly > <then> |Am|
NC |E| |F| |G| |C|

They sayyy that the tree of loving are shinin’ on me again.
|Am| |D7| |G| |Gadd|
They say it grows on the bank of the river of suffering, shine on me again.
F G C Am F G C Am
And weave weave weave me the sunshine out of the falling rain.
F G C Am D G
Weave me the hope of a new tomorrow and fill my cup again.
F G C Am F G C Am
Oh weave weave weave me the sunshine out of the falling rain.
F G C Am D7 G
Am E F G C
If only I could heal your sorrow shine on me again.
Am D G Gadd
I'd help you to find your new tomorrow shine on me again.
F G C Am F G C Am
Weave weave weave me the sunshine out of the falling rain.
F G C Am D G
F G C Am F G C Am
Oh weave weave weave me the sunshine out of the falling rain.
F G C Am D7 G
Am E F G C
I've seen the steel and the concrete crumble shine on me again.
Am D7 |Gadd| G7
The proud and the mighty all have stumbled, <up> shine on me again.
F G C Am F G C Am
F G C Am D G
Am E F G C
Only you can climb that mountain shine on me again.
|Am| |D7| |Gadd| G7
If you want to drink from the golden fountain, <up> shine on me again.
F G C Am F G C Am
F G C Am D G
F G C Am F G C Am
F G C Am D7 G
F G C Am F G C Am
F G C Am D |G| F G-|C|
Weave me the hope of a new tomorrow and fillllll my cup, once agaaain.

THE WEDDING SONG
Noel Paul Stookey
https://www.youtube.com/watch?v=hR051uCNrAw (Capo 1)
TIP: You can cheat with the (Bm) since it follows a (D) by adding your pinky to the 3rd
string/3rd fret.
TIP: You can skip the (D4) but you just hold (D) and add your pinky to the bottom
string/3rd fret.
INTRO: D D D D E E7 G G D D
A
He is now to be among you, at the calling of your hearts.
G D
Rest assured this troubadour is acting on His part.
A G D
The union of your spirits here has caused Him to remain.
Bm D A
For whenever two or more of you, are gathered in His name,
G G G D D E-E7 E7 G G D-D4-D
There is love. There is love.
A G D
Well a man shall leave his mother, and a woman leave her home.
Bm D A
They shall travel on to where the two shall be as one.
D A G D
As it was in the beginning, is now and til the end.
Bm D A
Woman draws her life from man and gives it back again
And there is love. There is love.
G Em A D
Well then what's to be the reason, for becoming man and wife?
G Em A D
Is it love that brings you here or love that brings you life?
A G D
For if loving is the answer, then who's the giving for?
Bm D A
Do you believe in something, that you've never seen before?
Aw there is love. Ohhh there is love.
A Bm A
Mmm hmmm mmmm mmmm. Mmmm hmmm mmmm mmm.
D A G D
Oh the marriage of your spirits here has caused Him to remain.
Bm D A
For whenever two or more of you are gathered His name.
G G G D D E-E7 E7 G G D-D4-|D|
There is love. Aw there’s love.
(Noel Paul Stookey) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE WEIGHT – The Band
(Robertson)
https://www.youtube.com/watch?v=QWu-f7HFFJE (Capo 2)
TIP: For the intro, single strums of the chords in |brackets| and keep them moving right
along. For the lone |CaddG| just hold the (C) and add your pinky to the bottom
string/3rd fret for one count, on/off.
INTRO: |G| |G| |C| |CaddG| |C| |G| |Am| |C| |Am| |C| |C|, C G G
Bm C G
I pulled into Nazareth, was feelin' about half past dead.
Bm C G
I just need some place, where I can lay my head.
Bm C G
"Hey mister can you tell me, where a man might find a bed?"
Bm C G
He just grinned and shook my hand, "No" was all he said.
Gadd C Gadd C Gadd C

Take a load off Fannie. Take a load for free. Take a load off Fannie.
G D Em D C, |C|-|C|
And and and you put (put the load) right on me.
G Bm C G
I picked up my bag, I went lookin' for a place to hide.
Bm C G
When I saw, Carmen and the Devil walkin' side by si-ide.
Bm C G
I said "Hey Carmen, come on let's go downtown."
Bm C G
She said "I-gotta-go but my friend can stick around."

G D Em D C, |C|-|C|
G Bm C G
Go down Miss Moses, there's nothin' you can say.
Bm C G
It's just ol' Luke and Luke's waitin' on the Judgement Day.
Bm C G
"Well Luke my friend, what about young Anna Lee?"
Bm C G
He said "Do me a favor son won’tcha stay an' keep Anna Lee company?"
G D Em D C, |C|-|C|
G Bm C G
Crazy Chester followed me, and he caught me in the fog.
Bm C G
He said "I will fix your rack, if you'll take Jack my dog."
Bm C G
I said "Wait a minute Chester, you know I'm a peaceful man."
Bm C G
He said "That's o-kay boy, won't you feed him when you can."

G D Em D C, |C|-|C|
G D Em D C, |C|-|C|
G Bm C G
Catch a Cannonball now it'll take me down the line.
Bm C G
My bag is sinkin' low, and I do believe it's time.
Bm C G
To get back to Miss Fannie, you know she's the only one.
Bm C G
Who sent me here with her regards for everyone.
G D Em D C, |C|-|C|

G D Em D C, |C|-|C|
G D Em D C, |C|-|C|
(The Band) (Artist Index) - (Main Index) - (Song Index) (This Song)
WELCOME TO MY WORLD - Jim Reeves
(Hathcock)
https://www.youtube.com/watch?v=OGlFUxDuowM (Capo 1)
[Afterwards is Elvis' version in [G].]
INTRO: D G, A, A D
G A D
Welcome to my world, won't you come on in?
G A D
Miracles I guess, still happen now and then.
G A D
Step into my heart, leave your cares behind.
G A D G D
Welcome to my world, built with you in mind.
A D A D
Knock, and the door will open. Seek, and you will find.
A D E E7 A
Ask and you'll be given, the key to this world of mine.
D G A D
I'll be waiting here, with my arms unfurled.
G A D G D
Waiting just for you. Welcome to my world.
D G, A D
G A D G D
WELCOME TO MY WORLD - Elvis Presley
(Hathcock)
https://www.youtube.com/watch?v=MSLO5kZvCf4 (Capo 2)
INTRO: G Am, D, D G C G
Am D G Em
Welcome to my world, won't you come on in?
Am7 D7 G
Miracles I guess, still happen now and then.
Am D G Em
Step into my heart, leave your cares behind.
Am D G C G
Welcome to my world, built with you in mind.
D G D G
Knock, and the door shall be open. Seek, and you will find.
D G Em A D |D|-|G|-|D|
Ask, and you'll be given, the key to this heart of mine.
G Am D G Em
I'll be waiting there, with my arms unfurled.
Am D C G Am G
G Am, Am-C-D G C G
Welcome to my world.
WELLERMAN
TikTok Mashup/Storm Seeker
Violet Orlandi, Addie Nicole & Audra Miller
(Traditional)
https://www.youtube.com/watch?v=Em2xxSPQO0A (Storm Seeker) (Capo 3)
https://www.youtube.com/watch?v=auI9Cx8SGX4 (TikTok Mashup) (Capo 3)
https://www.youtube.com/watch?v=--QZ0h2hV78 (Orlandi, Nicole, & Miller) (Capo 0)
TIP: This is based on the version by Storm Seeker which is a more linear ballad. The
TikTok mashup repeats the first chorus and then repeats the song half way through. The
music is identical. For a slower, more laid back version have a listen to the three
ladies. They also sing straight through but skip the “huh’s” and the instrumental
between the two choruses at the end.
TIP: Note the chord sequence changes for the last line of the last verse, (Dm) to (Am)
instead of (E) to (Am).
Fun Fact: A Wellerman was anyone who worked for the Weller Brothers, a company supplying
New Zealand whaling boats with stores and niceties. Tonguin' refers to the practice of
stripping blubber, with the tongue being the last thing removed.
Am Dm Am
There once was a ship that put to sea and the name of the ship was the Billy o' Tea.
E Am
The winds blew hard her bow dipped down "Blow me bully boys blow.” (Huh!)
F C Dm Am
Soon may the Wellerman come to bring us sugar and tea and rum.
F C E7 Am
One day when the tonguin' is done we'll take our leave and go. <TikTok repeats>
Dm Am
She had-not-been two weeks from shore when down on her a right whale bore.
E Am
The captain called all hands and swore he'd take that whale in tow. (Huh!)
F C Dm Am
F C E7 Am
One day when the tonguin' is done we'll take our leave and go.
Dm Am
Before the boat had hit the water the whale's tail came up and caught her.
E Am
All hands to the side, harpooned and fought her when she dived down below. (Huh!)
F C Dm Am
F C E7 Am
<TikTok returns to beginning>
Dm Am
No line was cut no whale was freed, the Captain's mind was not on greed.
E Am
But he belonged to the whaleman's creed, she took that ship in tow. (Huh!)
F C Dm Am
F C E7 Am
Dm Am
For forty days or even more the line went slack then tight once more.
E Am
All boats were lost there were only four but still that whale did go.
F C Dm Am
F C E7 Am
Dm Am
As far as I've heard the fight's still on the line's not cut and the whale's not gone.
Dm Am
The Wellerman makes his a regular call to encourage the Captain crew and all.
F C Dm Am
F C E7 Am
F C Dm Am, F C E Am
(Huh!)
F C Dm Am
F C E7 |Am|
(Storm Seeker) (Violet Orlandi) (Addie Nicole) (Audra Miller) (Traditional)

(Kid Friendly) (Artist Index) (Main Index) - (Song Index) (This Song)
WENDY – The Beach Boys
(Love/Wilson)
https://www.youtube.com/watch?v=XCEUOfiZsnA (Capo 3)
TIP: The first chord in the intro is the (Bm). Set up to play it as a full barre on the
2nd fret as you want that thump of the low <b> on the covered 5th string, and aim for the
top three strings. There are pauses between the first four chords so you will still have
time to reposition for a full (Bm) on the second one. It’s less important to cover the
top two strings after that.
INTRO: |Bm|, |E|, |Bm|, |G|; |D|, |G|
D Em D G
Wendy, Wendy what went wrong, oh so wrong.
D G C A
We went, together for so long-on-on-on-ong.
Bm E
Ooooh I never thought a guy could cry,
Bm C D
Til you made it with another guy oh Wendy,
G A7 D G
Wendy left me alone hurts so bad.
D Em D G
Wendy, Wendy don't lose your head lose your head.
D G C A
Wendy, don't believe a word he sah-ah-ah-ah-ays.
Bm E
Oooh I can't picture you with him,
Bm G D
Oooh his future looks awful dim oh Wendy,
G A7 D C Bm E Bm G D Bm Em A7
Wendy left me alo-one hurts so bad.
D Em D G
Wendy, I wouldn’t hurt you like that, no no no.
D G C A
I thought, we had our love down pat guess I was wrong.
Bm E
Oooh the farthest thing from my mind,
Bm G D
Oooh was the day that I'd wake up to find my Wendy,
G A7 D |D| <pause> |D|, |G|
Wendy left me a looone.
D Em D G
Wendy, Wendy left me alone hurts so bad.
D Em D G
Wendy, Wendy left me alone hurts so bad.
D Em D D |D|
Wendy, Wendy left me alone.
WESTCOUNTRY LOVE SONG – Jinder
(Dewhurst)
https://www.youtube.com/watch?v=5iorMSO2znE (Capo 4)
TIP: For the (D)(D4)(D) just keep the (D) and add your pinky to the bottom string/3rd
fret. On/off. Repeat.
INTRO: D G, D G, D G, D G
A G
You can almost touch Heaven, coming over the hill.
Bm G
And down in the valley, the sea looks so still.
A G
And there goes the ploughman tasting salt in the breeze.
Bm G A
He hangs on for dear life, as the wind bends the trees.
D G
Sing a Westcountry love song, a sweet lullaby.
A G
The leaves of the autumn, are like the tears in your eyes.
D G
The birds of the springtime, home would they fly.
A G A D D4 D D4 D D4 D D4
Sing a Westcountry love song. This, is not, goodbye.
A G
No one’s in a hurry, this far from the smoke.
Bm G
This is our kingdom, we sail our own boats.
A G
We’ll lend it for a moment, so come rest your bones.
Bm G A
We’ll almost miss you, when you go home.
D G
Sing a Westcountry love song, a sweet lullaby.
A G
D G
A G A D D4 D D4
D G
I’ll be gone, in the morning, but I’m still here today.
A G A
So let’s dance, and be merry, before I’m away.
D G
We’ll sing a Westcountry love song, a sweet lullaby.
A G
D G
A G A D D4 D D4 D D4 D D4
A G
All the little children, get the best of both worlds,
Bm G
The beach in the summer, the snow in the fields.
A G
And we’re shaped by the landscape, of where we grow up.
Bm G A
And you know when you’re leaving you’ll always come back.
D G
To sing a Westcountry love song, a sweet lullaby.
A G
D G
A
Sing a Westcountry love song.
G A D D4 D D4 D D4 D D4 <rake> |D|
This, is not, goodbye.
(Jinder) (Artist Index) - (Main Index) - (Song Index) (This Song)

WHAT A CRYING SHAME - The Mavericks
(Malo/Lazarides)
https://www.youtube.com/watch?v=1KON6wTonUM (Capo 0)
INTRO: G G D, C C G, G G D, C C G
G G D, C C G, G G D, C C G
D C G D C G
Wasn't I good to you? Didn't I show it?
D C G D C G
And if I ever hurt you, I didn't know it.
D C G D C G
If you think I don't care, then you're mistaken.
D C G D C
My love was always there, but now my heart's breakin'.
G D C G
Oh baby, oh what a cryin' shame,
D C G D C G D C
To let it all slip away, and call it yesterday-yay.
G D C G
Oh baby, my life would be so blue.
D C G D C G G D C G
My heart would break in two. Oh what a cryin’ shame.
D C G D C G
'Cause I believed in you, from the beginning.
D C G D C
I thought our love was true, but now it's all ending.
G D C G
D C G D C G D C
G D C G
D C G D C G G G G
A A, C C, A A, C D
G D C G
D C G D C G D C
G D C G
D C G D C G G D C G G
D C G G D C G G
Oh what a cryin' shame.
D C G G D C G G
D C G G D C G G
D C G G
D C G G D C G G D C |G|
One two three four.
WHAT A WONDERFUL WORLD – Louis Armstrong
(Weiss/Douglas)
https://www.youtube.com/watch?v=A3yCcXgbKrE (Capo 5)
TIP: Try playing the full (E7) as depicted in the chord diagram. It’s just (E) with the
pinky added to the 2nd string/3rd fret as shown.
INTRO: C Dm, C Dm
C Em F Em
I see trees of green, red roses too.
Dm C E7 Am
I see them bloom, for me and you.
F G7 G C Am F G
And I think to myself, “What a wonderful world.”
C Em F Em
I see skies of blue, and clouds of white.
Dm C E7 Am
The bright blessed day, the dark sacred night.
F G7 G C F F C
G C
The colors of the rainbow, so pretty in the sky.
Dm G C
Are also on the faces, of people going by.
Am Em Am Em
I see friends shaking hands, saying “How do you do?”
Am Em Dm Gadd
They're really saying: “I love you.”
C Em F Em
I hear babies crying. I watch them grow.
Dm C E7 Am
They'll learn much more, than I'll never know.
F G C A A7
F G7 C F C
Yes I think to myself, “What a wonderful world. Oh yes.
(Louis Armstrong) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
WHAT AM I GONNA DO WITH THE REST OF MY LIFE
Merle Haggard
https://www.youtube.com/watch?v=mEDB4KT8GNc (Capo 2)
TIP: The opening verse is played quite slowly, the second and third verses are more up-
tempo, and the last line sadly.
TIP: In the instrumental bridge there's a (Cmaj7) which is just (C) without the index
finger - just the top two strings.
INTRO: G, G-Am, Am-G, G-C, G, D
G Am
I can make it, for a day or two, without you.
D D7 G
And maybe I, can make it, through the night.
G7 C Am
I can laugh, and I can drink, and prob’ly be alright, until morning.
G D G
But what am I gonna do, with the rest, of my life?
C G
I've got things that I can do. I've got places I can go-hoe to this evening.
D D7 G
I've got whiskey, I can drink, that'll help me not to think about your leaving.
C G
Yes I can smoke and I can drink, prob’ly be alright till the morning.
G D G
But what am I gonna do, with the rest, of my life.
G C, C G G D D G G, C C G G, G D G G
C G
I've got things that I can do. I've got places I can go to, this evening.
D D7 G
I've got whiskey, I can drink, that'll help me not to think about your leaving.
C G
Yes I can smoke and I can drink, prob’ly be alright till morrrning.
D G
But what am I gonna do, with the rest, of my life.
D G |G|
Honey, what am I gonna do, with the rest, of, my life.
WHATEVER HAPPENED TO RANDOLPH SCOTT
The Statler Brothers
(Reid)
https://www.youtube.com/watch?v=I6tF6AT5ZSA (Capo 0)
INTRO: G E7 Am D, G E7 Am D
G C G
Everybody knows when you go to the show you can't take the kids along.
A A7 D
You've gotta read the paper and know the code of "G" “P G” and “R” and “X”
G C G
And you gotta know what the movie's about before you even go.
C G E7 A7 D G |D|
Tex Ritter's gone and Disney's dead and the screen is filled with sex.
G B7 C G
Whatever happened to Randolph Scott, ridin' the trail alone?
A A7 D
Whatever happened to Gene and Tex and Roy and Rex the Durango Kid
G B7 C G
Oh whatever happened to Randolph Scott his horse plain as could be?
C G E7 A7 D G
Whatever happened to Randolph Scott has happened to the best of me.
G E7 Am D, G E7 Am D
G C G
Everybody's tryin' to make a comment about our doubts and fears.
A A7 D
True Grit's the only movie I've really understood in years.
G C G
You gotta take your analyst along to see if it's fit to see.
C G E7 A7 D G |D|
Whatever happened to Randolph Scott has happened to the industry.
G B7 C G
Whatever happened to Johnny Mack Brown and Alan Rocky Lane?
A7 D
Whatever happened to Lash LaRue I'd love to see them again.
G B7 C G
Whatever happened to Smiley Burnette Tim Holt and Gene Autry?
C G E7 A7 D G
Whatever happened to all of these has happened to the best of me.
C G E7 A7 D G
Whatever happened to Randolph Scott has happened to the industry.
G E7 A |G|-|D|-|G|
WHEN A COWBOY TRADES HIS SPURS FOR WINGS (In C)
Willie Watson & Tim Blake Nelson
David Rawlings & Gillian Welch
(Rawlings/Welch)
https://www.youtube.com/watch?v=IqO7lu94Ix4 Watson & Nelson (Capo 0)
https://www.youtube.com/watch?v=1HJjeyn-uOM Rawlings & Welch (Capo 5)
[Afterwards there is a Willie Watson/Tim Blake Nelson version in [G] which I find easier
to play although it won’t match the recording.]
TIP: These two versions are essentially the same except:
- The Rawlings/Welch version plays the intro twice.

- Both endings are presented here, first the one by Watson & Nelson (WWTN) and then the
version by David Rawlings and Gillian Welch (DRGW).
- If playing the Rawlings/Welch version play a (D) instead of a (D7).
TIP: Not too fast in either case but the Rawlings/Welch version is performed much, much
slower than the Watson/Nelson version.
INTRO: C F
C
Let me tell you buddy, there's a faster gun,
D7 G
Comin' over yonder, when tomorrow comes.
C F
Let me tell you buddy, and it won't be long,
C G C
Til you find yourself singin' your last cowboy song.
G F C
Yippee ki-i-ay when the round-up ends.
G F G
Yippee ki-i-ay and the campfire dims.
C F
Yippee ki-i-ay, he shouts and he sings,
C G C F
When a cowboy trades his spurs for wings.
C
When they wrap my body, in the bindlin' sheet,
D7 G
And they take my six irons pull-the-boots from my feet.
C F
Unsaddle my pony, she'll be itchin’ to roam.
C G C
I'll be halfway to heaven, under horsepower o' my own.
(WWTN)
G F C
G F G
C F
C G C
G F C
Yippee ki-i-ay I'm glory bound.
G F G
No more jingle jangle I'll lay my guns down.
C F
C G C C F, C F
C G C
======
(DRGW)
G F C
G F G
C F
C G C C F, C F
G F C
Yippee ki-i-ay I'm glory bound.
G F G
No more jingle jangle I'll lay my guns down.
C F
C G C |C|
(Tim Blake Nelson)(Willie Watson) (David Rawlings)(Gillian Welch)

WHEN A COWBOY TRADES HIS SPURS FOR WINGS (In G)
Willie Watson & Tim Blake Nelson
(Rawlings/Welch)
INTRO: G C
G
Let me tell you buddy, there's a faster gun,
A D7
Comin' over yonder, when tomorrow comes.
G C
Let me tell you buddy, and it won't be long,
G D7 G
Til you find yourself singin' your last cowboy song.
D C G
D C D
G C
G D7 G G C
G
When they wrap my body, in the bindlin' sheet,
A D7
And they take my six irons pull-the-boots from my feet.
G C
Unsaddle my pony, she'll be itching to roam.
G D7 G G
I'll be halfway to heaven, under horsepower o' my own.
D C G D C D
Yippee ki-i-ay when the round-up ends. Yippee ki-i-ay and the campfire dims.
G C G D7 G
Yippee ki-i-ay, he shouts and he sings, when a cowboy trades his spurs for wings.
D C G D C D
Yippee ki-i-ay I'm glory bound. No more jingle jangle I’ll lay my guns down.
G C
G D7 G G C, G C
G D7 G
(Tim Blake Nelson) (Willie Watson) (Artist Index) (Main Index) - (Song Index) (This Song)
WHEN I’M SIXTY-FOUR – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=HCTunqv1Xt4 (Capo 1)
TIP: (C7) comes after (C) so just hold the (C) and add your pinky to the 3rd string/3rd
fret.
INTRO: C C F G C |C|-|C|, C C
G
When I get old and losing my hair, many years from now.
C
Will you still be sending me a Valentine, birthday greetings bottle of wine.
C7 F
If I'd been out till quarter to three, would you lock the door?
C A D7 G C |C|-|C|
Will you still need me, will you still feed me, when I’m sixty-four?
Am Am GAm E E Am
You'll be older too.
Dm F G C C |G| |G|-|G| G
And if you say the word, I could stay, with, you.
C G
I could be handy mending a fuse, when your lights have gone.
C
You can knit a sweater by the fireside, Sunday mornings go for a ride.
C7 F
Doing the garden digging the weeds, who could ask for more?
C A D7 G C |C|-|C|
Will you still need me, will you still feed me, when I’m sixty-four?
Am G Am
Every summer we can rent a cottage in the Isle of Wight if it's not too dear.
E E
We shall (we shall scrimp) scrimp and save.
Am Am Dm F G C C |G| |G|-|G| |G|

Grandchildren on your knee: Vera, Chuck, and, Dave.
C G
Send me a postcard drop me a line, stating point of view.
C
Indicate precisely what you mean to say, yours sincerely wasting away.
C7 F
Give me your answer, fill in a form, mine for ever more.
C A D7 G C |C|-|C|
Will you still need me, will you still feed me, when I’m sixty-four? Hoo!
C C F G C |C|-|C|
WHEN IT'S GONE - Nitty Gritty Dirt Band
(Schlitz/Fadden)
https://www.youtube.com/watch?v=j03i1Ho2jN0 (Capo 3)
TIP: For the intro form up (D/A) which is just (D) with your pinky added to the 4th
string/4th fret. Play two measures and pull off the pinky for the (D).
TIP: There's a key change and just before it you'll end on an (A). If you can remember
to play that (A) with your bottom three fingers it'll make the slide up to the single
strum of |B| easier. After the key change there's an (Amaj7) which follows an (E) and
your index finger is already in place. So just drop your other two fingers down to
stradle the 3rd string like you're playing a (D7) up one string/set.
TIP: You can play a (B7) if it’s easier than playing the (B).
; or
INTRO: D/A D/A, D
I want to stand upon a rock, and watch the river flow

G D
With the blue sky above me and the valley down below.
Bm
I want to hold my head up high, and listen to the wind.
D A G D
Cause when it's gone it won't be back again.
D
I want to sing the kind of songs, that my dad sang to me,
G D
And try to be the man, he hoped that I would be.
Bm
He-said you only get one chance, you'd better do the best you can,
D A G D
A G D
I want to wear my Sunday coat, and hold your hand in mine.
A G A
And hear you say you'll love me, until the end of ti-ime.
D Bm
I want to find forever, in every moment that we spend
D A G D
D D G D, D Bm D A G D
A G D
I want to wear my Sunday coat, and hold your hand in mine.
A G A |B|
And hear you say you'll love me, until the end of ti-ime.
<key change>
|E| E
I want to stand upon a rock, like I did when I was young.
A E
And hold you close beside me, and watch our children run.
Amaj7
Cause you only get once chance, to listen to the wind,
E B E
And when it's gone it won't be back again.
Amaj7
We only get one chance, so listen to the wi – i -ind.
E B E
B E E |E|
Yeah when it's gone it won't be back again.
WHEN THE MAN COMES AROUND
Johnny Cash
https://www.youtube.com/watch?v=k9IfHDi-2EA (Capo 0)
TIP: The song is all about bass and cadence. The (C) has a "scratch" rhythm to it.
Play the (C/G) wherever you see the (C) by covering the the top string/3rd fret bass note
<g>. And emphasize the top three or four strings throughout.
TIP: The (CaddG) will follow a (C). If you're playing the (C/G) as suggested above
swing the pinky off the top string to the bottom string/3rd fret. Easy.
<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 C C C C C C 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.

Am Am F
There'll be a golden ladder, reaching down.
G C C C C C
When the man comes around.
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,

Am Am F
Or disappear, into the potter's ground?
G C C
CaddG
Hear the trumpets hear the pipers. One hundred million angels singing.
F C G
Multitudes are marching, to the big kettle drum.
G7 G G7 G
Voices callin' voices cryin'. Some are born and some are dyin'.
G7 C
It's Alpha and Omega's Kingdom come.
F C
And the whirlwind, is in the thorn tree. The virgins, are all trimming their wicks.
F C
The whirlwind, is in the thorn tree. It's hard for thee to kick, against the pricks.
Til Armageddon, no Shalam, no Shalom.
Then the father hen will call his chickens home.
The wise men will bow down before the throne.

Am Am F
And at his feet, they'll cast their golden crowns.
G C C
Whoever, is unjust, let him be, unjust still.
Whoever is righteous, let him be righteous still.
Whoever, is filthy, let him be filthy still.

Am Am F
Listen to the words long written down,
G C C
CaddG
Hear the trumpets hear the pipers. One hundred million angels singing.
F C G
Multitudes are marching, to the big kettle drum.
G7 G G7 G
Voices callin' voices cryin'. Some are born and some are dyin'.
G7 C
It's Alpha and Omega's Kingdom come.
F C
And the whirlwind, is in the thorn tree. The virgins, are all trimming their wicks.
F C
The whirlwind, is in the thorn tree. It's hard for thee to kick, against the pricks.
Am Am F
In measured hundredweight, and penny pound.
G C C C C C C C C |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) (Spiritual) - (Main Index) - (Song Index) (This Song)
WHEN YOU SAY NOTHING AT ALL - Keith Whitley/Alison
Krauss
(Schlitz/Overstreet)
https://www.youtube.com/watch?v=xNU7iIdw7Ss Keith Whitley (Capo 1)
https://www.youtube.com/watch?v=1SCOimBo5tg Alison Krauss (Capo 1)
TIP: This is based on Keith's version. Alison's is more gentle and has a little more
instrumental work. She also plays through the lyrics without the |single-strummed
chords|.
TIP: Because of Keith's drawl the chords will lag the word. It's kind of hard to
explain but what you want to do is hesitate just a bit before playing the chord. Imagine
each single syllable word is actually two syllables and play the chord on the second
syllable. For example, in the first line, "you" is "you-ou" and the chord, although
appearing in front of the "you" comes in on the back half of the word. If you play it
before it will sound choppy. Listen to the video and hopefully you'll see what I'm
babbling on about.
INTRO: |D|-|A|, |A|-|G|; G A D; |D|-|A|, |A|-|G|; G
D G A D A G A
It's amazing how you, can speak right to my heart.
D G A D A, G A
Without sayin' a word, you can light up the dark.
G A D A G A
Try as I may I could never explain, what I hear when you don't say a thing.
D A G A
The smile on your face lets me know that you need me.
D A G A
There's a truth in your eyes saying you'll never leave me.
D A G A A, G A
A touch of your hand says you'll catch me if ever I fall.
G G |A| D
Now you say it best when you say nothing at all.
|D|-|A|, |A|-|G|; G A D; |D|-|A|, |A|-|G|; G
D G A D A G A
All day long I can hear, people talking out loud.
D G A D A, G A
But when you hold me near, you drown out the crowd.
G A
Old Mister Webster could never define,
D A G A
What's being said between your heart and mine.
D A G A
D A G A
D A G A A G A
G G |A| D A G
Now you say it best when you say nothing at all-ll-ll.
|D|, |D|-|A|, |A|-|G|, A
D A G A
D A G A
D A G A A A A
G G |A| D
Now you say it best when you say nothing at all.
|D|-|A|, |A|-|G|; G A D; |D|-|A|, |A|-|G|; G, A |D|
(Keith Whitley) (Alison Krauss)(Artist Index) - (Main Index) - (Song Index) (This Song)
WHEN YOU’RE NEXT TO ME – Mitch & Mickey
(Levy)
https://www.youtube.com/watch?v=a4sVu0z5Qo8 (Capo 0)
[Afterwards is a version in [G] which may be a little easier to play although you'll have
to capo at the 7th fret to play along with the video.]
TIP: In the third sequence of the intro after the (D) just hold form and slide up to the
7th fret (it should be marked) and back down again.
INTRO: D G D A, D G D G, D D@7 D G, |D|, |G|-|D|-|A|
D A D
When I’m stannnnding next to you,
G D G D A |A|
There’s a sonnng to sing. I know evvverything’s feeling right.
D A D
When I’m stannnnning next to you,
G D G D A |A|
Steeple bells ring, only go-od things do I see.
D G D
When you’re next to me.
A D A D
When I hollllld your hand in mine,
G D G D A |A|
Different worrrld wakes, a new morrrning breaks with the sun.
D A D
When I hollllld your hand in mine,
G D G D A |A|
Children's dreams take flight, through a star-lit night that’s what I see.
D G D
G Bm D
This love for you I’m feeling, has a power that is healing.
Bb D A |A|
It can mend the darkest hour, with glor-or-orious light.
D A D
When I taaaaaaste your lips so sweet,
G D G D A |A|
I see beggggars dine, and the sannnds of time up and stop.
D A D
When I taaaaaaste your lips so sweet,
G D G D A |A|
Black and whiiite bend, every do-ove lands at your feet.
D G D
D G D D, G D G D A; |A|-|A|-|A|-D
G Bm D
Bb D A |A|
D A D
When I’m lyyyyyyying next to you,
G D G D A |A|
I feel moonbeams burn I see rainbows turning to gold.
D A D
When I’m lyyyyyyying next to you,
G D G D
I hear aaangels play, I see sweeterrr days,
G D G D
I see riverrrs wind through the ennnd of time,
G D G D
I see haaatred fall, from the hiiighest hill,
G D G Gadd G D
I see God’s good grace, shining in-in-innn-inn-innn your eyes.
A |A| D G D A D D |D|
That’s what I see. When you’re next to me.
WHEN YOU’RE NEXT TO ME – Mitch & Mickey
(Levy)
https://www.youtube.com/watch?v=a4sVu0z5Qo8 (Capo 7)
TIP: To play the (CaddG) just add the pinky to the bottom string/3rd fret.
TIP: The (D#) is (D) up one fret but you need to add the pinky to the 4th string/4th
fret. And do not strike the top two strings.
TIP: The |D| in brackets means to strum once and sustain until the following (G).
INTRO: G C G D, G C Gadd C, G CaddG F C, |Gadd|, |C|-|G|-|D|
G D G
C G C G D |D|
There’s a sonnng to sing. I know evvverything’s feeling right.
G D G
C G C G D |D|
Steeple bells ring, only go-od things do I see.
G C G
D G D G
When I holllllld your hand in mine,
C G C G D |D|
Different worrrld wakes, a new morrrning breaks with the sun.
G D G
When I holllllld your hand in mine,
C G C G D |D|
Children's dreams take flight, through a star-lit night that’s what I see.
G C G
C Em G
D# G Em D |D|
G D G
When I taaaaaste your lips so sweet,
C G C G D |D|
I see beggggars dine, and the sannnds of time up and stop.
G D G
When I taaaaaste your lips so sweet,
C G C G D |D|
Black and whiiite bend, every do-ove lands at your feet.
G C G
G C G G, C G C G D; |D|-|D|-|D|-G
C Em G
D# G Em D |D|
G D G
When I’m lyyyyying next to you,
C G C G D |D|
I feel moonbeams burn I see rainbows turning to gold.
G D G
When I’m lyyyying next to you,
C G C G
I hear aaangels play, I see sweeterrr days,
C G C G
I see riverrrs wind through the ennnd of time,
C G C G
I see haaatred fall, from the hiiighest hill,
C G C CaddG G
I see God’s good grace, shining in-in-innn-inn-innn your eyes.
D |D| G C G D G G |Gadd|
That’s what I see. When you’re next to me.
WHERE DID OUR LOVE GO - The Supremes
(Holland/Dozier/Holland)
https://www.youtube.com/watch?v=qTBmgAOO0Nw (Capo 0)
INTRO: <4 hand claps>
C G
Baby baby. Baby don't leave me.
Dm G F
Oooh please don't leave me, all by myself.
C G
I've got this burnin' burnin' yearnin', feeling inside me.
Dm G
Oooh deep inside me, and it hurts so bad.
C G
You came into my heart. So tenderly.
Dm F G F
With a burnin' love, that stings like a bee.
C G
Now that I surrender, so helplessly.
Em G
You now wanna leave. Oooh you wanna leave me.
F C G
Ooh-ooh baby baby. Where did our love go?
Dm G F
Ooh don't you want me? Don't you want me no more? Oooh baby.
C, C G G Dm Dm G F
C G
Baby baby. Where did our love go?
Dm G
And all your promises, of a love forever more?
C G
I've got this burnin' burnin' yearnin', feeling inside me.
Em G
Oooh deep inside me, and it hurts so bad.
C G
Before you won my heart, you were a perfect guy.
Dm G
But now that you got me, you wanna leave me behind.
C G
Oooh baby baby. Baby don't leave me.
Dm G
Oooh please don't leave me, all by myself.
F C G
Ooh-ooh baby baby. Where did our love go?
Dm G F
Ooh don't you want me? Don't you want me no more? Oooh baby.
C, C G G Dm Dm G, |C|
(The Supremes) (Artist Index) - (Main Index) - (Song Index) (This Song)
WHERE HAVE ALL THE FLOWERS GONE?
Kingston Trio/Peter, Paul & Mary/Pete Seeger
(Seeger)
https://www.youtube.com/watch?v=bI3QVsW30j0 Kingston Trio (Capo 3)
https://www.youtube.com/watch?v=ZgXNVA9ngx8 Peter, Paul & Mary (Capo 2)
https://www.youtube.com/watch?v=7pZa3KtkVpQ Pete Seeger (Capo 5)
TIP: All three perform the song similarly but in different keys. This version is based
on the Kingston Trio. Peter, Paul & Mary (PPM) include an extra verse which is also
included here.
TIP: For PPM's intro, hold (G) and bring your finger down to cover the <c> and then back
again. They also add a word "Oh" before "When will they ever learn . . ." which also
means the (G) and (D) come one word early.
INTRO (KT): G G Em C D
INTRO (PPM): G G4+ G, G G4+ G, G G4+ G, G G4+ G
G Em C D7
Where have all the flowers gone, long time passing?
G Em C D
Where have all the flowers gone, long time ago?
G Em C D7
Where have all the flowers gone? Young girls picked them everyone.
C G C D G D
When will they ever learn? When will they ever learn?
G Em C D7
Where have all the young girls gone, long time passing?
G Em C D
Where have all the young girls gone, long time ago?
G Em C D7
Where have all the young girls gone? Gone to young men everyone.
C G C D G D
G Em C D7
Where have all the young men gone, long time passing?
G Em C D
Where have all the young men gone, long time ago?
G Em C D7
Where have all the young men gone? Gone for soldiers everyone.
C G C D G D
G Em C D7
Where have all the soldiers gone, long time passing?
G Em C D
Where have all the soldiers gone, long time ago?
G Em C D7
Where have all the soldiers gone? Gone to graveyards everyone.
C G C D G D
G Em C D7
Where have all the graveyards gone, long time passing?
G Em C D
Where have all the graveyards gone, long time ago?
G Em C D7
Where have all the graveyards gone? Gone to flowers everyone.
C G C D G D G D D |G|
--------------
<PPM extra verse>
G Em C D7
Where have all the flowers gone, long time passing?
G Em C D
Where have all the flowers gone, long time ago?
G Em C D7
Where have all the flowers gone? Young girls picked them everyone.
C G C D G
(Pete Seeger) (Peter, Paul and Mary) (The Kingston Trio) (Artist Index) (Folk)
WHERE I'M BOUND - Patty Loveless
(Burgess/Britt)
https://www.youtube.com/watch?v=j485mHC7w7o (Capo 1)
TIP: (CaddG) will follow (C) so just add your pinky to the bottom string/3rd fret.
INTRO: C G, C G, C G, G D G
C G C G
Can you hear it 'cross the valley? Can you hear that mournful sound?
C G D G
I'm ridin' rails of silver, goin' to where I'm bound.
C G C G
High above the fields of clover, on a lazy hot July,
C G D G
When I get to where I'm goin', I'll hold my head up high.
C G, C G, C G, G D G
C G C G
I will roll across these mountains. I will take the last train out.
C G D G
Ridin' rails of silver, goin' to where I'm bound.
C G C G
Roses dust and ashes, throw them where I lay.
C G D G
And if by chance you see me, there'll be no sorrow on my face.
C CaddG G G
For I will see the beauty. I only wish that you could see.
C G C CaddG G
I'll leave my body weakened. I'll leave my soul to wander freeee-eee. So free-ee.
C G C G
So if you should see a diamond, fall down from the sky.
C G D G
It is just a teardrop, from the corner of my eye.
D C G, C G, C G, G D |G|
As good-byyyyyye. As I flyyy-yy. To where I'm bound.
WHERE WERE YOU (WHEN THE WORLD STOPPED TURNING)
Alan Jackson
https://www.youtube.com/watch?v=gPHnadJ-0hE (Capo 0)
TIP: Even after all these years I still have a hard time getting through this song
without choking up. It helps if I tell myself "don't think about the meaning and just
sing the words." Never forget.
INTRO: CaddG
C G C
Where were you when the world stopped turning, on that September day?
G C
Were you out in the yard, with your wife and children, or working on some stage in L. A?
F C
Did you stand there in shock, at the site of that black smoke,
F C
Risin’ against that blue sky.
F C Am F G
Did you shout out in anger in fear for your neighbor or did you just sit down and cry?
C
Did you weep for the children, who lost their dear loved ones,
G C
Pray for the ones who don't know?
Did you rejoice for the people who walked from the rubble,
G C
And sob for the ones left below?
F C
Did you burst out with pride for the red white and blue,
F C
And the heroes who died just doin’ what they do?
F C
Did you look up to heaven for some kind of answer,
Am F
And look at yourself, and what really matters?
C F C
I'm just a singer of simple songs I'm not a, real political man.
F C Am F
I watch CNN but I'm not sure I can tell you, the difference in Iraq and Iran.
C F C
But I know Jesus and I talk to God and I remember this from when I was young:
F C G F F G
Faith hope and love are some good things He gave us, and the greatest is love.
C G C
Where were you when the world stopped turnin', that September day?
G C
Teaching a class full of innocent children, or driving down some cold interstate?
F C F C
Did you feel guilty cause you're a survivor? In a crowded room did you feel alone?
F C
Did you call up your mother and tell her you loved her?
Am F G
Did you dust off that bible at home?
C G C
Did you open your eyes, hope it never happened? Close your eyes and not go to sleep?
Did you notice the sunset, the first time in ages?

G C
Speak with some stranger on the street?
F C F C
Did you lay down at night, and think of tomorrow? Go out and buy you a gun?
F C
Did you turn off that violent old movie you're watching,
Am F
And turn on "I Love Lucy" reruns?
C
Did you go to a church and hold hands with some strangers?
F C
Stand in line and give your own blood?
F C
Did you just stay home and cling tight to your family?
Am F F F
Thank God you had somebody love.
C F C
F C Am F
C F C
F C G F F
C F C
F C Am F
C F C
F C G F
G F
And the greatest is love.
C G |C|
Where were you when the world stopped turning, on that September, day?
WHICH WAY DOES THAT OLD PONY RUN
Lyle Lovett
https://www.youtube.com/watch?v=ZVhx536i-jM (Capo 2)
TIP: There is a pause after "cowboy" in the first line which is necessary to maintain
the proper cadence for the (G) in "best".
INTRO: C G, C G, G G7 Em A G D C G C G
C G
When I was a very young man.
C G
I was a cowboy, the best in the land.
G7 C A
But then she settled me down, with a touch of her ha-and.
G D C G
Now I'm begging you mister, tell me if you can:
C G
Which way does that old pony run?
C G
Which way, does that ol-old pony run?
G7 Em A
And how much, is that saddle, and a straight, shooting gun?
G D G
Which way, does that old, po-ony run?
C G
Now a young girl she don't know when she's lying.
C G
But a woman, great God, she knows how it's done.
G7 C A
So Mama, be-fore I go, there's just one thing on my mind:
G D G
Which way, does that old, pony run?
C G
Which way does that old pony run?
C G
Which way, does that ollllld pony run?
G7 Em A
And how much, is that saddle, and a straight, shootin’ gun?
G D G
Which way, does that old, po-ony run?
C G C G Em A G D C G
C G
So this good life you know I must leave.
C G
You new car and your, color TV.
G7 Em A
But what's riches to you, just ain't riches to me,
G D C G
If you're staying out here, then I'm headed back east.
C G
Which way does that olld pony run?
C G
And which way, does that ollllld pony run?
G7 Em A
And how much, is that saddle, and a straight, shootin’ gun?
G D G
Which way does that old po-ony run?
G7 Em |A|
How much, is that saddle, and a straight shootin’ gun?
G D C G C G C G
And which way, does that old, poy run? Mmmm mmmm.
WHISKEY, IF YOU WERE A WOMAN – Highway 101
(Morrison/Macrae/Francis)
https://www.youtube.com/watch?v=eFkQdaI1GCU (Capo 0)
TIP: The (A6) is just (A) with the bottom string covered. I prefer to play it like an
(A) with my middle three fingers and use my pinky to cover to bottom string but you can
play it as a four-string barre as well. Whatever is most comfortable.
TIP: The (Bm) follows (D) so you can just add your pinky to the 3rd string/4th fret if you
don’t want to come off the (D) to reposition for a fuller (Bm).
INTRO: D D G D G, D A D, D
G A
He's told me, a million times he's sorry.
D G A
I always take him back, though soon I know.
D G
He'll spend the night with you, and leave me cryin'.
Em A |A|
You don't love him but you won't let him go.
D G D G
Oh-oh whiskey, if you were a woman,
D G D A
I'd fight you and I'd win, Lord knows I wou-ould.
D G D Bm
Oh-oh whiskey, if you were a wo-o-man
G A6 D D |G|-|G| D A D D
I'd drive you from his tangled mind for good.
G A A
No matter, what you do, I'll do it better.
D G A
You'll never be, the woman, I could be.
D G
But you don't have a heart or any feelings.
Em A |A|
So I can't even ask for sympathy.
D G D G
D G D A
I'd fight you and I'd win, Lord knows I wou-ould.
D G D Bm
Oh-oh whiskey, if you were a wo-o-man
G A6 D D
G |D| |D|-|G| |D| |D|-|G|
Em A6 D D D-A-|D|
WHISKEY IN THE JAR – The Dubliners
(Traditional)
https://www.youtube.com/watch?v=hlWTASnnft4 (Capo 0)
[Afterwards there’s a version by The Seekers and after that a couple of hybrid versions.]
TIP: Assuming it even has one and it’s not just a musical convenience, the most
accepted, albeit speculative, Gaelic meaning attributed to the chorus is “musha ringum du
dum da” means “whiskey for the fool” and “whack fall the daddy-o” is “in memory of my
father.”
INTRO: C, C, C, C
C Am
As I was goin over the far-famed Kerry mountains,
F C Am
I met with Captain Farrell and his money he was countin’.
C Am
I first produced me pistol and I then produced my rapier,
F C Am
Sayin' "Stand and deliver for he were a bold deceiver."
G C F
Musha ringum du dum da. Whack fall the daddy-o, whack fall the daddy-o,
G C
There's whiskey in the jar.
Am
I counted out his money and it made a pretty penny.
F C Am
I put it in me pocket and I took it home to Jenny.
C Am
She sighed then and she swore, that she never would deceive me
F C Am
But the devil take the women for they never can be easy.
G C F
G C
Am
I went unto my chamber all for to take a slumber.
F C Am
I dreamt of gold and jewels and for sure it was no wonder.
C Am
But Jenny blew me charges and she filled them up with water,
F C Am
Then sent for Captain Farrell to be ready for the slaughter.
G C F
G C
Am
It twas early in the morning just before I rose to travel,
F C Am
Up comes a band of footmen and likewise Captain Farrell.
C Am
I first produced me pistol for she stole away me rapier.
F C Am
But I couldn't shoot the water so a prisoner I was taken.
G C F
G C
Am
Now there’s some take delight in the carriages a rollin,
F C Am
And others take delight in the hurling and the bowlin’.
C Am
But I take delight in the juice of the barley,
F C Am
And courtin' pretty fair maids in the morning bright and early.
G C F
G C
Am
If anyone can aid me tis me brother in the army.
F C Am
If I can find his station in Cork or in Killarney,
C Am
And if he'll go with me we'll go rovin' through Killkenney,
F C Am
And I'm sure he'll treat me better than me own a-sporting Jenny.
G C F
G C
G C F
G C |C|
(Traditional) (The Dubliners) (Main Index) - (Song Index) (This Song)

WHISKEY IN THE JAR – The Seekers
(Traditional)
https://www.youtube.com/watch?v=KkI-7F0ks0c (Capo 0)
[Afterwards there’s a version in (G) without the (F) but capo’d at the 5th fret. If there
are two guitarists present have one play this version uncapo’d and another play the
version in (G). Both will be in (C) an octave apart. Sounds terrific.]
TIP: Assuming it’s not just a musical convenience, the most accepted, albeit
speculative, Gaelic meaning attributed to the chorus is “musha ringum duram do” means
“whiskey for the fool” and “whack fol the daddy-o” is “in memory of my father.”
INTRO: C Am C Am
C Am
As I went a-walkin', on Kilgary Mountain,
F C Am
I spied Colonel Pepper and his money he was countin'.
F C Am
I rattled out my pistols and I drew forth my saber,
F C Am
Cryin' "Stand and deliver for I am a bold deceiver."
G7 C F
Musha ringum duram da. Whack fol the daddy-o, whack fol the daddy-o,
C G C C
Am
The gold and silver coins, they looked so bright and shiny
F C Am
Oh I took them home straightway and I gave 'em to my Molly.
F C Am
She vowed and she promised that she never would deceive me,
F C Am
But the devil's in the women oh you never can believe 'em.
G7 C F
C G C C
Am
But when I awoke, between six and seven,
F C Am
The guards were all around me in numbers odd and even.
F C Am
I reached for my pistols but alas I was mistaken.
F C Am
My pistols had been fired and a prisoner I was taken.
G7 C F
C G C C
Am
They put me in the jail, without judge or writin',
F C Am
For robbing Colonel Pepper oh on Kilgary Mountain.
F C Am
But they didn't take my fists so I knocked the sentry down,
F C Am
And bade farewell to the jail, in Sli-igo town.
G7 C F
C G C C
Am
Some people take delight, in fishin' and in bowlin'
F C Am
Oh others take delight in the carriages a rollin'.
F C Am
F C Am
And courtin' pretty girls 'til the morning so early.
G7 C F
C F G C
There's whiskey-ey, a whiskey in the jar.
G7 C F
C G C C C-G-C |C|
(The Seekers) (Artist Index) (Traditional) - (Main Index) - (Song Index) (This Song)
WHISKEY IN THE JAR (In C) – The Seekers/The Dubliners
(Traditional)
TIP: This version is a hybrid with The Seekers music and The Dubliners lyrics. This one
is in (C) and the one that follows is in (G). If there are two guitarists present have
one play this version uncapo’d and another play the one in (G) capo’d at the 5th fret.
They’ll both be in (C) an octave apart. It’ll sound terrific.
TIP: Assuming it has one and it’s not just a musical convenience, the most accepted,
albeit speculative, Gaelic meaning attributed to the chorus is “musha ringum duram do”
means “whiskey for the fool” and “whack fol the daddy-o” is “in memory of my father.”
INTRO: C Am C Am
C Am
As I was goin’ over, the far-famed Kerry mountains,
F C Am
I met with Captain Ferrell and his money he was countin'.
F C Am
F C Am
Cryin' "Stand and deliver for he were a bold deceiver."
G7 C F
C G C C
Am
I counted out his money, and it made a pretty penny.
F C Am
F C Am
She sighed then and she swore that she never would deceive me
F C Am
G7 C F
C G C C
Am
I went unto my chamber, all for to take a slumber.
F C Am
F C Am
F C Am
G7 C F
C G C C
Am
It twas early in the morning, just before I rose to travel,
F C Am
F C Am
F C Am
G7 C F
C G C C
Am
Now-there’s-some take delight, in the carriages a rollin,
F C Am
F C Am
F C Am
G7 C F
C G C C
Am
F C Am
F C Am
F C Am
G7 C F
C G C
G7 C F
C F G C C C-G-C |C|
(The Seekers) (The Dubliners)(Artist Index) (Traditional)

WHISKEY IN THE JAR (In G) – The Seekers/The Dubliners
(Traditional)
TIP: This version is a hybrid with The Seekers music and The Dubliners lyrics. This one
is in (G) and the one before it is in (C). If there are two guitarists present have one
play this version capo’d at the 5th fret and another play the one in (C) uncapo’d.
They’ll both be in (C) an octave apart. It’ll sound terrific.
TIP: Assuming it has one and it’s not just a musical convenience, the most accepted,
albeit speculative, Gaelic meaning attributed to the chorus is “musha ringum duram do”
means “whiskey for the fool” and “whack fol the daddy-o” is “in memory of my father.”
INTRO: G Em G Em
G Em
As I was goin’ over, the far-famed Kerry mountains,
C G Em
I met with Captain Ferrell and his money he was countin'.
C G Em
C G Em
Cryin' "Stand and deliver for he were a bold deceiver."
D7 G C
G D7 G G
Em
I counted out his money, and it made a pretty penny.
C G Em
C G Em
She sighed then and she swore that she never would deceive me
C G Em
D7 G C
G D7 G G
Em
I went unto my chamber, all for to take a slumber.
C G Em
C G Em
C G Em
D7 G C
G D7 G G
Em
It twas early in the morning, just before I rose to travel,
C G Em
C G Em
C G Em
D7 G C
G D7 G G
Em
Now-there’s-some take delight, in the carriages a rollin,
C G Em
C G Em
C G Em
D7 G C
G D7 G G
Em
C G Em
C G Em
C G Em
D7 G C
G D7 G
D7 G C
G C D7 G G G-D7-G |G|
(The Seekers)(The Dubliners)(Artist Index) (Traditional)

WHITE RABBIT – Jefferson Airplane
(Slick)
https://www.youtube.com/watch?v=pnJM_jC7j_4 (Capo 0)
TIP: Because the song opens on a sharp it may be tough to find the the right note to
begin the song. It's the <c#> (2nd string/2nd fret).
INTRO: F# F#, G G; F# F#, G G; F# F#, G G
F# G
One pill makes you larger, and one pill makes you small,
F# G
And the ones that mother gives you, don't do anything at all.
A C D A
Go ask Alice, when she's ten feet tall.
F# G
And if you go chasing rabbits, and you know you're going to fall.
F# G
Tell 'em a hookah smoking caterpillar, ha-as given you the call.
A C D A A
Call Alice, when she was just small.
E A
When men on the chessboard, get up and tell you where to go.
E A
And you've just had some kind of mushroom, and your mind is moving slow.
F# G
Go ask Alice, I think she'll know.
G
When logic, and proportion, have fallen sloppy dead.
F# G
And the White Knight is talking backwards, and the Red Queen's "Off with her head!"
A C D A A
Remember, what the dormouse said:
E A A E A A A |A|
"Feed your head. Feed your head."
(Jefferson Airplane) (Artist Index) - (Main Index) - (Song Index) (This Song)
WHO’LL STOP THE RAIN – Creedence Clearwater Revival
(Fogerty)
https://www.youtube.com/watch?v=lIPan-rEQJA (Capo 0)
TIP: For the intro and outro emphasize the bottom string on the 4th upstroke of each
(G).
TIP: If you don't like the (Bm) you can ignore it and play the (G) straight through to
the (C).
INTRO: G G, Em Em, G G
C G
Long as I remember, the rain been comin' down.
C G
Clouds of mystery pourin', confusion on the ground.
C G C G
Good men through the ages, tryin' to find the sun.
C D Em G G
And I wonder, still I wonder, who'll stop the ra-in?
C G
I went down Virginia, seekin' shelter from the storm.
Bm C G
Caught up in the fable, I watched the tower grow.
C G C G
Five year plans and new deals, wrapped in golden chains,
C D Em G G
And I wonder, still I wonder, who'll stop the ra-in?
C-G-D D, Am-C-Em Em, Em-G G
C G
Heard the singers playing, how we cheered for more.
Bm C G
The crowd had rushed together, tryin' to keep warm.
C G C G
Still the rain kept pourin', fallin' on my ears.
C D |Em|
And I wonder, still I wonder, who'll stop the rain?
G G, Em Em; G G, Em Em; G G, Em Em; |G|

WHY DON'T WE GET DRUNK AND SCREW
Jimmy Buffett
https://www.youtube.com/watch?v=LL9O0B0gzZE (Capo 0)
INTRO: A–A–A-A-D D D . . .
A7 G D
I really do, appreciate, the fact you’re, sittin’ here.
E7 A A
Your voice it sounds so wonderful but your face don’t, look too clear.
G D
So bar maid bring a pitcher, another round o’ brew.
G A D
Honey why don't we get drunk, and screw?
G D D
Why don’t we get drunk and screw?
E7 A
I just bought a water bed it’s filled up for me and you.
G D
They say you are a snuff queen. Honey I don’t think that's true.
G A D D
So why don’t we get drunk and screw?
D D G D, D D E A, A G G D D, G A D D
G D D
Why don’t we get drunk and screw?
E7 A
I just bought a water bed it’s filled up for me and you.
G D
They say you are a snuff queen. Honey I don’t think that's true.
G A D D
So why don’t we get drunk and screw?
G A D D D |D|
Yes now baby I said why don’t we get drunk and screw?
WILBURY TWIST - The Traveling Wilburys
(Lynne/Petty/Harrison/Dylan)
https://www.youtube.com/watch?v=VrwIoIGfFIU (Capo 0)
TIP: The (G)-(G/A)-(G)-(G/A) run is a rapid sequence emphasizing the top 3 bass strings,
playing (G) and then just lifting your finger off the 5th string (G/A) and replacing it
again in stacatto fashion.
TIP: When you see the (Gadd) emphasize the bottom strings to emulate the run of notes
right after the horn.
TIP: The notation <bottom to top> refers to the strings and means to play the chord,
either a (G) or a (C) but most often a (G), as a walk-down (in tone, not direction)
beginning with the bottom three or four strings (treble), then the middle, and then the
top (bass).
TIP: There's a lonely (Bb) in the bridge on "Pakistan" and "Cameroon". If I'm not
playing my 12-fret I find the rapid move from the preceding (C) a bit challenging so what
I'll do is keep the (C) but lay down the index finger across the bottom two strings like
an (F) and then jump to the (G). The transition is so quick it won't be noticed and is a
lot easier than going from (C) to (Bb) to (G).
- - ;
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|
You put your hand on your head (hand on your head).
Put your foot in the air (foot in the air).

C
Then you hop around the room (hop around the room).
G
In your underwear (in your underwear).
D G
There ain't never been nothin quite like this. Come on baby it's the Wilbury Twist.
Lift your other foot up (other foot up). Fall on your ass (fall on your ass).
C G
Get back up (get back up). Put your teeth in a glass (teeth in a glass).
D
There ain't never been nothin quite like this
G F F C C
It's a magical thing called the Wilbury Twist.
G Gadd
Everybody's trying to do the Wilbury Twist.
F C Bb G
China Belgium France Japan, Thailand Poland Pakistan.
Gadd
G
Roll up your rug (roll up your rug). Dust your broom (dust your broom).
C G
Ball the jack (ball the jack). Howl at the moon (at the moon).
D G
Ain't ever been nothin quite like this. Everybody's talking bout the Wilbury Twist.
<bottom to top> G, G, C, G, G D, G
F F C C G
F C Bb G
Puerto Rico U.S.A., England Cam-er-roon Norway.
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).
G
When your friends have gone (when your friends have gone).
D G
It could be years before you're missed. Everybody's trying to do the Wilbury Twist.
It's a different dance (a different dance). For you all to do (for you all to do).
C G
Spin your body (very versatile). Like a 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 G
Ain't never been nothin' quite like this. Better come and get it it's the Wilbury Twist.
D G
I guess by now you've got the gist. Everybody's crazy bout the Wilbury Twist.
<bottom to top> G G |G|

Ohhhhhhh-up.
WILD WORLD
Cat Stevens
https://www.youtube.com/watch?v=k_0U3DlLFSU (Capo 0)(MC0)
TIP: There’s a little riff in the chorus indicated by the (F)x7-(G) and (C)x4-(G)x4)-(C)
and that's exactly what you do, strum (F) (C) or (G) quickly the number of times
indicated.
INTRO: Am D7 G Cmaj7 F
La la la la la la la la la, la la la la la la la la la,
Dm E E E-Am
La la la la la la la la la, la.
D7 G Cmaj7 F
Now that I've lost everything to you, you say you wanna start something new.
Dm E Esus E Am
And it's breakin' my heart you're leav-in' baby I'm grie vin’.
D7 G Cmaj7 F
But if you wanna leave, take good care. Hope you have a lot of nice things to wear.
Dm E G G7-Em-G-C
But then a lot of nice things turn bad out there.
G F F x 7 - G
Oooh baby baby it's a wild world.
F C C x 4 – G x 4 - C
It's hard to get by just upon a smile.
G F F x 7 - G
F C Dm E Am
I'll always remember you like a child, girl.
D7 G Cmaj7 F
You know I've seen a lot of what the world can do. And it's breakin' my heart in two,
Dm E Am
Because I never wanna see you sad, girl. Don't be a bad girl.
D7 G Cmaj7 F
But if you wanna leave, take good care. Hope you make a lot of nice friends out there.
Dm E G G7-Em G C
But just remember there's a lot of bad and beware. Well-ell.
G F F x 7 - G
F C C x 4 – G x 4 - C
G F F x 7 - G
F C Dm E Am
Am D7 G, G Cmaj7 F Dm E
La la la la la la la la la la, La la la la la la la la la la, la,
Am D G
Baby I love you. But if you wanna leave, take good care.
Cmaj7 F
Hope you make a lot of nice friends out there.
Dm E G G7-Em G C
Just remember there's a lot of bad and beware. Well-ell.
G F F x 7 - G
F C C x 4 – G x 4 - C
G F F x 7 - G
F C Dm E C
G F F x 7 - G
F C C x 4 – G x 4 - C
G F F x 7 - G
F C
I'll always remember you like a child girl.
WILL THE CIRCLE BE UNBROKEN
Johnny Cash/Nitty Gritty Dirt Band
(Traditional)
https://www.youtube.com/watch?v=7bRJLkNqNXI (Capo 2)
TIP: There are several versions of this old standard. The version here is the one
performed by some of the legends of country and bluegrass from the Nitty Gritty Dirt
Band's "Circle" album.
INTRO: G G C G, G G-D-Em, G D G
G7 C G
I was standing, by my window, on one cold and cloudy day.
Em G D G
When I saw that, hearse come roll-ol-in’, for to carry my mother away.
G7 C G
Will the circle, be unbroken, by and by Lord by and by.
Em G D G
There’s a better, home a wai-a-ting, in the sky Lord in the sky.
G7 C G
I said to that, undertaker, undertaker, please drive slow.
Em G D G
For this lady, you are carr-y-ing, Lord I hate, to see her go.
G7 C G
Em G D G
G G C G, G G Em G D G
G7 C G
Oh I followed, close behind her. I tried to hold up and be brave.
Em C D G
But I could not, hide my sor-r-row, when they laid her in the grave.
G7 C G
Em G D G
G7 C G
I went back home, my home was lonesome, cuz my mother she was gone.
Em G D G
Saw my brothers, sisters cry-y-in'. What a home so sad and alone.
G7 C G
Em G D G
G G C G, G G Em G D G
G7 C G
We sanng, the songs of childhood, hymns of faith that made us strong.
Em G D G
Ones that Mo-ther Maybelle taught us. Hear the angels sing along.
G7 C G
Em G D G
There’s a better, home a wai-a-ting, in the sky, Lord, in the sky.
G7 C G
Em
There’s a better, home a wai-a-ting, <pause>
G D C G Am G
In the-huh-uh-uh sky Lord in the, sky- -y.
(Traditional) (Spiritual) (Johnny Cash) (NGDB) (Artist Index)

WILL YOU STILL LOVE ME TOMORROW
Carole King/Linda Ronstadt
(Coffin/King)
https://www.youtube.com/watch?v=GLA7sanwnN8 (Carole) (Capo 0)
https://www.youtube.com/watch?v=ZZNkXp4Avp8 (Linda) (Capo 1)
TIP: The two versions are quite different. This is based on Carole's laid back version.
Linda's is much quicker and upbeat with slightly different lyrics and a reprise. She
also doesn't use the transitional chords like Carole does. Even though this is based on
Carole's you you can follow Linda's without too much difficulty.
TIP: (Dm7) is just like (F) without the 4th string.
INTRO: C C F G
C Am Dm Dm G
Tonight you're mine, completely.
C Am Dm G
You give your love, so sweetly.
E E7 Am G F
Tonight, the li-ight, of love is in your eyes,
G G7 C G C
But will you love me, tomorrrrrow?
Am Dm Dm G
Is this a lasting, treasure?
C Am Dm G
Or just a moment's, pleasure?
E E7 Am G F
Can I-I believe, the magic of your sighs?
G G7 C C
Will you still love me, tomorrrrow?
F Em Em
Tonight with words, unspoken,
F G C C
You say that I’m the only one.
F Em
But will my heart, be broken,
Am D D7 Dm7 G
When the night (when the night), meets the morrning suuu-unnn?
C Am G
I'd like to know, that your love,
C Am Dm G
Is love I can, be sure of.
E E7 Am G F
So tell me now-ow and I won't ask again,
G G7 C C
Will you still love me tomorrow?
F G C Cmaj7, F G C C F G C C F |C|
Will you still love me, tomorrow?
(Carole King) (Linda Ronstadt) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE WIND
Cat Stevens
https://www.youtube.com/watch?v=cd2jXsmSaKc (Capo 0)
TIP: For such a simple song there are a few tricky bits.
TIP: The intro starts with with two picks of the <d> played at the 2nd string/3rd fret
and one pick of <a> played at the bottom string/5th fret. Start the intro by forming (D)
and stretching your pinky over to cover the <a> note. It'll be a bit uncomfortable but
you only have to hold it through the first four bars.
TIP: Then there's the pacing of the "never never" part as the second line of the verse
is different than the fourth. There are hyphens placed to help with the cadence but it
helps to listen to the song again to hear how Cat sings it.
INTRO (Form DaddA): d – d – a, d – d – a, d – d – a, d – d – a
D G A, D G A
D G A D D G A
I listen to the wind, to the wind of my soul.
D G A D D G A
Where I'll end up well I think, only God really knows.
G A G A D Em
I've sat upon the set ting sun.
G Em G A G
But never ne-ver ne-ver never.
A G A D Em
I never wanted wa ter once.
G A D D G A, D G A
No never ne ver never.
D G A D D G A
I listen to my words but they fall far below.
D G A D D G A
I let my music take me where my heart wants to go.
G A G A D Em
I swam upon the De vil's lake.
G Em G A G
But never ne-ver ne-ver never.
A G A D |D| Em
I'll never make the same mista - ake.
G A D D G A, D G A, |D|
No never ne ver never.
WIPE OUT - The Surfaris
(Berryhill/Connolly/Fuller/Wilson)
https://www.youtube.com/watch?v=xTJRYiWOhV8 (Capo 3)
TIP: An instrumental, cool! There are a couple of "original" versions. This one is
from 1963 and the one I remember every kid playing on their desks at school. Of course
you'll need a drummer who can at least fake it. Thinking of Annette while you're playing
is optional (but can't hurt).
TIP: Strike each chord in |brackets| once firmly.
INTRO: <laugh> "Wipe Out." <drums> <drums> <drums>
A – A - A – A, D D, A A, E D A E
|A| <drums> |A| <drums> |D| <drums> |A| <drums> |E| <drums> |D| <drums> |A| <drums>
A – A - A – A, D D, A A, E D A E
E-A A A A A, D D A A E D A E
E–A A A A A, D <short version fades out> D . . .
<long version continues> . . . A A, E D A E
A A A A, D D, A A, E D A A A <softer> A A A |A|
(The Surfaris) (Artist Index) - (Main Index) - (Song Index) (This Song)
WISH YOU WERE HERE - Pink Floyd
(Gilmour/Waters)
https://www.youtube.com/watch?v=IXdNnw99-Ic (Capo 0)
TIP: The intro of course is David Gilmour's classic acoustic opening with bends and
slides. You can find plenty of YouTube videos on how to play it and it's all too in
depth to go into here. What follows is an almost-passable chord version.
INTRO: G-Em, Em-G; G-Em, Em-G
G-Em, Em-A; A-Em, Em-A; A-G G
G-Em, Em-Em, Em-G, G; |A|-|Em|-|A|-|G|, |A|-|G| G
Em Em A, A; Em Em A, A; G G
C D Am G
So, so you think you can tell, heaven from hell? Blue skies from pain?
D C
Can you tell a green field, from a cold steel rail?
Am G
A smile from a veil? Do you think you can tell?
C D
Did they get you to trade, your heroes for ghosts?
Am G
Hot ashes for trees? Hot air for a cool breeze?
D C
Cold comfort for change. And did you exchange,
Am G
A walk-on part in the war, for a lead role in a cage?
G-Em, Em-G; G-Em, Em-G; G-Em, Em-A; A-Em, Em-A; A-G G; G G
G-Em, Em-G; G-Em, Em-G; G-Em, Em-A; A-Em, Em-A; A-G G
C D
How I wish, how I wish you were here.
Am G
We're just two lost souls swimmin' in a fishbowl, year after year.
D C
Runnin' over the same old ground, what have we fou-ound,
Am G
The same old fears? Wish you were here.
G-Em, Em-G; G-Em, Em-G; G-Em, Em-A; A-Em, Em-A; A-G G; G G
G-Em, Em-G; G-Em, Em-G; G-Em, Em-A; A-Em, Em-A; A-G G; G G G G |G|
WONDERFUL TONIGHT
Eric Clapton
https://www.youtube.com/watch?v=xl7Hd2r0LOs (Capo 0)(MC3)
TIP: To maintain cadence with Eric some of the chords that lead into the next line are
played at the end of the preceding line. But don't dawdle on the last (G) leading into
the instrumental seque, especially the longer one after the bridge, get onto the next (G)
that begins it.
INTRO: G D C D D, G D C D D G
D D C D G
It's late in the evening, she's wondering what clothes to wear.
D D C D C
She puts on her makeup, and brushes her long blonde hair.
D D C D Em
And then she asks me, "Do I look all right?"
C D G G D C D D G
And I say "Yes, you look wonderful tonight."
D D C D G
We go to a party, and everyone turns to see,
D D C D C
This beautiful lady, that's walking around with me.
D D G D Em
And then she asks me, "Do you feel all right?"
C D G G
And I say "Yes, I feel wonderful tonight."
C D G D Em
I feel wonderful, because I see the love light in your eyes.
C D C |D| G
And the wonder, of it all, is that you just don't realize how much I love you.
G D C D D, G D C D D G
D D C D D G
It's time to go home now, and I've got an aching head.
D D C D C
So I give her the car keys, and she helps me to bed.
D D G D Em
And then I tell her, as I turn out the light,
C D G D Em G
I say "My darling, you are wonderful tonight.
C D G G D C D D, G D C D D G
Oh my darling, you are wonderful tonight."
(Eric Clapton) (Artist Index) - (Main Index) - (Song Index) (This Song)
WONDERFUL WORLD - Sam Cooke
(Cooke/Albert/Adley)
https://www.youtube.com/watch?v=R4GLAKEjU4w (Capo 4)
[This is the original Sam Cooke version. There's an awesome version by Simon and
Garfunkel with James Taylor which follows afterwards.]
INTRO: G Em
G Em C D
Don't know much about history. Don't know much biology.
G Em C D
Don't know much about a science book. Don't know much about the French I took.
G C G C
But I do know that I love you. And I know that if you love me too,
D G
What a wonderful world this would be.
G Em C D
Don't know much about geography. Don't know much trigonometry.
G Em C D
Don't know much about algebra. Don't know what a slide rule is for.
G C G C
But I do know one and one is two. And if this one could be with you
D G
D G D G
Now I don't claim, to be an 'A' student. But I'm trying to be.
A G A D
For maybe by being an "A" student baby, I could win your love for me.
G Em C D
G Em C D
G C G C
D G
Em D
La ta ta ta ta ta history. Mmmmmm biology.
G Em D
La ta ta ta ta ta science book. Mmmmmm French I took.
G C G C
Yeah, but I do know that I love you. And I know that if you love me too,
D G D-G
(Sam Cooke) (Artist Index) - (Main Index) - (Song Index) (This Song)
WONDERFUL WORLD - Simon & Garfunkel and James Taylor
(Cooke/Albert/Adley)
https://www.youtube.com/watch?v=T0bU9llGUic (Capo 2)
TIP: Helps if you can harmonize like Art Garfunkel, which, of course nobody can. Don't
play too fast.
INTRO: Em C D G
What a wonderful wonderful world this could be.
Em C Am D G Em D
What a wonderful wonderful wonderful wonderful world.
G Em Am7 D
G Em Am7 D
G C G C Am
Em C D G Em D
G Em Am D G
Don't know much about geography-y. Don't know much trigonometry-y-y.
Em |D| Am D7
Don't know much about algebra. I don't know what a slide rule is for.
G C G C Am
But I do know one and one is two, and if this one could be with you wonderful world
Em C D G
What a wonderful wonderful world this would be.
Em C D G G
What a wonderful wonderful wonderful world.
D G D G
Now I don't claim to be an “A” student. But I'm tryin' to be.
Em Am7
I think that maybe by being an “A” student baby-baby
Am D G
I could win your love for mee-eee-ee.
Em Am7 D
Don't know much about the middle ages. Look at the pictures and I turn the pages.
G Em Am D
Don't know nothing 'bout no rise and fall. Don't know nothin' 'bout nothin' at all.
G C G C Am
Girl it's you that I've been thinking of. And if I could only win your lo-o-ve,
Em C D G
Em C D G
Em C Am G
Em D C D G
Em D C D G
Em D C D G
(Simon and Garfunkel) (James Taylor) (Artist Index)

THE WRECK OF THE EDMUND FITZGERALD
Gordon Lightfoot
https://www.youtube.com/watch?v=9vST6hVRj2A (Capo 2)
[Afterwards is the song in [G] which I think just sounds better although it won't match
the recording.]
TIP: There’s very little to this song – only 4 easy chords with no chorus and an
instrumental bridge. At the end of each verse you’ll see a notation for either a (d) or
a (u) right after the (A) associated with the last word of the line. This is a vocal
guide when singing as to whether the last note goes up (u) or down (d).
INTRO: A Em G D A A, D A
Em
The legend lives on from the Chippewa on down
G D A A
Of the big lake they call Gitcha (d) Gumee.
Em
The lake it is said never gives up her dead
G D A A
When the skies of November turn (d) gloomy.
Em
With a load of iron ore twenty-six thousand tons more
G D A A
Than the Edmund Fitzgerald weighed (d) empty,
Em
That big ship and true was a bone to be chewed
G D A A
When the gales of November came (u) early.
Em
The ship was the pride of the American side
G D A
Comin' back from some mill in Wis (d) consin.
Em
As the big freighters go it was bigger than most,
G D A
With a crew and good Captain well (u) seasoned.
Em
Concluding some terms with a couple of steel firms
G D A A
When they left fully loaded for (d) Cleveland.
Em
And later that night when the ship's bell rang,
G D A
Could it be the north wind they'd been (u) feeling?
A Em G D A A
Em
The wind in the wires made a tattletale sound
G D A A
And a wave broke over the (d) railing.
Em
And every man knew as the Captain did too
G D A A
T'was the Witch of November come (u) stealin'.
Em
The dawn came late and the breakfast had to wait
G D A
When the gales of November came (u) slashin'.
Em
When afternoon came it was freezing rain,
G D A
In the face of a hurricane (u) westwind.
A Em G D A, G D A
Em
When supper time came the old cook came on deck
G D A A
Sayin' "Fellas it's too rough to (d) feed ya."
Em
At 7 p.m. a main hatchway caved in
G D A A
He said "Fellas it's been good to (u) know ya."
Em
The Captain wired in he had water comin' in
G D A
And the good ship and crew was in (d) peril.
Em
And later that night when his lights went out of sight
G D A
Came the wreck of the Edmund Fitz (u) gerald.
A Em G D A, G D A A A
Em
Does anyone know where the love of God goes
G D A A
When the waves turn the minutes to (d) hours?
Em
The searchers all say they'd have made Whitefish Bay
G D A A
If they'd put fifteen more miles be (u) hind her.
Em
They might have split up or they might have capsized.
G D A
They may have broke deep and took (d) water.
Em
And all that remains is the faces and the names
G D A
Of the wives and the sons and the (u) daughters.
A Em G D A, G D A
Em
Lake Huron rolls Superior sings,
G D A
In the ruins of her icewater (d) mansion.
Em
Old Michigan steams like a young man's dreams
G D A A
The islands and bays are for (u) sportsmen.
Em
And farther below Lake Ontario,
G D A
Takes in what Lake Erie can (d) send her.
Em
And the iron boats go as the mariners all know
G D A
With the gales of November re (u) membered.
A Em G D A, G D A
A Em G D A, G D A A A
Em
In a musty old hall in Detroit they prayed
G D A
In the Maritime Sailors' Ca (d) thedral.
Em
The church bell chimed 'til it rang twenty-nine times
G D A A
For each man on the Edmund Fitz (u) gerald.
Em
G D A A
Em
Superior they said never gives up her dead
G D A
When the galses of November come (u) early.
A Em G D A, G D A
A Em G D A, G D |A|
(Gordon Lightfoot) (Folk) (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 an
instrumental bridge. At the end of each verse you’ll see a notation for either a (d) or
a (u) right after the (D) associated with the last word of the line. This serves two
purposes: First, it’s a vocal guide when singing as to whether the last note goes up (u)
or down (d). Second, at the end of each verse you’ll be playing the (D) chord. When (u)
is indicated strike the strings with a downward motion emphasizing the bottom three
strings and the treble <d> note (2nd string/3rd fret). When you see (d) strike the 5th,
4th, and 3rd strings which will emphasize the bass D note. If you hook your thumb over the
top fret you can hit the top string too.
INTRO: D Am C G D D, G D
Am
C G D D
Am
The lake it is said never gives up her dead
C G D D
When the skies of November turn (d) gloomy.
Am
With a load of iron ore twenty-six thousand tons more
C G D D
Than the Edmund Fitzgerald weighed (d) empty,
Am
That big ship and true was a bone to be chewed
C G D D
When the gales of November came (u) early.
Am
The ship was the pride of the American side
C G D
Comin' back from some mill in Wis (d) consin.
Am
As the big freighters go it was bigger than most,
C G D
With a crew and good Captain well (u) seasoned.
Am
Concluding some terms with a couple of steel firms
C G D D
When they left fully loaded for (d) Cleveland.
Am
And later that night when the ship's bell rang,
C G D
Could it be the north wind they'd been (u) feeling?
D Am C G D D
Am
The wind in the wires made a tattletale sound
C G D D
And a wave broke over the (d) railing.
Am
And every man knew as the Captain did too
C G D D
T'was the Witch of November come (u) stealin'.
Am
The dawn came late and the breakfast had to wait
C G D
When the gales of November came (u) slashin'.
Am
When afternoon came it was freezing rain,
C G D
In the face of a hurricane (u) westwind.
D Am C G D, C G D
Am
When supper time came the old cook came on deck
C G D D
Sayin' "Fellas it's too rough to (d) feed ya."
Am
At 7 p.m. a main hatchway caved in
C G D D
He said "Fellas it's been good to (u) know ya."
Am
The Captain wired in he had water comin' in
C G D
And the good ship and crew was in (d) peril.
Am
And later that night when his lights went out of sight
C G D
Came the wreck of the Edmund Fitz (u) gerald.
D Am C G D, C G D D D
Am
Does anyone know where the love of God goes
C G D D
When the waves turn the minutes to (d) hours?
Am
The searchers all say they'd have made Whitefish Bay
C G D D
If they'd put fifteen more miles be (u) hind her.
Am
They might have split up or they might have capsized.
C G D
They may have broke deep and took (d) water.
Am
And all that remains is the faces and the names
C G D
Of the wives and the sons and the (u) daughters.
D Am C G D, C G D
Am
Lake Huron rolls Superior sings,
C G D
In the ruins of her icewater (d) mansion.
Am
Old Michigan steams like a young man's dreams
C G D D
The islands and bays are for (u) sportsmen.
Am
And farther below Lake Ontario,
C G D
Takes in what Lake Erie can (d) send her.
Am
And the iron boats go as the mariners all know
C G D
With the gales of November re (u) membered.
D Am C G D, C G D
D Am C G D, C G D D D
Am
In a musty old hall in Detroit they prayed
C G D
In the Maritime Sailors' Ca (d) thedral.
Am
The church bell chimed 'til it rang twenty-nine times
C G D D
For each man on the Edmund Fitz (u) gerald.
Am
C G D D
Am
Superior they said never gives up her dead
C G D
When the galses of November come (u) early.
D Am C G D, C G D
D Am C G D, C G |D|
(Gordon Lightfoot) (Folk) (Artist Index) - (Main Index) - (Song Index) (This Song)
WRECK THIS HEART
Bob Seger
https://www.youtube.com/watch?v=GoYQsrcwIpU (Capo 5)
Note: Bob imposes copyright restrictions so the only video I could find was from a
taping of David Letterman from 2006.
INTRO: G C, G C, G C, G C
G C G C
I feel a cold wind blowin' all over me, I feel the dark clouds startin' to form.
G C D C
The trees are bare, the grass is brown. Another early winter Michigan storm.
G C G C
Everything I do is just a little wrong. Every day for me is the same.
G C D C
Everyone I know is getting in my face and I only got myself to blame.
G F C G F C
I think I'm gonna wreck, this heart. Wreck, this heart.
G F C G G C, G C
Wreck, this heart, after a while.
G C G C
The big boss tells me my work is off, my wife wants me to come home.
G C D C
I miss my kids, I miss my dog, I've been spendin' too much time alone.
G C G C
I've got bills to pay, promises to keep, and it's all hangin' over my head.
G D C
I got miles to go, before I sleep. I'd rather be with her instead.
G F C G F C
I think I'm gonna wreck, this heart. Wreck, this heart.
G F C G G C, G C
Am F C G
There's time to work, time to live. There's only so much time around.
Am F C G
And if you lean too far, over the wishing well, you might fall in and drown.
G C, G C, G C, G C
G C G C
Am I talkin' too fast am I hard to hear? Have you understood a word that I've said?
G C D C
Let me put it, to you this way, and under-line in red.
G C G C
Order me a case of your southern soul, and let me out tonight.
G C D C
I need a good long ride on your rodeo, and everything will be alright.
G F C G F C
And then I'm gonna wreck, this heart. Wreck, this heart.
G F C G G C
G F C G F C
I'm gonna wreck, this heart. I’m gonna wreck, this heart.
G F C G G C, G C, G C, G C, G C, |C|
WRITTEN IN STONE - Randy Travis
(Schlitz/McAnnally)
https://www.youtube.com/watch?v=kvMQu2XrCx8 (Capo 0)
TIP: In the intro, (D/A) is just (D) with your pinky added to the 4th string/4th fret.
INTRO: D/A, D
I'm gonna take you down to the riverside, where the water runs slow and wide
G
There's a big ol' rock, out in the middle, and I took my hammer and chisel,
D
And worked all night so you could see, just how much you mean to me.
G
I carved your name right next to mine, and it'll be there til the end of time.
A Em A A |A|
And-my love will last at least that long.
D G D
It's written in stone how I feel for you. It's written in stone what I want to do.
Em C D
Spend my life and life here after loving you.
G D
And darlin' if we live to be a hundred or if we don't make it half that long,
Em C D D D
I want you to know what I feel for you is written in stone.
There's a place on the edge of town, when I was a kid I found.

G
Two names on a stone together, lyin' 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 somethin' that would be around,
A Em A
When all the spoken words have come and gone.
D G D
It's written in stone how I feel for you. It's written in stone what I want to do.
Em C D
G D
Em C D D D
A Em A A A D
And when this life has come and gone, Our love will still be
D G D
Written in stone how I feel for you. Written in stone what I want to do.
Em C D
G D
Em C D
Em C D
I want you to know how I feel for you is written in stone.
C D C D
Is written in stone. Is written in stone.
THE YEAR THAT CLAYTON DELANEY DIED
Tom T. Hall/Waylon Jennings & Willie Nelson
(Hall)
https://www.youtube.com/watch?v=1NSVOyhWnXM (Tom T.) (Capo 4)
https://www.youtube.com/watch?v=73rcRH52yuE (Waylon & Willie) (Capo 3)
TIP: Tom ends the song after repeating the first line while Waylon continues with the
chords for the rest of the verse. Both endings are presented.
INTRO: A E7 A E
A E7 A A7
I remember the year that Clayton Delaney died.
D A A
They said for the last two weeks that he suffered and cried.
D A
It made a big impression on me, although I was a barefoot kid.
E7 A A
They said he got religion at the end and I'm glad that he did.
E7 A A7
Clayton was the best guitar picker in our town.
D A A
I thought he was a hero and I used to follow Clayton around.
D A
I often wondered why Clayton, who seemed so good to me.
E7 A A
Never took his guitar and made it down in Tennessee.
E7 A A7
Well Daddy said he drank a lot but I could never understand.
D A A
I knew he used to pick up in Ohio with a five piece band.
D A
Clayton used to tell me son you better put that old guitar away.
E7 A A
There ain't no money in it, it'll lead you to an early grave.
E7 A A7
I guess if I'd admit it Clayton taught me how to drink booze.
D A A
I can see him half stoned pickin’ up the Lovesick Blues.
D A
When Clayton died I made him a promise, I was gonna carry on somehow.
E7 A A
I'd give a hundred dollars, if he could only see me now.
E7 A A7
I remember the year that Clayton Delaney died.
D A A
Nobody ever knew it but I went out in the woods and I cried.
D A
Well I know there's a lotta big preachers, that know a lot more than I do.
E7 A A
But it could be that the good Lord likes a little picking too.
E7 A A |A|
[Tom]: Yeah I remember the year that Clayton Delaney died.
E7 A A D D A A
[Waylon]: Yeah I remember the year that Clayton Delaney died.
D D A A E7 A A A . . . |A|
(Tom T. Hall) (Waylon Jennings) (Willie Nelson) (Artist Index)

YELLOW SUBMARINE - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=m2uTFF_3MaA (Capo 4)
[Originally recorded tuned down a half-step and to play it in [G] would mean capo at the
11th fret which is insane. So here it is in [D] capo'd at the 4th fret. The easier to
play version in [G], which I think sounds better, comes afterwards.]
TIP: The (D)(G)(A) bit is “the band playing.” Strike chords in |brackets| just once.
TIP: For the instrumental bridge with the voices in the background ("Full steam ahead
Mr. Barker") the chords in brackets are struck once each.
A D Em A
In the town where I was born, lived a man who sailed to sea.
D A D Em A
And he told us of his life, in the land of submarines.
D A D Em A
So we sailed on to the sun, till we found a sea of green.
D A D Em A
And we lived beneath the waves, in our yellow submarine.
D A D
We all live in a yellow submarine, yellow submarine, yellow submarine.
A D
A D Em A
And our friends are all aboard, many more of them live next door.
D A D D G A
And the band begins to play.
D A D
A D
|D|-|A|, |A|-|D|, |D|-|Em|, |Em|-|A|; |D|-|A|, |A|-|D|, |D|-|Em|, |Em|-|A|
D A D Em A
As we live, a life of ease. Every one of us, has all we need.
D A D Em A
Sky of blue and sea of green. In our yellow submarine.
D A D
A D
A D
A D |D|
(The Beatles) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
YELLOW SUBMARINE - The Beatles
(Lennon/McCartney)
TIP: The (G)(C)(D) bit is “the band playing.”
TIP: For the instrumental bridge with the voices in the background ("Full steam ahead
Mr. Barker") the chords in brackets are struck once each.
D G Em Am D
In the town where I was born, lived a man who sailed to sea.
G D G Em Am D
And he told us of his life, in the land of submarines.
G D G Em Am D
So we sailed on to the sun, till we found a sea of green.
G D G Am D
And we lived beneath the waves, in our yellow submarine.
G D D7 G
Gadd D D7 G
D G Em Am D
And our friends are all aboard, many more of them live next door.
G D G G C D
And the band begins to play.
G D D7 G
Gadd D D7 G
|G|-|D|, |D|-|G|, |G|-|Am|, |Am|-|D|; |G|-|D|, |D|-|G|, |G|-|Am|, |Am|-|D|
G D G Em Am D
As we live, a life of ease. Every one of us, has all we need.
G D G Am D
Sky of blue and sea of green. In our yellow submarine.
G D D7 G
Gadd D D7 G
G D D7 G
Gadd D D7 G |G|
(The Beatles) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
YOU AIN'T GOIN' NOWHERE - The Byrds
(Dylan)
https://www.youtube.com/watch?v=s2JnDKvuNzw (Capo 0)
[There are two versions here, this first one by The Byrds from 1968. Afterwards is the
remake by the Nitty Gritty Dirt Band which is a bit longer. It's the same song with the
same chords and the same key but with mild differences in the lyrics but a different
order of the verses. So I created a separate version.]
INTRO: G Am C G
Am C G
Clouds so swift, the rain won't lift, the gate won't close, the railing's froze.
Am C G
Get your mind off wintertime. You ain't goin' nowhere.
Am C G
Whoo-ee, ride me high, tomorrow's the day my bride's gonna come.
Am C G
Oh oh, are we gonna fly, down in the easy chair.
Am C G
I don't care how many letters they sent. The morning came, the morning went.
Am C G
Pack up your money, pick up your tent. You ain't goin' nowhere.
Am C G
Am C G
G Am C G, G Am C G
Am C G
Buy me a flute, and a gun that shoots, tailgates, substitutes.
Am C G
Strap yourself to the tree with roots. You ain't goin' nowhere.
Am C G
Am C G
Am C G
Now Genghis Khan, he could not keep, all his kings, supplied with sleep.
Am C G
We'll climb that hill, no matter how steep, when we get up to it.
Am C G
Am C G
Am C G
Am C G
YOU AIN'T GOIN' NOWHERE - Nitty Gritty Dirt Band
(Dylan)
https://www.youtube.com/watch?v=xwetPaL9ND0 (Capo 0)
[This is essentially the same song as above except NGDB switch around the lyrics a bit
and play the song so it lasts a bit longer - which is a good thing since it's such a fun
song to play. And you might recognize Roger McGuinn from the opening explaining how
Dylan wrote this after breaking his leg in a motorcycle accident and "couldn't go
nowhere."]
INTRO: G Am C G, G Am C G
Am C G
Clouds so swift, rain won't lift, the gate won't close, the railing's froze.
Am C G
Get your mind off wintertime. You ain't goin' nowhere.
Am C G
Am C G
Am C G
Buy me a flute, and a gun that shoots, tailgates, substitutes.
Am C G
Strap yourself to the tree with roots. You ain't goin' nowhere.
Am C G
Am C G
G Am C G, G Am C G
Am C G
Well I don't care how many letters they sent. The morning came and the mornin’ went.
Am C G
Pack up your money, pick up your tent Dylan. You ain't goin' nowhere.
Am C G
Am C G
Am C G
Genghis Khan, he could not keep, all his men, supplied with sleep.
Am C G
We'll climb that hill no matter how steep, when we get up to it.
Am C G
Am C G
Am C G
Am C G
G Am C G, G Am C G, G Am C G, G Am C G
Am C G
Am C G
Am C G
Am C G |G|
YOU ARE MY SUNSHINE – Traditional/Norman Blake
(Davis/Mitchell)
https://www.youtube.com/watch?v=dkNbMZhEGEw (Capo 4)
[Afterwards in [G] mainly for fingerstyle or flat pickin'.]
TIP: The intro is a single strum of |D| followed by the chords from “Please don’t take
my sunshine away.”
INTRO: |D|, D A D
A D G D
The other night dear as I lay sleeping, I dreamed I held you in my arms.
G D A D
But when I woke dear I was mistaken. And I hung my head and I cried.
G D
You are my sunshine my only sunshine. You make me happy when skies are gray.
G D A D
You'll never know dear how much I love you. Please don't-take-my, sunshine away.
D D, D G D, D G D, D A D
A D G D
I'll always love you and make you happy, if you will only say the same.
G D A D
But if you leave me and love another, you'll regret, it-allll some day.
G D
G D A D
A D G D
You told me once dear you really loved me. And no one could come between.
G D A D
But now you've left me to love another. You have sha-ttered all of my dreams.
G D
G D A D
A D G D
In all my dreams dear you seem to leave me. When I awake my poor heart pains.
G D A D
So when you come back and make me happy. I'll forgive dear I'll take all the blame.
G D
G D A D
D A D |D|
(Norman Blake) (Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
YOU ARE MY SUNSHINE – Traditional/Norman Blake
(Davis/Mitchell)
(No video – have to capo too high. See the version in (D) to play with the recording.)
TIP: The intro is a single strum of |G| followed by the chords from “Please don’t take
my sunshine away.”
INTRO: |G|, G D G
D G C G
The other night dear as I lay sleeping, I dreamed I held you in my arms.
C G D G
But when I woke dear I was mistaken. And I hung my head and I cried.
C G
C G D G
G G, G C G, G C G, G D G
D G C G
I'll always love you and make you happy, if you will only say the same.
C G D G
But if you leave me and love another, you'll regret, it-allll some day.
C G
C G D G
D G C G
You told me once dear you really loved me. And no one could come between.
C G D G
But now you've left me to love another. You have sha-ttered all of my dreams.
C G
C G D G
D G G D
In all my dreams dear you seem to leave me. When I awake my poor heart pains.
G D A D
So when you come back and make me happy. I'll forgive dear I'll take all the blame.
C G
C G D G
G D G |G|
(Norman Blake) (Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
YOU CAN TELL THE WORLD - The Seekers
(Gibson/Camp)
https://www.youtube.com/watch?v=3kgmMc4iJsI (Capo 2)
INTRO: |G|-|C|-|G|-|C| G C G C G C G C G C G C
G C G C GG C C G
You- -ou can tell the world about this, you can tell the nations about that.
C G C G
Tell 'em what the Master has done. Tell 'em that the gospel has come.
C G D G D G
Tell 'em that the victory's been won. He brought joy joy joy into my hearrrrrt.
C G C G G C C G
Oh you- -ou can tell the world about this, you can tell the nations about that.
C G C G
C G D G D G
D C G C G
Heard the Lord he spoke to me, yes he did yes he did.
D C G C G
Told about a man from Galilee, yes he did yes he did.
Em C G C G
Heard the Lord he spoke so well, yes he did yes he did.
Em C G C G
He told about the fires that flame in hell, yes he did yes he did.
Em C G C G
I don't know but I've been told, yes he did yes he did.
Em C G C G
The streets of heaven are paved with gold, yes he did yes he did.
D G D G
He brought joy joy joy into my hearrrrrt.
G C G C GG C C G
You- -ou can tell the world about this, you can tell the nations about that.
C G C G
C G D G D G
D C G C G
Heard the Lord he spoke to me, yes he did yes he did.
D C G C G
Told about a man from Galilee, yes he did yes he did.
Em C G C G
Heard the Lord he spoke so well, yes he did yes he did.
Em C G C G
He told about the fires that flame in hell, yes he did yes he did.
Em C G C G
I don't know but I've been told, yes he did yes he did.
Em C G C G
The streets of heaven are paved with gold, yes he did yes he did.
D G D G
He brought joy joy joy into my hearrrrrt.
C D G C G C G C |G|
He brought joy, oh he brought joy into my hear- -rt
(Spiritual) (The Seekers)(Artist Index) - (Main Index) - (Song Index) (This Song)
YOU CAN'T ALWAYS GET WHAT YOU WANT
The Rolling Stones
(Richards/Jagger)
https://www.youtube.com/watch?v=jv9sDn_2XkI (Capo 5)
TIP: The first two verses are the same, the first is the sung acapella by a choir
followed by a short guitar and horn interlude and then Mick's first verse.
<Choir>: G C G C
I saw her today at the reception. A glass of wine in her hand.
G C G C
I knew she would meet her connection. At her feet was a, footloose man.
G C G C
Now you can't always get what you want. You can't always get what you want.
G C
You can't always get what you want.
A C G
But if you try sometime, you'll find, you get what you need.
G C G C G C G C
G C G C
I saw, her today at the reception. A glass of wine, in her hand.
G C G C
I knew, she was gonna meet her connection. At her feet, was, a footloose man.
G C G C
You can't always get what you want. You can't always get what you want.
G C A C
You can't always get what you want. But if you try sometimes, well you might find,
G C G C
You get what you need. Ahhh-ahhh yeah-ahh, hey hey, oh-hoh.
G C G C
And I went down, to the demonstration, to get my, fair share of abuse.
G C
Singin' "We're, gonna vent, our frustration.
G C
If we don't, we're gonna blow, a 50-amp fuse." Sing it to me.
G C G C
G C A C
You can't always get what you want. But if you try sometimes, well you might find,
G C G C
You get what you need. Ahhh-ohh baby yeah-ah, aw-aw.
G C G C
I went down, to the Chelsea drugstore, to get your, prescription filled.
G C G C
I was standing in line, with Mr. Jimmy, and man did he look, pretty ill.
G C G C
We decided, that we would have a soda. My favorite, flavor, cherry red.
G C G C
I sung my song, to Mr. Jimmy. Yeah, and he said one word to me and that was dead.
I said to him:
G C G C
You can't always get what you want. No. You can't always get what you want.
G C A C
You can't always get what you want. But if you try sometimes you just might find,
G C
You get what you need. Ohhhh yes. Whoo.
A A C C C D, G C G C G C, A C
G C G C
You get what you need. Yes. Oh babe. Ohh yes.
G C G C
I saw her today at the reception. In her glass, was a, bleeding man.
G C
She was practiced at the art of deception.
G C
Well I could tell, by her, blood-stained hands.
G C G C
G C A
You can't always get what you want. But if you try sometime, you just might find,
C G C G C
You just might find, you get what you need. Ahhh yeah. Awww yeah.
G C G C
Aww you can't always get what you want. No no baby you can't always get what you want.
G C A
You can't always get what you want. But if you try sometimes you just might find,
C G C
You just might find that, you get what you need. Ahhh yeah.
G C G C G C G C G C G C G C G C G C G C G C G C G C
YOU DON'T EVEN KNOW WHO I AM - Patty Loveless
(Peters)
https://www.youtube.com/watch?v=kfrJvZamYns (Capo 1)
[A version in [G] follows. You'll have to play it capo'd at the 6th fret to play with
the recording but it's much easier to play, and I think prettier, too.]
INTRO: F C G C F C G, F C G C F C G
F C G C F C G
She left the car, in the driveway. She left the key in the door.
F C G C F C G
She left the kids, at her mama's. And the laundry piled up on the floor.
F C G C F C G
She left her ring, on the pillow. Right where it wouldn’t be missed.
F C G C F C G
She left a note, in the kitchen. Next to the grocery list.
F C Am G F
It said "You don't even know who I am. You left me a long time ago.
Am G |G| F C G C F C G
You don't even know who I am. So what do you care if I go?”
F C G C F C G
He left the ring, on the pillow. He left the clothes on the floor.
F C G C F C G
And-he called her to say, he was sorry. But he couldn’t remember what for.
F C G C F C G
So he said I've been doin', some thinkin'. I’ve been thinkin’ that maybe you’re right.
F C G C F C G
I go to work, every mornin'. And I come home to you every night.
F C Am G F
And you don't even know who I am. You left me a long time ago.
Am G |G| F C G C
You don't even know who I am. So what do you care if I go?
F Am G
You don't even know who I am.
|G| F C G C F C G-G-C
So what do you care if I go?
YOU DON'T EVEN KNOW WHO I AM - Patty Loveless
(Peters)
https://www.youtube.com/watch?v=kfrJvZamYns (Capo 6)
INTRO: C G D G C G D, C G D G C G D
C G D G C G D
She left the car, in the driveway. She left the key in the door.
C G D G C G D
She left the kids, at her mama's. And the laundry piled up on the floor.
C G D G C G D
She left her ring, on the pillow. Right where it wouldn’t be missed.
C G D G C G D
She left a note, in the kitchen. Next to the grocery list.
C G Em D C
It said "You don't even know who I am. You left me a long time ago.
Em D |D| C G D G C G D
C G D G C G D
He left her ring, on the pillow. He left the clothes on the floor.
C G D G C G D
And-he called her to say, he was sorry. But he couldn’t remember what for.
C G D G C G D
So he said I've been doin', some thinkin'. I’ve been thinkin’ that maybe you’re right.
C G D G C G D
I go to work, every mornin'. And I come home to you every night.
C G Em D C
And you don't even know who I am. You left me a long time ago.
Em D |D| C G D G
C Em D
You don't even know who I am.
|D| C G D G C G D-D-G
So what do you care if I go?"
YOU DON’T KNOW HOW LUCKY YOU ARE – Patty Loveless
(Jackson/Willis)
https://www.youtube.com/watch?v=B96fMzj4sdY (Capo 1)
INTRO: D D G G, D A D A7
D G
Most people, use money, to measure success,
D A
The big car they're drivin', and the way that they dress.
D G
If there's someone, who loves you you're richer by far,
G A D A7
You don't knowww how lucky you are.
D G
Society's pages she never may grace,
D A
Or dress in fine garments of satin and lace.
D G
But if comfort, awaits you in the warmth of her arms.
D A D
You don't knowww how lucky, you are.
A G
Just under, the surface, lie riches untold,
A G A A
More precious than diamonds more treasured than gold.
D A G Bm
Priceless is true love in a good woman's heart.
D A D A7
<steel> D D G G, D D A A, <piano> D D G Bm, D A D D
A G
Just under, the surface lie riches untold,
A G A A
More precious, than diamonds, more treasured than gold.
D A G Bm
D A D A7
D A G Bm Bm
D A D |D|
You don't know, how lucky, you are.
YOU DON’T MESS AROUND WITH JIM
Jim Croce
https://www.youtube.com/watch?v=QF_mUtno-p8 (Capo 2)
INTRO: D D D D, D D D D
Uptown got it's hustlers. The Bowery got it's bums.
Forty-second street got Big Jim Walker he a pool-shootin' son of a gun.

G
Yeah he big and dumb as a man can come, but he stronger than a country hoss.
A G
And when the bad folks all get together at night
A G D D
You know they all call Big Jim “Boss,” just because.
G D G D
And they say you don't tug on Superman's cape. You don't spit into the wind.
G A D
You don't pull, the mask off that old Lone Ranger and you don't mess around with Jim.
A A A A
Ah dout douten doubt day dayden dee dee dee.
D
Well outta south Alabama come a country boy, he said I'm lookin' for a man named Jim.
I am a pool shootin' boy my name a Willie McCoy but down home they call me Slim.
G
Yeah I'm lookin' for the king of 42nd street he drivin' a drop-top Cadillac.
A G A G
Last week he took all my money and it may sound funny but I come to get my money back.
D
And everybody say “Jack, don't you know:
G D G D
You don't tug on Superman's cape. You don't spit into the wind.
G A D
You don't pull, the mask off that old Lone Ranger and you don't mess around with Jim.
A A A A
Ah dout douten doubt day dayden dee dee dee.
D
Well a hush fell over the pool room Jimmy come boppin' in off the street.
And when the cuttin' were done the only part that wasn't bloody
Was the soles of the big man's feet.

G
Yeah he were cut in about a hundred places, and he were shot in a couple more.
A G
And you better believe they sung a different kind of story
A G D
When Big Jim hit the floor oh oh oh.
G D G D
Now they say you don't tug on Superman's cape. You don't spit into the wind.
G A D
You don't pull, the mask off that old Lone Ranger and you don't mess around with Slim.
Hmmm hmm-mmm mmm-mmm mmm-mmm.
<Spoken> Yeah Big Jim got his hat. Findin’ out where it’s at is not hustlin’ people
strange to you. Even if you do got a two-piece custom-made pool cue. Mmm-hmm.
G D G D
Yeah you don't tug on Superman's cape. You don't spit into the wind.
G A D
You don't pull, the mask off that old Lone Ranger and you don't mess around with Slim.
Hmmm hmm-mmm mmm-mmm mmm-mmm. Hmmm hmm-mmm mmm-mmm.
Hmmm hmm-mmm mmm-mmm mmm-mmm. Hmmm hmm-mmm mmm.
Hmmm hmm-mmm mmm-mmm mmm-mmm.
YOU GOT IT - Roy Orbison
(Lynne/Orbison/Petty)
https://www.youtube.com/watch?v=7Xc_8AkmKfo (Capo 2)
TIP: There are a couple of lovely strumming patterns going on. First, the (G)(G)(F)(G)
in the intro and verse begins with a nice firm down-stroke thump and a two-count on the
first (G). Then there’s the the (G) Ba – (D)(D) -by at the end of the chorus which has a
double-strum on each chord shown beginning with the (D) on “–by” and followed afterward
by the (C)(G)(D). So a total of four strums on the (D), four on the (C) etc. Listen to
the song and you’ll pick it up instantly.
TIP: Leading into the final chorus there’s a series of single strums beginning with the
one on “|D| do” and one strum of |G| before immediately going into the chorus.
INTRO: G G F C, G G F C
G F C G G F C
Everytime I look into your lovely eyes,
G F C D D F F
I see a love that money just can't buy.
G Em Bm D
One look, from you, I drift, away.
G Em Bm D
I pray, that you, are here, to stay.
G B7 Em C G B7 Em C
Anything you want, you got it. Anything you need, you got it.
G B7 Em C G D-D C-C G-G D-D
Anything at all, you got it. Ba - by.
G F C G G F C
Everytime I hold you I begin to understand,
G F C D D F F
Everything about you tells me I'm your man.
G Em Bm D
I live, my life, to be, with you.
G Em Bm D
No one, can do, the things, you do.
G B7 Em C G B7 Em C
Anything you want (you got it).
Anything you need (you got it).

G
Anything at all-all.
B7 Em C G
Da doo-doo doo,
B7 Em C G
Da doo-doo do,
B7 Em C D D, D-D C-C G-G D-D
Da doo-doo do (you got it).
G Em Bm D
I'm glad, to give, my love, to you.
G Em Bm |D|-|D|-|D|-|D|-|D|-[D]-|G|
I know, you feel, the way, I do.
G B7 Em C G B7 Em C
G B7 Em C G B7 Em C
D7 |G| |G|
Anything at all (you got it). Ba-by, you got it.
YOU TOOK THE WORDS RIGHT OUT OF MY MOUTH – Meat Loaf
(Steinman)
https://www.youtube.com/watch?v=HRZTRTPiIT4 (Capo 2)
(Spoken):
On a hot summer night, would you offer your throat to the wolf with the red roses?
Will he offer me his mouth? Yes. Will he offer me his teeth? Yes.
Will he offer me his jaws? Yes. Will he offer me his hunger? Yes.
Again, will he offer me his hunger? Yes. And will he starve without me? Yes.
And does he love me? Yes. Yes.
On a hot summer night, would you offer your throat to the wolf with the red roses?
Yes. I bet you to say that to all the boys.
INTRO: G C, C D; G C, C D
G C
It was a hot summer night and a beach was burning,
G C
There was fog crawling over the sand.
G C
Oh when I listen to your heart I hear the whole world turning.
F Am C D G G
I see the shooting stars falling through your trembling hands.
C
While you were lickin’ your lips and lipstick shining
G C
I was dying just to ask for a taste.
G C
Oh we were lyin’ together in a silver lining
F Am C
By the light of the moon you know there's not another moment,
Am C D G G
Not another moment, not another moment to waste.
Am G F G
Oh will you hold me so close and my knees grow weak,
Am C G
But my soul is flyin’ high above the ground.
Am G F G
I'm trying to speak but no matter what I do,
Em D D D
I just can't seem to make any sound.
C G
And then you took the words right out of my mouth.
F G
Oh it must have been while you were kissin’ me.
C G
You took the words right out of my mouth.
Am C Em C Em D
Oh and I swear it's true I was just about to say I love you. Love you.
C G
F G
C G
Am C Em C Em D
G C
Now my body is shakin’ like a wave on the water
G C
And I guess that I'm beginning to grin.
G C
Oh we're finally alone and we can do what we want to
F Am C
Oh the night is young and ain't no one gonna know where-ya
Am C D G G
No one gonna know where-ya, no one's gonna know where you've been.
C
While you were lickin’ your lips and lipstick shinin’
G C
I was dying just to ask for a taste.
G C
Oh we were lying together in a silver lining
F Am C D G
By the light of the moon you know there's not another moment to waste.
C G
F G
C G
Am C Em C Em D
C G
F G
C G
Am C Em C Em D
G C
And then you took the words right <up> out of my mouth.
(Must have been while you were kissing me.)
G C
Oh you took the words right out of my mouth. (Must have been while you were kissing me.)
G C
G C
You took the words right out of my mouth. (Must have been while you were kissing me.)
G C
Whoa you took the words right out of my mouth.
(Must have been while you were kissing me.)
G C
G C
Whoa whoa yeah yeah yeah. (Must have been while you were kissing me.)
G C
Whoa you took the words right out of my mouth.
G
You took the words right out of my mouth, <clap clap>
F G
Whoa it must have been while you were kissin’ me.
C G
F G
Oh it must have been while you were kissing me.
C G
C G
Oh it must have been while you were kissing me.
C |G|
YOUR CHEATIN’ HEART
Hank Williams
https://www.youtube.com/watch?v=cS4LCoh0VGQ (Capo 0)
TIP: The intro is three picks of the <c> so form up (G7) and just use your index finger
to cover the <c> and then drop it down one string to cover the <f> of the (G7).
TIP: (Fm6) is easy as you're already covering the bottom two strings of the 1st fret.
So just sneak the index finger up one more string and lift off the other fingers.
INTRO: c – c – c G7, G7 C
F
Your cheatin' heart, will make you weep.
G7 C
You'll cry and cry, and try to sleep.
D7 F Fm6
But sleep won't come, the whole night through.
G7 C C C7
Your cheatin' heart, will tell on you.
F C
When tears come down, like fallin' rain.
D7 G7
You'll toss around, and call my name.
C C7 F Fm6
You'll walk the floor, the way I do.
G7 C
C F F C, C D7 D7 G7, G7 C C F, F G7, G7 C
F
Your cheatin' heart, will pine some day.
G7 C
And crave the love, you threw away.
C7 F Fm6
The time will come, when you'll be blue.
G7 C C C7
F C
When tears come down, like fallin' rain.
D7 G7
You'll toss around, and call my name.
C C7 F Fm6
You'll walk the floor, the way I do.
G7 C C |C|
YOUR WILDEST DREAMS – Moody Blues
(Hayward)
https://www.youtube.com/watch?v=kmmPFrkuPq0 (Capo 0)
TIP: The first set of chords, in brackets, emulates that ethereal - not sure what it is,
a Moog maybe? Strum each chord slowly and let it sustain. Don't hit the bottom string
on the first |G|.
INTRO: |G| |Em| |Bm| |C| |G| |D7| |G|
G C C G-D, G C C G-D
G C D G C
Once upon a time, once when you were mi-ine I remember skies,
D F C
Reflected in your eye-eyes I wonder where you are.
F C
I wonder if you think about me.
G C D7 G C C G-D
Once upon a time, in your wildest dre-eams.
G C D G C
Once the world was new, our bodies felt the morning dew that greets the brand new day.
D F C
We couldn't tear ourselves away I wonder if you care.
F C G C D7 G C-G
I wonder if you still remember once upon a time, in your wildest dreams.
C D7 G
And when the music plays. And when the words are touched with sorrow.
C D7 G D7
When the music plays, I hear the sound I had to follow. Once upon a time.
G C D G C
Once beneath the stars, the universe was our-r-rs love was all we knew,
D F C
And all I knew was you-ou I wonder if you know.
F C G C D7 G C C G-D
I wonder if you think about it, once upon a time, in your wildest dre-eams.
G C D G C Em D
Ahh-ahhh-ahh. Ahhh-ahh-ahh-ahh ahh-ahh. Ahhhhh-ahh-ahh.
F C F C G C D7 G
Ahh-ahh-ahh. Ahh-ahh-ahh-ahh-ahh-ahh-ahh-ahh-ahhhhh-ahh.
C D7 G
And when the music plays. And when the words are touched with sorrow.
C C C
When the music plays,
G C D7 G D7 D7
And when the music plays, I hear the sound I had to follow. Once upon a time.
G C D G C
Once upon a time, once when you were mi-ine I remember skies,
D F C
Mirrored in your eye-eyes I wonder where you are.
F C G C D7 G C C
I wonder if you think about me. Once upon a time, in your wildest dre-eams.
D D7 G C C
In your wildest dre-eams.
D G C C
In your wi-i-ldest dre-eams.
D G C C D D
In your wildest dre-eam.
G C, C D D; G C, C D D; G C, C D D |G|
YOU’RE SIXTEEN - Ringo Starr
(Sherman)
https://www.youtube.com/watch?v=vkR7u_sOtHI (Capo 1)
TIP: For the first measure of the intro add your pinky to the top string/3rd fret to
cover the bass <g>. The first measure of (C) focuses on the 5th string <c>. The second
measure of (C) focuses on the 2nd string treble <c>.
TIP: The (G)--(G), both in the intro and throughout the song means to strum (G) quickly
for three double-beats. You'll know what I mean when you hear it.
INTRO: C/G C, G -- G
C E7 F C
You come on like a dream, peaches and cream. Lips like strawberry wine.
D7 G C G -- G
You're sixteen, you're beautiful, and you're mine (all mine).
C E7 F C
You're all ribbons and curls, ooh what a girl. Eyes that sparkle and shine.
D7 G C F C
You're sixteen, you're beautiful, and you're mine (all mine mine mine).
E7 Am7 Am
You're my baby, you're my pet. We fell in love on the night we met.
D7 G7
You touched my hand, my heart went pop. Ooh when we kissed, I could not stop.
C E7 F C
You walked out of my dreams, and into my arms. Now you're my angel divine.
D7 G7 C C G -- G
You're sixteen, you're beautiful, and you're mine.
<kazoo> C E7 F C D7 G7 C C
E7 Am7 Am
You're my baby, you're my pet. We fell in love on the night we met.
D7 G7
You touched my hand, my heart went pop. Ooh when we kissed, I could not stop.
C E E7 F C
You walked out of my dreams, and into my arms. Now you're my angel divine.
D7 G7 C C
D7 G C C
D G7 C C
D7 G7 C C
All mine, all mine, all mine.
D G C C
All mine, all mine, all mine.
D7 G7 C C, D G7 C C, D G |C|
All mine (all mine), all mine (all mine), and I do.
(Ringo Starr) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
YOU’RE THE REASON GOD MADE OKLAHOMA
David Frizell & Shelly West
(Pinkard/Collins)
https://www.youtube.com/watch?v=LWVdKv4-CEg (Capo 2)
TIP: Now this is how to write a country song. Larry and Sandy change keys twice without
inserting half-step sharps that seemed to be the trendy thing to do in the 70's. And
then the Bryants come along and sue them (and win!) for saying the song sounds too much
like Rocky Top? Nonsense. Sometimes you'll see a co-writing credit for the Bryants but
not in my world.
INTRO: C C F |F|-|F|, C C F |F|-|F|
C F C G C C
There's a full moon over Tulsa. I hope that it's shining on you.
F C
The nights are getting cold, in Cherokee county
G C C
There's a Blue Norther, passin' through.
F G C C
I remember green eyes, and a ranchers daughter but remember, is all that I do.
F C G C
Losing you left, a pretty good cowboy with nothing, to hold on to.
F
Sundown came and I drove to tow-own and drank a drink or two-oo-oo.
C F C F C
You're the reason God made Oklahoma. You're the reason God made Oklahoma.
G C C G C |D|
And I'm sure missin' you. I'm sure missing you.
<harmonica> G G C C G G C C
G C G D G
Here the city lights outshine the moon I was just now thinking of you.
C G D G
Sometimes when the wind blows you can see the mountains and all the way to Malibu.
C G D G
Everyone's a star here in L.A. County. You ought to see the things that they do.
C G D G
All the cowboys down on the Sunset Strip, wish that they could be like you.
C
The Santa Monica Freeway, sometimes makes a country girl blue-hoo-ooh.
G C G C G
D G |A|
And I'm sure missing you.
D G D A D
I work ten hours on a John Deere tractor just thinkin', of you all day.
G D A D
I've got a calico cat and a two-room flat, on a street in West L. A.
G D G D
A D |A| |D|
And I'm sure missing you. I’m sure missing you.
(David Frizzell) (Shelly West) (Artist Index) - (Main Index) - (Song Index) (This Song)
YOU’VE GOT TO HIDE YOUR LOVE AWAY - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=V8nLraecPRY (Capo 0)
INTRO: G - G
G D F G C F C
Here I stand head in hand. Turn my face to the wall.
G D F G C F C D
If she's gone I can't go on, feelin' two foot small-all-all.
G D F G C F C
Everywhere people stare, each annnd every day.
G D F G C F C D D
I can see them laugh at me, and I hear them say-ay-ay.
G C D D
Hey you've got to hide your love away.
G C D D
G D F G C F C
How can I even try. I cannn never win.
G D F G C F C D
Hearing them, seeing them, in the state I'm i – i - in.
G D F G C F C
How could she say to me, “Love will find a way.”
G D F G C F C D D
Gather round all you clowns, let mee hear you say-ay-ay.
G C D D
G C D D
<flute outro> G D C G C C F, F-C-G D F G C C F, |F|-|F|-|Gadd|
THE ANGELS CRIED – Alan Jackson and Alison Krauss
(Jackson)
https://www.youtube.com/watch?v=KnfjF6UBYo4 (Capo 3)
INTRO: D C G A, D C G A
D A Bm A G G
They came from near, they came from far, following a distant star, to where He lay.
D A Bm A G G
Not being sure, of what it meant, but knowing it, was heaven sent, they made their way.
Em G D C Gadd
And the creatures gathered round, and didn't make a sound, and the an gels cried.
D A Bm A G G
The angels knew, what was to come, the reason God, had sent his son, from up above.
D A Bm A G
It filled their hearts, with joy to see, and knowing of, his destiny, came tears of love.
Em G D C Gadd
And the creatures gathered round, and didn't make a sound, and the an gels cried.
G D C G G D C G A
D A
I've often thought, about that night,
Bm A G G
And wondered if, they realized, that star so bright,
D A Bm A G G
Was sent to tell, all the land, the son of God, would soon become, the son of man.
Em G
And the creatures gathered round, and didn't make a sound,
D C Gadd D C Gadd |D| |C| |G|
And the an gels cried. And the an gels cried. And the an gels cried.
(Main Index) - (Christmas Song Index) (This Song)

ANGELS WE HAVE HEARD ON HIGH - Traditional Carol
(Smart/Traditional)
TIP: The intro consists of the chords from the final line of the chorus, "In excelcis
Deo."
INTRO: G D G C G D7 G
D G D G D G
Angels we have heard on high, sweetly singing o’er the plains.
D G D G D G
And the mountains in reply, echo ing their joyous strains.
E Am D G C D G D G C G D
Glo- -oria. In ex cel sis De o.
G E Am D G C D G D G C G D7 G
Glo- -oria. In ex cel sis De- e- o.
D G D G D G
Shepherds, why this jubilee? Why your joyous songs prolong?
D G D G D G
What the gladsome tidings be? Which in spire your heav’nly song?
E Am D G C
D G D G C G D
D G D G D G
Come to Bethlehem and see, Christ whose birth the angels sing.
D G D G D G
Come adore on bended knee, Christ the Lord the newborn King.
E Am D G C
D G D G C G D
D G D G D G
See him in a manger laid, whom the choirs of angels praise.
D G D G D G
Mary, Joseph, lend your aid, while our hearts in love we raise.
E Am D G C D G D G C G D

AWAY IN A MANGER
(Traditional Carol)
TIP: The intro consists of the chords from the final line of the verse, "The little Lord
Jesus asleep on the hay." The outro are all the chords from the verse.
INTRO: D A7 D A7 D
G D
Away in a manger, no crib for a bed.
A A7 G D
The little Lord Jesus laid down his sweet head.
G D
The stars in the bright sky looked down where He lay.
A7 D A7 D G D D
The little Lord Jesus asleep on the hay.
G D
The cattle are lowing, the poor baby wakes.
A A7 G D
But little Lord Jesus no crying he makes.
G D
I love the Lord Jesus, look down from the sky.
A7 D A7 D G D D
And stay by my cradle 'till morning is nigh.
G D
Be near me Lord Jesus, I ask Thee to stay.
A A7 G D
Close by me forever, and love me I pray.
G D
Bless all the dear Children in thy tender care.
A7 D A7 D D
And fit us for heaven to live with Thee there.
D G D, A A7 G D, D G D, A7 D A7 |D|

CHILDREN GO WHERE I SEND THEE - Peter, Paul & Mary
(Traditional)
https://www.youtube.com/watch?v=gLd0ZsyAQd8 (Capo 2)
[There are two versions here. The first one is for one singer just wailing away.
Afterwards 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
this first version. Also, in some versions the 5x5 is "Five for the gospel preachers."
TIP: The |D| in brackets in the opening line is meant to be strummed once, until the
part that begins with "I'm gonna send them . . . " which is then played normally.
TIP: In the verse for 7x7 Paul strums all the chords just once at the beginning of each
line.
TIP: The short bridge -- |D| born - |A| 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.
|D| |D|
Children go where I send thee. How shall I send thee?
D
Wellll I'm gonna send thee one by one. One for the little bitty baby.
G D A D G D A D
Who was born, born, born in Bethlhem. He was born, born, born in Bethlehem.
|D| |D|
Well children go where I send thee. 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.
G D A D G D A D
|D| |D|
D
I'm gonna send thee three by three. Three for the Hebrew children.
Two for Paul and Silas. One for the little bitty baby.
G D A D G D A D
|D| |D|
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.
G D A D
Who was born, born, born in Bethlhem.
|D| |D|
D
I'm gonna send thee five by five. Five for the five that stayed alive.
Four for the four that stood at the door. Three for the Hebrew children.
G D A D
|D| |A| |D| D A D

And he was born - born - born, born in Bethlehem.
|D| |D|
D
I'm gonna send thee six by six. Six for the six that never got fixed.
Five for the five that stayed alive. Four for the four that stood at the door.
G D A D
|D| |D|
|D| |D|
I'm gonna send thee seven by seven. Seven for the seven that never got to heaven.
|D| |D|
Six for the six that never got fixed. Five for the five that stayed alive.
|D| |D|
|D| |D|
D G D A D
|D| |D|
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.
G D A D
|D| |A| |D| D A D

And he was born - born - born, born in Bethlehem.
|D| |D|
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.
G D A D G D A D
|D| |D|
Well children go where I send thee. How shall I send thee?
D
Welllllll 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 and six for the six that never got fixed.
G D A D
|D| |A| |D| |D| |D| |A| |A| |D| |G| |D|
And he was born - born - borrrrrn; born in, Beth- le, hem. In Beth- le- hem.
---- <additional verses> ----
|D| |D|
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.
Five for the five who stayed alive. Four for the four that stood at the door.
G D A D G D A D
|D| |D|
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.
Five for the five who stayed alive. Four for the four that stood at the door.
G D A D
|D| |A| |D| |D| |D| |A| |A| |D| |G| |D|
And he was born - born - borrrrrn; born in, Beth- le, hem. In Beth- le- hem.

CHILDREN GO WHERE I SEND THEE - Peter, Paul & Mary
(Traditional)
https://www.youtube.com/watch?v=gLd0ZsyAQd8 (Capo 2)
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]. Likewise, [1-2-4]
means singers [1], and [2] and [4]. Sing only when you see your number.
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.
|D|
[1-2-3] Children go where I send thee.
|D|
[4] How shall I send thee?
D
[1] Wellll I'm gonna send thee one by one.
G D A D
[1-4] One for the little bitty baby. He was born, born, born in Bethlehem.
[4] He was born,
[1] born,
G
[4] born,
[1] born,
D A D
[1-4] born in Bethlehem.
|D|
[2] Well children go where I send thee.

D
[2] I'm gonna send thee two by two.
[2-4] Two for Paul and Silas.
[1] One for the little bitty baby.

G D A D
[1-2-4] He was born, born, born in Bethlehem.
[4] He was born,
[1-2-3] born,
G
[4] born,
[1-2-3] born
D A D
[1-2-3-4] born in Bethlehem.
|D|
[3] Children go where I send thee.

D
[3] 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.

G D A D
[1-2-3-4] He was born, born, born in Bethlehem.
[4] He was born,
[1-2-3] born,
G
[4] born,
[1-2-3] born,
D A D
[4] born in Bethlehem.
|D|

D
[1-2-3] 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,
G
[1-2-3] born,
[4] born,
D A D
|D|
[1-2-3] How shall I send thee?

D
[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,
G
[1-2-3] born,
[4] born,
D A D
|D| |A| |D| A D

[4] <ascending> He was born - born - born, born in Bethlehem.
|D|

D
[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
G
[4] born
[1] born
D A D
|D|

|D|
[2] I'm gonna send thee seven by seven.
|D|
[2-4] Seven
[2] for the seven that never got to heaven.

|D|
[2-4] Six

|D|
[2-4] Five

|D|
[2-4] Four

|D|
[2-4] Three

|D|
[2-4] Two

|D|
[2-4] One

D
[4] Who was born,
[2] born
G
[4] born
[2] born
D A D
|D|

D
[3] Well 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
[3-4] Five
[3-4] Four
[3-4] Three
[3-4] Two
[3-4] One
[4] Who was born,
[3] born
G
[4] born
[3] born
D A D
|D| |A| |D| A D

[4] <ascending> He was born - born - born, born in Bethlehem.
|D|

D
[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
G
[1-2-3] born
[4] born
D A D
[4] He was born,
[1-2-3] born
G
[4] born
[1-2-3] born
D A D
|D|
[1-2-3] Well children go where I send thee.
|D|
D
[1-2-3-4] Wellllll I'm gonna send thee ten by ten. Ten for the ten commandments.
Nine for the nine all dressed so fine.
Seven for the seven that never got to heaven and
Six for the six that never got fixed. Five for the five that stayed alive.
G D A D
Who was born, born, born in Bethlehem.
|D| |A| |D|

[4] <ascending> He was born - born - borrrn . . .
|D| |D| |A| |A| D

[1-2-3] Born in . . . Beth le . . . hem.
|G| |Gadd|
[4] In Beth le . . .
|D|
[1-2-3-4] . . . hem.
<high-fives, towel off, grab some eggnog>
(Main Index) (Christmas Song Index) (This Song)

DECK THE HALLS
Traditional Carol
TIP: The intro consists of the chords from the last line in the verse, "Fa la la la...".
And you can play (D) in place of the (D7) if you wish.
INTRO: C G D7 G
D7 G D7 G
Deck the halls with boughs of holly. Fa-la-la-la la, la-la la la.
D7 G D7 G
'Tis the season to be jolly. Fa-la-la-la la, la-la la la.
D G D G Em D A7 D
Don we now our gay apparel. Fa-la-la, la-la-la, la la la.
G C G D7 G
Troll the ancient Yuletide carol. Fa-la-la-la la, la-la la la.
D7 G D7 G
See the blazing Yule before us. Fa-la-la-la la, la-la la la.
D7 G D7 G
Strike the harp and join the chorus. Fa-la-la-la la, la-la la la.
D G D G Em D A7 D
Follow me in merry measure. Fa-la-la, la-la-la, la la la.
G C G D7 G
While I tell of Yuletide treasure. Fa-la-la-la la, la-la la la.
D7 G D7 G
Fast away the old year passes. Fa-la-la-la la, la-la la la.
D7 G D7 G
Hail the new ye lads and lasses. Fa-la-la-la la, la-la la la.
D G D G Em D A7 D
Sing we joyous all together. Fa-la-la, la-la-la, la la la.
G C G D7 G
Heedless of the wind and weather. Fa-la-la-la la, la-la la la.
C G |D7| |G|
Fa-la-la-la la, la-la . . . la . . . la.

DO YOU HEAR WHAT I HEAR
(Menotti)
TIP: The intro consists of the chords from "Do you hear what I hear". Play twice.
INTRO: C F C, C F C
G C F C
Said the night wind to the little lamb: Do you see what I see?
G C F C
'Way up in the sky, little lamb. Do you see what I see?
Am Em F G Am
A star, a star, dancing in the night, with a tail as big as a kite.
F G7 C
With a tail as big as a kite.
G C F C
Said the little lamb to the shepherd boy: Do you hear what I hear?
G C F C
Ringing thru the sky, shepherd boy. Do you hear what I hear?
Am Em F G Am
A song, a song, high above the tree, with a voice as big as the sea.
F G7 C
With a voice as big as the sea.
G C F C
Said the shepherd boy to the mighty king: Do you know what I know?
G C F C
In your palace warm, mighty king. Do you know what I know?
Am Em F G Am
A child, a child, shivers in the cold. Let us bring Him silver and gold.
F G7 C
Let us bring Him silver and gold.
G C F C
Said the king to the people everywhere: Listen to what I say.
G C F C
Pray for peace, people everywhere. Listen to what I say.
Am Em
The child, the child, sleeping in the night.
F G Am
He will bring us goodness and light.
F G7 C
He will bring us goodness and light.

THE FIRST NOEL
(Traditional English Carol)
TIP: The intro consists of the chords from the last line of the chorus, "Born is the
King of Israel."
INTRO: C Bm C G
D C G
The first Noel, the Angel did say.
C Bm C G
Was to certain poor shepherds in fields as they lay.
D C G
In fields where they lay keeping their sheep,
C Bm C G
On a cold winter's night that was so deep.
Bm C G D C Bm C G
Noel, Noel, Noel, Noel-el. Born is the King of Israel.
D C G
Theyyyy looked up, and saw a star,
C Bm C G
Shining in the East beyond them far.
D C G
And to the earth it gave great light,
C Bm C G
And so it continued both day and night.
Bm C G D C Bm C G
D C G
And by the light of that same star,
C Bm C G
Three Wise men came from country far.
D C G
To seek for a King was their intent,
C Bm C G
And to follow the star wherever it went.
Bm C G D C Bm C G
D C G
This star drew nigh to the northwest,
C Bm C G
O'er Bethlehem it took its rest.
D C G
And there it did both pause and stay,
C Bm C G
Right o'er the place where Jesus lay.
Bm C G D C Bm C G
D C G
Then entered in those Wise men three,
C Bm C G
Full reverently upon their knee.
D C G
And offered there in His presence,
G Bm C G
Their gold and myrrh and frankincense.
Bm C G D C Bm C G
D C G
Then let us all with one accord.
C Bm C G
Sing praises to our heavenly Lord,
D C G
That hath made Heaven-and-earth of nought.
G Bm C G
And with his blood mankind has bought.
Bm C G D C Bm C G

GOD REST YE MERRY GENTLEMEN
(Traditional)
TIP: The intro is the chords from the last line of the chorus, "...tidings of comfort
and joy."
INTRO: C E Am
Em Am E
God rest ye merry gentlemen let nothing you dismay.
Am Em Am E
Remember Christ our Saviour was born on Christmas day.
G7 C Am D
To save us all from Satan's power when we were gone astray.
C E Am D
Oh tidings of comfort and joy, comfort and joy.
C E Am
Oh tidings of comfort and joy.
Em Am E
In Bethlehem in Israel this blessed Babe was born.
Am Em Am E
And laid within a manger up on this blessed morn.
G7 C Am D
On which His Mother Mary did nothing take in scorn.
C E Am D
C E Am
Em Am E
From God our Heavenly Father a blessed Angel came.
Am Em Am E
And unto certain shepherds brought tidings of the same.
G7 C Am D
How that in Bethlehem was born the Son of God by name.
C E Am D
C E Am
Em Am E
"Fear not then" said the Angel "Let nothing you afright.
Am Em Am E
This day is born a Saviour of a pure Virgin bright.
G7 C Am D
To free all those who trust in Him from Satan's power and might."
C E Am D
C E Am
Em Am E
The shepherds at those tidings re joiced with much in mind.
Am Em Am E
And left their flocks a-feeding in tempest storm and wind.
G7 C Am D
And went to Bethlehem straightway the Son of God to find.
C E Am D
C E Am
Em Am E
And when they came to Bethlehem where our dear Saviour lay.
Am Em Am E
They found Him in a manger where oxen feed on hay.
G7 C Am D
His Mother Mary kneeling down unto the Lord did pray.
C E Am D
C E Am
Em m E
Now to the Lord sing praises all you within this place.
Am Em Am E
And with true love and brotherhood each other now embrace.
G7 C Am D
This holy tide of Christmas all others doth deface.
C E Am D
C E Am

GOOD KING WENCESLAS
(Traditional)
TIP: The intro is the chords to the phrase, "Good King Wenceslas looked out" played
twice.
TIP: Slow down your playing/singing for the last line of each verse.
INTRO: G D G <pause> G D G
D G C D7 G
Good King Wenceslas looked out, on the Feast of Stephen.
D G C D7 G
When the snow lay 'round about, deep and crisp and even.
D Em C D7 G
Brightly shone the moon that night, though the frost was cruel.
Em D Em D G D7 Em C G
When a poor man came in sight, gath'ring winter fu- u- el.
D G C D7 G
"Hither page and stand by me, if thou know'st it telling.
D G C D7 G
Yonder peasant who is he? Where and what his dwelling?"
D Em C D7 G
"Sire he lives a good league hence, underneath the mountain.
Right against the forest fence, by Saint Agnes' fou- oun- tain."
D G C D7 G
"Bring me flesh and bring me wine. Bring me pine logs hither.
D G C D7 G
Thou and I shall see him dine, when we bear them thither."
D Em C D7 G
Page and monarch forth they went, forth they went to gether.
Through the rude wind's wild lament, and the bitter wea- ea- ther.
D G C D7 G
"Sire the night is darker now, and the wind blows stronger.
D G C D7 G
Fails my heart I know not how, I can go no longer."
D Em C D7 G
"Mark my footsteps good my page, tread thou in them boldly.
Thou shall find the winter's rage, freeze thy bloodless co- old- ly."
D G C D7 G
In his master's steps he trod, where the snow lay dinted.
D G C D7 G
Heat was in the very sod, which the Saint had printed.
D Em C D7 G
Therefore Christian men be sure, wealth or rank possessing.
Ye who now will bless the poor, shall yourselves find ble- ess- ing.

GRANDMA GOT RUN OVER BY A REINDEER - Elmo & Patsy
(Brooks)
https://www.youtube.com/watch?v=MgIwLeASnkw (Capo 2)
[Afterwards is a version in [G] which is easier to play but you won't be able to play
along with the recording.]
TIP: The intro is actually done in (Db) with a slide to (D) right at the end but you can
fake it until the beginning of the song.
TIP: For the little step-down after the verse that goes |C|-|G|-|D|, strum each chord
once and aim for the 2nd string bass <c> on the |C| strum. And for the step-up after the
bridge that goes |D|-|G|-|D| don't pause after the preceding (D) (e.g. "back"), go right
into the single strums.
INTRO: D/A D/A D D-D/A
D G
Grandma got run over by a reindeer, walking home from our house Christmas Eve.
D
You can say there's no such thing as Santa,
A D |C|-|G|-|D|
But as for me and Grandpa, we believe.
A A7 D
She'd been drinking too much eggnog. And we'd begged her not to go.
G A D
But she forgot her medication, and she staggered out the door into the snow.
Bm F#m A7 D
When we found her Christmas mornin', at the scene of the attack.
G
She had hoof prints on her forehead,
A D |D|-|G|-|A|
And incriminating claw marks on her back.
D G
D
A D |C|-|G|-|D|
A7 D
Now were all so proud of Grandpa. He's been takin' this so well.
G A D
See him in there watching football. Drinkin' beer and playin' cards with cousin Mel.
Bm F#m A7 D
It's not Christmas without Grandma. All the family's dressed in black.
G
And we just can't help but wonder,
A D |D|-|G|-|A|
Should we open up her gifts or send them back?
D G
D
A D |C|-|G|-|D|
A7 D
Now the goose is on the table, and the pudding made of fig (ahh).
G A D
And the blue and silver candle, that would just have matched the hair in Grandma's wig.
Bm F#m A7 D
I've warned all my friends and neighbors. Better watch out for yourselves.
G
They should never give a license,
A D |D|-|G|-|A|
To a man who drives a sleigh and plays with elves.
D G
D A D
You can say there's no such thing as Santa, but as for me and Grandpa, we believe.
(Sing it grandpa.)
E A
E B7 E B7 E
You can say there's no such thing as Santa, but as for me and Grandpa, we be-lee-ee-ieve.
(Pick first line from Jingle Bells, all in (E))

GRANDMA GOT RUN OVER BY A REINDEER - Elmo & Patsy
(Brooks)
TIP: For the little step-down after the verse that goes |F|-|C|-|G|, strum each chord
once and aim for the middle strings on the |F| and |C| and the top string on the |G|.
And for the step-up after the bridge that goes |G|-|C|-|D| don't pause after the
preceding (G) (e.g. "back"), go right into the single strums.
INTRO: G Gadd G D G
G C
G
D G |F|-|C|-|G|
D D7 G
She'd been drinking too much eggnog. And we'd begged her not to go.
C D G
But she forgot her medication, and she staggered out the door into the snow.
Em Bm D7 G
When we found her Christmas mornin', at the scene of the attack.
C
She had hoof prints on her forehead,
D G |G|-|C|-|D|
And incriminating claw marks on her back.
G C
G
D G |F|-|C|-|G|
D D7 G
Now were all so proud of Grandpa. He's been takin' this well.
C D G
See him in there watching football. Drinkin' beer and playin' cards with cousin Mel.
Em Bm D7 G
It's not Christmas without Grandma. All the family's dressed in black.
C
And we just can't help but wonder,
D G |G|-|C|-|D|
Should we open up her gifts or send them back?
G C
G
D G |F|-|C|-|G|
D D7 G
Now the goose is on the table, and the pudding made of fig.
C D G
And the blue and silver candle, that would just have matched the hair in Grandma's wig.
Em Bm D7 G
I've warned all my friends and neighbors. Better watch out for yourselves.
C
They should never give a license,
D G |G|-|C|-|D|
To a man who drives a sleigh and plays with elves.
G C
G
D G |F|-|C|-|G|
A D
A E A E A
You can say there's no such thing as Santa, but as for me and Grandpa, we be-lee-ee-ieve.
(Pick first line from Jingle Bells, all in (A))

HALLELUJAH
(Cohen)
[Two versions here. This first version is in [C]. Afterwards is a version in [G]. If
there are two guitarists present have one play this version uncapo'd and the other play
the second version capo'd at the 5th fret. Both will be in [C] but an octave apart.
Sounds real pretty.]
INTRO: C Am, C Am
C Am C Am
I've heard about this baby boy who's come to earth to bring us joy.
F G C G
And I just want to sing this song to ya.
C F G Am F G
It goes like this the fourth the fifth, the minor fall and the major lift.
E7 Am
With every breath I'm singing Hallelujah.
F Am F C G C C Am C Am
Hallelujah, Hallelujah, Hallelujah, Halleluuuuujah.
C Am C Am
A couple came to Bethlehem. Expecting child they searched the inn.
F G C G
To find a place for You were coming soon.
C F G Am F G
There was no room for them to stay so in a manger filled with hay
E7 Am
God's only Son was born oh Hallelujah.
C Am C Am
The shepherds lift their flocks by night. To see this baby walked in light.
F G C G
A host of angels led them all to You.
C F G Am F G
It was just as the angels said, you'll find Him in a manger bed.
E7 Am
Emannuel and Savior Hallelujah.
C Am C Am
A star shown bright up in the east, to Bethlehem the wise men three.
F G C G
Came many miles and journeyed long to see You.
C F G Am F G
And to the place at which You were, their frankincense and gold and myrrh.
E7 Am
They gave to You and cried out Hallelujah.
F Am F C G C
C Am C Am, F G C G, C F G Am F G, G E7 Am
C Am C Am
I know You came to rescue me. This baby boy would grow to be.
F G C G
A man and one day die for me and you.
C F G Am F G
My sins would drive the nails in You. That rugged cross was my cross too.
E7 Am
Still every breath You drew was Hallelujah.
F Am F C G
Hallelujah, Hallelujah, Hallelujah, Halleluuuu . . .
F Am F C G
F Am F C G
F Am F C G C C Am C Am |C|

HALLELUJAH
(Cohen)
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 5th fret). Both will be playing in
(C) an octave apart. Sounds pretty.
INTRO: G Em, G Em
G Em G Em
I've heard about this baby boy who's come to earth to bring us joy.
C D G D
And I just want to sing this song to ya.
G C D Em C D
It goes like this the fourth the fifth, the minor fall and the major lift.
B7 Em
With every breath I'm singing Hallelujah.
C Em C G D G G Em G Em
G Em G Em
A couple came to Bethlehem. Expecting child they searched the inn.
C D G D
To find a place for You were coming soon.
G C D Em C D
There was no room for them to stay so in a manger filled with hay
B7 Em
God's only Son was born oh Hallelujah.
G Em G Em
The shepherds lift their flocks by night. To see this baby walked in light.
C G C G
A host of angels led them all to You.
G C D Em C D
It was just as the angels said, you'll find Him in a manger bed.
B7 Em
Emannuel and Savior Hallelujah.
G Em G Em
A star shown bright up in the east, to Bethlehem the wise men three.
C D G D
Came many miles and journeyed long to see You.
G C D Em C D
And to the place at which You were, their frankincense and gold and myrrh.
B7 Em
They gave to You and cried out Hallelujah.
C Em C G D G
G Em G Em, C D G D, G C D Em C D, D B7 Em
G Em G Em
I know You came to rescue me. This baby boy would grow to be.
C D G D
A man and one day die for me and you.
G C D Em C D
My sins would drive the nails in You. That rugged cross was my cross too.
B7 Em
Still every breath You drew was Hallelujah.
C Em C G D
C Em C G D
C Em C G D
C Em C G D G G Em G Em |G|

HARK! THE HERALD ANGELS SING
(Wesley/Mendelssohn)
TIP: The intro consists of the chords from the last line of the verse, "Glory to the
newborn King."
INTRO: D7 G D7 G
D G D7 G
Hark the herald angels si-ing: "Glory to the newborn King!"
D A7 D
Peace on earth and mercy mi-ild. God and sinners reconciled.
G D7 G D G D7 G D
Joyful all ye na tions ri-ise. Join the triumph of the ski-ies.
C Am E7 Am D7 G D G
With angelic host proclaim: "Christ is born in Bethlehem."
C Am E7 Am D7 G D7 G
Hark the herald an gels sing: “Glory to the newborn King!"
D G D7 G
Christ by highest heaven ador-ored. Christ the everlasting Lord.
D D7 D
Late in time behold him co-ome. Offspring of the favored One.
G D7 G D G D7 G D
Veiled in flesh the God head see-ee. Hail incarnate de ity-y.
C Am E7 Am D7 G D G
Pleased as man with men to dwell. Jesus our Emanu el.
D G D7 G
Hail the heaven-born Prince of Pe-ace. Hail the son of righteousness.
D A7 D
Light and life to all he bri-ings. Risen with healing in his wings.
G D7 G D G D7 G D
Mild he lays His glory by-y. Born that man no more may die-ie.
C Am E7 Am D7 G D G
Born to raise the sons of earth. Born to give them second birth.

HAVE A HOLLY JOLLY CHRISTMAS - Burl Ives
(Marks)
https://www.youtube.com/watch?v=nVMCUtsmWmQ (Capo 0)
TIP: Unfortunately, Johnny felt it necessary to sharp the second half of the song. I'm
not having any of it and didn't sharp the chords. You'll have to slap a capo on the 1st
fret to continue playing along with Burl.
TIP: The first part of the intro is the ding-dong-ding. The second two triad of chords
in the intro is the same as ". . . say hello to friends you know and everyone you meet."
INTRO: C C Am, C C G7; G-G-G-G7, G7-G7-G7-C
G
Have a holly jolly Christmas, it's the best time of the year.
G7 C
I don't know if there'll be snow but have a cup of cheer.
G
Have a holly jolly Christmas, and when you walk down the street,
G7 C
Say hello to friends you know and everyone you meet.
F Em Dm G C
Ho ho the mistletoe, hung where you can see.
Dm Am D7 G
Somebody waits for you, kiss-herrr once for me.
C G
Have a holly jolly Christmas and in case you didn't hear.
C D7 G C
Oh by golly have a holly jolly Christmas this year.
<capo +1>
G G G G G C
Have a holly jolly Christmas, it's the best time of the year.
G
Have a holly jolly Christmas, and when you walk down the street,
G7 C
Say hello to friends you know and everyone you meet.
F Em Dm G C
Ho ho the mistletoe, hung where you can see.
Dm Am D7 G
Somebody waits for you, kiss-herrr once for me.
C G
Have a holly jolly Christmas and in case you didn't hear.
C D7 G C
Oh by golly have a holly jolly Christmas this year.
G Am G C G Am G C G Am G |C|
Ding dong ding dong. Ding dong ding dong. Ding dong ding dong.

HAVE YOURSELF A MERRY LITTLE CHRISTMAS
(Martin/Blane)
TIP: The intro and the chorus has a (Bm3) and the following chord is a (Bm) which is
naturally played on the 2nd fret. So just slide down one fret.
TIP: The intro consists of the chords from the last line of the chorus, "Faithful
friends who are dear to us, gather near to us once more."
INTRO: C Bm3 Bm A7 D D7
G Gadd Am7 D7 G Gadd Am7 D7

Have yourself a merry little Christmas. Let your heart be light.
G Em Am7 D7 B7 E7 A7 D7
From now on our troubles will be out of sight.

Have yourself a merry little Christmas. Make the Yuletide gay.
G Em Am7 B7 Em G7
From now on our troubles will be miles away.
Cmaj7 Bm3 Bm Am7 D7

Here were are as in olden days, happy golden days of yore.
C Bm3 Bm A7 D D7
Faithful friends who are dear to us, gather near to us once more.

Through the years we all will be together, if the Fates allow.
G Em Am7 B7 Em G7
Hang a shining star upon the highest bough.
C Am D7 Am7 D7 G
And have yourself a merry little Christmas now.
Cmaj7 Bm3 Bm Am7 D7

Here were are as in olden days, happy golden days of yore.
C Bm3 Bm A7 D D7
Faithful friends who are dear to us, gather near to us once more.

Through the years we all will be together, if the Fates allow.
G Em Am7 B7 Em G7
Hang a shining star upon the highest bough.
C Am D7 Am7 D7 G C G
And have yourself a merry little Christmas now.

HERE COMES SANTA CLAUS - Gene Autry
(Autry/Haldeman)
https://www.youtube.com/watch?v=JhcLpwlA-ZA (Capo 1)
TIP: The intro is the chords from the last two lines of the verse, "Bells are
ringin' . . . "
TIP: It helps to think of the Griswolds.
INTRO: F Em G7 C, F C Am-G7 C
G7
Here comes Santa Claus here comes Santa Claus right down Santa Claus Lane.
C
Vixen and Blitzen and all his reindeers pullin' on the reins.
F Em G7 C
Bells are ringin' children singin' all is merry and bright.
F C Am G7 C
So hang your stockin's and say your prayers 'cause Santa Claus comes tonight.
G7
C
He's got a bag that's filled with toys for the boys and girls again.
F Em G7 C
Hear those sleigh bells jingle jangle oh what a beautiful sight.
F C Am G7 C
So jump in bed and cover up your head ‘cause Santa Claus comes tonight.
C G7, G7 C, F Em G7 C, F C-Am G7 C
G7
C
He doesn't care if you're rich or poor he loves you just the same.
F Em G7 C
Santy Clause knows we're all God's children that makes everything right.
F C Am G7 C
So fill your hearts with Christmas cheer 'cause Santy Claus comes tonight.
G7
C
He'll come around when chimes ring out that it's Christmas morn again.
F Em G7 C
Peace on earth will come to all if we just follow the light.
F C Am G7 C
So let's give thanks to the Lord above, 'cause Santa Claus comes tonight.
C G7, G7 C, F Em G7 C, F C-Am G7 C
G7
C
Vixen and Blitzen and all his reindeers pullin' on the reins.
F Em G7 C
Bells are ringin' children singin' all is merry and bright.
F C Am G7 C
Hang your stockin's and say your prayers 'cause Santa Claus comes tonight.

I SAW MOMMY KISSING SANTA CLAUS
(Conn)
INTRO: C
G C Am Em Am C G
I saw Mommy kissing Santa Claus, underneath the mistletoe last night.
G7 C
She didn't see me creep, down the stairs to have a peep.
D7 G G7
She thought that I was tucked up in my bedroom fast asleep.
C G C Am Em Am C F A7
Then I, saw Mommy tickle Santa Claus, underneath his beard so snowy white.
F B7 C A7 Dm
Oh what a laugh it would have been, if Daddy had only seen,
G7 C F G7 C
Mommy kissing Santa Claus last night.
C G C Am Em Am, C C G, G G7, G7-C C, C-D7 D7 G G7
C G C Am Em Am C C7 F A7
Then I, saw Mommy tickle Santa Claus, underneath his beard so snowy white.
F B7 C A7 Dm
Oh what a laugh it would have been, if Daddy had only seen,
G7 C F G7 C
Mommy kissing Santa Claus last night.

I SAW THREE SHIPS
(Traditional)
TIP: Playing the (A4) is just “finger management,” lifting and replacing the bottom
finger to bring out the <b> note.
TIP: For the intro, form and hold (A) and pick the covered 4th string note <e> and strum
three times. Repeat four times and begin the song.
INTRO: 4 - A A A, 4 - A A A, 4 - A A A, 4 - A A A
A4 A A4 A E
I saw three ships come sailing in on Christmas Day on Christmas Day.
A A4 A A4 A E A A A A A
I saw three ships come sailing in on Christmas Day in the morning.
A4 A A4 A E
And what was in those ships all three on Christmas Day on Christmas Day.
And what was in those ships all three on Christmas Day in the morning.
A4 A A4 A E
The Virgin Mary and Christ were there on Christmas Day on Christmas Day.
The Virgin Mary and Christ were there on Christmas Day in the morning.
A4 A A4 A E
Pray whither sailed those ships all three on Christmas day on Christmas day.
Pray whither sailed those ships all three on Christmas day in the morning.
A4 A A4 A E
They sailed in to Bethlehem on Christmas day on Christmas day.
They sailed in to Bethlehem on Christmas day in the morning.
A4 A A4 A E
And all the bells on earth shall ring on Christmas day on Christmas day.
And all the bells on earth shall ring on Christmas day in the morning.
A4 A A4 A E
And all the Angels in Heaven shall sing, on Christmas day, on Christmas day.
And all the Angels in Heaven shall sing, on Christmas day in the morning.
A4 A A4 A E
And all the souls on earth shall sing on Christmas day on Christmas day.
And all the souls on earth shall sing on Christmas day in the morning.
A4 A A4 A E
Then let us all rejoice amain on Christmas day on Christmas day.
Then let us all rejoice amain on Christmas day in the morning.

IT CAME UPON A MIDNIGHT CLEAR
(Sears/Willis)
TIP: The intro emulates "To hear the angels sing."
INTRO: C F G7 C
F C F D7 G
It came upon a midnight clear, that glorious song of old.
C F C F G7 C
From angels bending near the earth, to touch their harps of gold.
E7 Am G D7 G
"Peace on the earth, good will to men, from heavens all gracious King!"
C F C F G7 C
The world in solemn stillness lay, to hear the angels sing.
F C F D7 G
Still through the cloven skies they come, with peaceful wings unfurled.
C F C F G7 C
And still their heavenly music floats, o'er all the weary world.
E7 Am G D7 G
Above its sad and lowly plains, they bend on hovering wing.
C F C F G7 C
And ever o'er its Babel sounds, the blessed angels sing.
F C F D7 G
Oh ye beneath life's crushing load, whose forms are bending low.
C F C F G7 C
Who toil along the climbing way, with painful steps and slow.
E7 Am G D7 G
Look now for glad and golden hours. Come swiftly on the wing.
C F C F G7 C
Oh rest beside the weary road, and hear the angels sing.
C F C F D7 G
For lo the days are hastening on, by prophets seen of old.
C F C F G7 C
When with the ever circling years, shall come the time foretold.
E7 Am G D7 G
When the new heaven and earth shall own, the Prince of Peace their King.
C F C F G7 C
And-the-whole world send back the song, which now the angels sing.

JINGLE BELLS
(Pierpont)
TIP: The intro is last line of the chorus, "Oh what fun it is to ride in a one horse
open sleigh."
INTRO: C G D D7 G
C
Dashing through the snow, in a one horse open sleigh.
Am D7 D G
O'er the fields we go, laughing all the way.
C
Bells on bob-tails ring, making spirits bright.
Am D D7 G
What fun it is to ride and sing a sleighing song tonight.
Oh, jingle bells, jingle bells, jingle all the way.

C G A7 D7
Oh what fun it is to ride in a one horse open sleigh.
G
Jingle bells, jingle bells, jingle all the way.
C G D D7 G
C
A day or two ago, I thought I'd take a ride.
Am D7 D G
And soon Miss Fanny Bright, was seated by my side.
C
The horse was lean and lank, misfortune seemed his lot.
Am D D7 G
We got into a drifted bank and then we got up sot.

C G A7 D7
G
C G D D7 G
C
A day or two ago, the story I must tell.
Am D7 D G
I went out on the snow, and on my back I fell.
C
A gent was riding by, in a one-horse open sleigh.
Am D D7 G
He laughed as there I sprawling lie but quickly drove away.

C G A7 D7
G
C G D D7 G
C
Now the ground is white. Go it while you're young.
Am D7 D G
Take the girls tonight, and sing this sleighing song.
C
Just get a bob-tailed bay, two-forty as his speed.
Am D D7 G
Hitch him to an open sleigh and crack! you'll take the lead.

C G A7 D7
G
C G D D7 G

JOLLY OLD SAINT NICHOLAS
(Hanby)
INTRO: G D C G, G D C G
D7 Em G
Jolly ol' Saint Nicholas, lean your ear this way.
C G A D7
Don't you tell a single soul what I'm going to say.
G D7 Em G
Christmas Eve is coming soon, now you dear old man.
C G D7 G
Whisper what you'll bring to me. Tell me if you can.
G D C G, G D C G
D7 Em G
When the clock is striking twelve, when I'm fast asleep.
C G A D7
Down the chimney, broad and black, with your pack you'll creep.
G D7 Em G
All the stockings you will find hanging in a row.
C G D7 G
Mine will be the shortest one, you'll be sure to know.
G D C G, G D C G
D7 Em G
Bobby wants a pair of skates, Suzy wants a sled.
C G A D7
Nellie wants a picture book, yellow, blue, and red.
G D7 Em G
Now I think I'll leave to you, what to give the rest.
C G D7 G
Choose for me, dear Santa Claus, you will know the best.

JOY TO THE WORLD
(Watts/Handel)
TIP: The intro and interlude between verses emulates "Joy to the world" four times. If
you're leading a group just give them a nod after the fourth time through.
INTRO: G D G, G D G, G D G, G D G
D G D7 G C D G
Joy to the world, the Lord is come. Let earth, receive, her King.
C G C G
Let every heart, prepare Him room.
D D7
And heaven and nature sing. And heaven and nature sing.
G C G C G D7 G
And heaven, and heaven, and na ture sing.
G D G, G D G, G D G, G D G
D G D7 G C D G
Joy to the world, the Savior reigns. Let men, their songs, employ.
C G C G
While fields and floods, rocks hills, and, plains.
D D7
Repeat the sounding joy, repeat the sounding joy.
G C G C G D7 G
Repeat, repeat, the sounding joy.
G D G, G D G, G D G, G D G
D G D7 G C D G
He rules the world, with truth and grace. And makes, the nations, prove.
C G C G
The glories of, His righteousness.
D D7
And wonders of His love. And wonders of His love.
G C G C G D7 G
And wonder-ers, wonder-ers, of His love.

LIGHT ONE CANDLE - Peter, Paul and Mary
(Yarrow)
https://www.youtube.com/watch?v=StB_ehpZyN4 (Capo 0)
TIP: This is actually a Hanukka song but it's so pretty I wanted to include it here in
the Christmas section. The intro is pretty easy, and part of it is played again, where
indicated, as a transition between chorus and the next verse. To play (G4) lift the top
two fingers, moving one to the <c> (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.
- ; - ;
INTRO: G-G4, G-G4, G-G4, G-G4; Em-EmF, Em-EmF
G-G4, G-G4, Em-EmF, Em-EmF
G Em
Light one candle for the Maccabee children, with thanks their light didn't die.
C B7
And light one candle for the pain they endured, when their right to exist was denied.
Em C A
Light one candle for the terrible sacrifice justice and freedom demand.
G Em C D G B7 E
And light one candle for the wisdom to know that the peacemaker's time is at hand.
Am D G B7
Don't let the light go out. It's lasted for so many years.
E Am D G B7
Don't let the light go out. Let it shine through our love and our tears.
Em-EmF, Em-EmF
G Em
Light one candle for the strength that we need, to never become our own foe.
C B7
And light one candle for those who are suff'ring, a pain they learned so long ago.
Em C A
Light one candle for all we believe in, that anger not tear us apart.
G Em C D G B7 E
And light one candle to bind us together with peace as the song in our heart.
Am D G B7
E Am D G B7
Am D G B7
E Am D G B7 Em
Em-EmF, Em-EmF, Em-EmF, Em-EmF
G Em
What is the memory that's valued so highly, that we keep it alive in that flame?
C B7
What's the commitment to those who have died? We cry out "they've not died in vain."
Em C A
We have come this far, always believing, that justice will somehow prevail.
G Em G Em C D G B7 E
This is the burden, this is the promise, this is why we will not fail.
Am D G B7
E Am D G B7 E
Am D G B7
E Am D G B7 E
Am E Am
Don't let the light go out. Don't let the light go out.
E Am |E|-|E|-|E|-|Am|
Don’t let the light go out.
(Peter, Paul & Mary)(Christmas Song Index)(Artist Index)(Folk)

(Main Index)
(Song Index) (This Song)
LITTLE DRUMMER BOY
(Davis/Onorati/Simeone)
TIP: The intro means pluck the open 4th string and then strum (D). Do this four times.
Pick the open 4th string a final time and begin the song with a strum of (D).
INTRO: 4-D, 4-D, 4-D, 4-D, 4
D A7 D D7 D
Come, they told me pa rup a pum pum. A new born king to see pa rup a pum pum.
A G D A
Our finest gifts we bring pa rup a pum pum.
D G D7 G D A
To lay before the King pa rup a pum pum, rup a pum pum, rup a pum pum.
D A7 D A7 D
So, to honour Him pa rup a pum pum. When we come.
A7 D A7 D
Ba-by Jesus pa rup a pum pum. I am a poor boy too pa rup a pum pum.
A G D A
I have no gifts to bring pa rup a pum pum.
D G D7 G D A
That's fit to give our King pa rup a pum pum, rup a pum pum, rup a pum pum.
D A7 D A7 D
Shall I play for you Pa rup a pum pum, on my drum?
A7 D A7 D
Mar-y nodded pa rup a pum pum. The ox and lamb kept time pa rup a pum pum.
A G D A
I played my best for Him pa rup a pum pum.
D G D7 G D A
I played my best for him pa rup a pum pum, rup a pum pum, rup a pum pum.
D A7 D A D
Then He smiled at me pa rup a pum pum. Me and my drum.
A D A D
Me and my drum. Rup a pum pum.

MARY DID YOU KNOW? - Kathy Mattea
(Green/Lowry)
https://www.youtube.com/watch?v=VXK50lsrdq4 (Capo 2)
[The version from Pentatonix comes afterwards]
TIP: Either the (B7) or (B) will work.
INTRO: Em D Am Em-B7, Em D Am Em
B7 Em D Am B7
Mary did you know, that your baby boy, would some day walk on water?
Em D Am B7
Mary did you know, that your baby boy, would save our sons and daughters?
Am D G D Em
Did you know, that your baby boy has come to make you new?
Am B7
This child that you delivered, will soon deliver you.
Em D Am B7
Mary did you know, that your baby boy, will give sight to a blind man?
Em D Am B7
Mary did you know, that your baby boy, will calm a storm with his hand?
Am D G D Em
Did you know, that your baby boy has walked where angels trod?
Am B7
When you kissed your little baby, then you kissed the face of God?
B7 Em D Am B7 Em D Am B7
Mary did you know? Mary did you know?
C D Em D C
The blind will see, the deaf will hear, the dead will live again.
Am D Em B7
The lame will leap, the dumb will speak, the praises of the lamb.
Em D Am B7
Mary did you know, that your baby boy, is Lord of all creation?
Em D Am B7
Mary did you know, that your baby boy, will one day rule the nations?
Am D G D Em
Did you know, that your baby boy is heaven's perfect lamb?
Am Em B7 Em D Am B7 |Em|
This sleeping child you're holding, is the greaaaat I-I ammmm.

MARY DID YOU KNOW? - Pentatonix
(Green/Lowry)
https://www.youtube.com/watch?v=ifCWN5pJGIE (Capo 0)
TIP: There are of course a lot of overlapping harmonies, especially with the outro.
Just do the best you can.
INTRO: Bm Bm A, A Bm F#
Bm A G F#
Mary did you know, that your baby boy would some day walk on water?
Bm A G F#
Mary did you know, that your baby boy, would save our sons and daughters?
G A D Bm
Did you know, that your baby boy has come to make you new?
G F#
This child that you delivered, will soon deliver you.
Bm A G F#
Mary did you know, that your baby boy will give sight to a blind man?
Bm A G F#
Mary did you know, that your baby boy, will calm the storm with his hand?
G A D Bm
Did you know, that your baby boy has walked where angels trod?
G F#
When you kiss your little baby, you kiss the face of God?
Bm A G F#
Bm A G F#
G A Bm G
The blind will see, the deaf will hear, the dead will live again.
Em A Bm F#
The lame will leap, the dumb will speak, the praises of the lamb.
Bm A G F#
Mary did you know, that your baby boy is Lord of all creation?
Bm A G F#
Mary did you know, that your baby boy, will one day rule the nations?
G A F# Bm
Did you know, that your baby boy is heaven's perfect lamb?
G Em Bm F# Bm
That sleeping child you're holding, is the greaaaat I-I ammmm.
G F# Bm A G F#
Mary did you know? Mary did you know, Mary did you know, oh-oh oh-oh.
|Bm|
<pause> Mary did you know?

O COME, ALL YE FAITHFUL
(Reading)
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.”
TIP: The intro consists of the chords from the last line of the chorus, Oh come let us
adore him, Christ the Lord."
INTRO: |G| |D7| |G| |D| |A7| |D| |G| |C| |G| |D7| |G|-|G|
G D G D G C G D
Oh come, all ye faithful, joyful and trium phant.
Em D A7 D G D G D A7 D
Oh come ye oh co-ome ye to Be-ethlehem.
G Am G D7 G D G Em D
Come and behold him, born the King of Angels.
G D G D7 G D G D7 G D
Oh come let us a dore him. Oh come let us a dore him.
G D7 G D A7 D G C G D7 G
Oh come let us a dore hi-im. Chri-ist the Lord.
D G D G C G D
Sing, choirs of angels, sing in ex ul ta tion.
Sing all ye cit i zens of heaven above.
G Am G D7 G D G Em Am D
Glory to Go-od, in-nn-nn the highest.
D G D G C G D
Yay, Lord we greet thee. Born this happy morning.
Je sus to Thee-ee-ee be glory given.
G Am G D7 G D G Em Am D
Word of the Fa ther, now in flesh a ppearing.

O HOLY NIGHT
(Adam)
TIP: (A4) comes after (Am). Just lift the index finger from (Am).
TIP: The intro is the last part of the last line of the chorus, "O night, o night
divine."
INTRO: C F G7 C
C F C
O holy night, the stars are brightly shining.
G G7 C G
It is the night of the dear Saviors birth.
C F C
Long lay the world in sin and error pining,
Em Am A4 Em
Til He appeared and the soul felt its worth.
G C
A thrill of hope, the weary soul rejoices.
G C
For yonder breaks a new and glorious morn.
Am Em Dm Am
Fall on your knees, O hear the angel voices.
C G C F C G C
O ni-ight divine, O night when Christ was born.
G7 C C7 F G7 C
O night, divine, O night, O night divine.
F C
Led by the light, of faith serenely beaming,
G D7 C G
With glowing hearts by His cradle we stand.
C F C
So led by light of a star sweetly gleaming.
Em Am A4 Em
Here came the wise men from Or i ent land.
G C
The King of kings, lay thus in lowly manger.
G C
In all our trials born to be our friend.
Am Em Dm Am
C G C F C G C
G7 C C7 F G7 C
F C
Truly He taught-us to love one another.
G G7 C G
His law is love and His Gospel is peace.
C F C
Chains shall He break for the slave is our brother,
Em Am A4 Em
And in His Name all oppression shall cease.
G C
Sweet hymns of joy, in grateful chorus raise we.
G C
Let all within-us praise His holy Name.
Am Em Dm Am
C G C F C G C
G7 C C7 F G7 C

O LITTLE TOWN OF BETHLEHEM
(Brooks/Redner)
TIP: The (D)(Db)(D) is easy. Just slide the (D) down one fret and onlyl strum the
bottom three strings. (F#) is regular (F) just played up a fret.
D Db D Em D A7 D
O little town of Bethlehem how still we see thee lie.
B7 Em D A7 D
Above thy deep and dreamless sleep, the silent stars go by.
F# G F#
Yet in thy dark streets shineth, the everlasting Light.
D Db D Em D A7 D
The hopes and fears of all the years, are met in thee to night.
Bb D Em G A7 D
For Christ is born of Mary, and gathered all above.
B7 Em D A7 D
While mortals sleep, the angels keep, their watch of wondering love.
F# G F#
O morning stars together, proclaim the holy birth.
D Db D Em D A7 D
And praises sing to God the King, and peace to men on earth.
Db D Em D A7 D
How silently, how silently, the wondrous gift is given.
B7 Em D A7 D
So God imparts to human hearts, the blessings of His heaven.
F# G F#
No ear may hear His coming, but in this world of sin.
D Db D Em D A7 D
Where meek souls will receive him still, the dear Christ enters in.
Db D Em D A7 D
O holy Child of Bethlehem, descend to us, we pray.
B7 Em D A7 D
Cast out our sin and enter in. Be born to us to day.
F# G F#
We hear the Christmas angels, the great glad tidings tell.
D Db D Em D A7 D G D
O come to us, abide with us, our Lord Emman u el. A men.

OLD CITY BAR - Trans-Siberian Orchestra
(O'Neill)
https://www.youtube.com/watch?v=KKc06R-zNvk (Capo 3)
[This song, and the one that follows, "Promises to Keep" are from "Christmas Eve and
Other Stories," the first of TSO's Christmas trilogies. The full narrative of each
appear at the end of the Christmas songbook.]
INTRO: G D Em G C Bm D
G D Em G
In an old city bar, that's never too far,
C Bm Am D
From the places that gather, the dreams that have been.
G D Em G
In the safety of night, with its old neon light,
C Bm Am D
It beckons to strangers, and they always come in.
G D Em G
And the snow it was falling, the neon was calling.
C Bm Am D
The music was low, and the night, Christmas Eve.
G D Em G
And here was the danger, even with strangers,
C D G D Em G C G D |D|
Inside of this night, it's eas-i-er, to believe.
NC G D Em G
Then the door opened wide, and a child came inside,
C Bm Am D
That no one in the bar, had seen there before.
G D Em G
And he asked did we know, that outside in the snow,
C Bm Am D
That someone was lost, standing outside our door?
G D Em G
Then the bartender gazed, through the smoke and the haze,
C Bm Am D
Through window and ice, to a corner street light.
G D Em G
Where standing alone, by a broken pay phone,
C Bm G D
Was a girl the child said, could no longer get home.
G D Em G
And the snow it was falling, the neon was calling,
C Bm |Am| |D|
The bartender turned, and said, not that I care.
G D Em G
But how would you know this? The child said, I've noticed,
C C |D| NC |D| C G D G C G D G
If one could be home, they'd be already there.
C G D7 G
Then the bartender came out, from behind the bar.
C G D G
And in all of his life, he was never that far.
C G D G
And he did something else, that he thought no one saw.
C G C G
When he took all the cash, from the register drawer.
D C G
Then he followed the child to the girl 'cross the street,
D C G
And we watched from the bar as they started to speak.
C G C G
Then he called for a cab then he said, "J.F.K,"
C G C G
Put the girl in the cab then the cab drove away.
C G C G
And we saw in his hand, that the cash was all gone,
C D D D D
From the light that she had wished uponnnnnn.
G Em
If you want to arrange it, this world you can change it.
C Bm Am D
If we could somehow, make this Christmas thing last.
G D Em G
By helping a neighbor, or even a stranger,
C C |D| NC |D| G D Em G C G D |D|
To know who needs help, you need only just ask.
NC G D Em G
Then he looked for the child, but the child wasn't there.
C Bm Am D
Just the wind and the snow, waltzing dreams through the air.
G D Em G
So he walked back inside, somehow different I think.
C Bm Am D
For the rest of the night, no one paid for a drink.
G D Em G
And the cynics will say, that some neighborhood kid,
C Bm Am D
Wandered in on some bums, in the world where they hid.
G D Em G
But they were-ent there, so they couldn't see,
C Bm Am D
By an old neon star, on that night Christmas Eve.
G D Em G
When the snow it was falling, the neon was calling,
C Bm Am D
In case you should wonder, in case you should care.
G D Em G
Why we on our own, never went home,
C C |D| NC C G D G
On that night of all nights, we were already there.
C G Am <pause> |G|
There.

PROMISES TO KEEP - Trans-Siberian Orchestra
(O'Neill/Kinkel)
https://www.youtube.com/watch?v=MJuYY7wHq8w (Capo 3)
INTRO: D
G A
Christmas time on a cold December morning.
D G A
All is calm and the world is still asleep.
D G A
Christmas lights that have been-caught without warning,
G A Bm A D A D D D D D
Gently glitter on stars to wish upon all the world is at peace.
G A
Christmas time and the year will soon be leaving.
D G A
Cloaked in time till it's just a memory.
D G A
Christmas stays if we don't forget its meaning.
G A Bm A D A D D
Days go quickly by years they multiply and we go searching for thee.
Bm F#m G A
And the dreeeeam is still alive, from that first December morning.
Bm F#m G A
And it alllways will survive, as long as we can see.
G F#m Em A
That the dre-eams-that, we find in life, are the dreams we tend to seek.
G A D D D D D
And Christmas has its promises to keep.
G A
Christmas time and the moment's just beginning.
D G A
From last night when we wished upon the star.
D G A G A
And if this kindness we feel is just pretending if we pretend long enough,
Bm A D A D D D D D |D|
Never giving up it just might be who we are.

ROCKIN' AROUND THE CHRISTMAS TREE - Brenda Lee
(Marks)
https://www.youtube.com/watch?v=is4NQkUN3AI (Capo 1)
TIP: To move from the (D7) to the (Am7) and back hold fast on the index finger on the
<c> and move the middle and ring fingers up and down.
INTRO: G Em C D7
G D7
Rockin' around, the Christmas tree at the Christmas party hop.
Am D7 Am D7 Am D G
Mistletoe hung where you can see every couple tries to stop.
D7
Rockin' around, the Christmas tree let the Christmas spirit ring.
Am D7 Am D7 Am D G
Later we'll have some pumpkin pie and we'll do some caroling.
C Bm
You will get a sentimental feeling, when you hear:
Em G |A7| D
Voices singing let's be jolly deck, the halls with boughs of holly.
G D7
Rockin' around, the Christmas tree have a happy holiday.
Am D7 Am D7 Am D G
Everyone dancin' merrily in the new old fashioned way.
[sax] G G G G, D7 D7 D7 D7, D7 D7 D7 G
G G G, D D-D7, D7 D7 D7 D7 G
C Bm
You will get a sentimental feeling, when you hear:
Em G |A7| D
Voices singing let's be jolly deck, the halls with boughs of holly.
G D7
Rockin' around, the Christmas tree have a happy holiday.
Am7 D7 Am D7 D Am D G Em C G |G|
Everyone dancin' merrily in the new, old fashioned way.

RUDOLPH THE RED-NOSED REINDEER - Gene Autry/Burl Ives
(Marks)
https://www.youtube.com/watch?v=bMletImQ_cs Burl Ives (Capo 5)
https://www.youtube.com/watch?v=0byH9h1ClBY Gene Autry (Capo 1)
TIP: In the intro, Autry has the additional four chords plus the intro that follows.
AUTRY INTRO (plus intro below): |Am| |D| |C| |D|
|C| |Bm| |Am| |G|

INTRO: You know Dasher and Dancer and Prancer and Vixen.
|C| |Bm| |Am| |G|
Comet and Cupid and Donder and Blitzen.
Em A7 C A7 D
But do you recall, the most famous reindeer of all?
G D7
Rudolph the red-nosed reindeer, had a very shiny nose.
G
And if you ever saw him, you would even say it glows.
D
All of the other reindeer, used to laugh and call him names.
G G7
They never let poor Rudolph, join in any reindeer games.
C G Am D7 G
Then one foggy Christmas Eve, Santa came to say,
D A D D7 Em A D7
"Rudolph with your nose so bright, won't you guide my sleigh tonight?"
G D
Then how the reindeer loved him, as they shouted out with glee,
G
“Rudolph the red-nosed reindeer, you'll go down in history.
< Autry's version > C G, G C, C G, G C F C F C, G G D7 G, C G, G C D
G D7
Rudolph the red-nosed reindeer, had a very shiny nose.
G
And if you ever saw him, you would even say it glows.
D
All of the other reindeer, used to laugh and call him names.
G G7
They never let poor Rudolph, join in any reindeer games.
C G Am D7 G
Then one foggy Christmas Eve, Santa came to say,
D A D D7 Em A D7
"Rudolph with your nose so bright, won't you guide my sleigh tonight?"
G D
Then how the reindeer loved him, as they shouted out with glee,
G
“Rudolph the red-nosed reindeer, you'll go down in history.
D G
You’ll go down in hist – or – ry.

RUN RUDOLPH RUN - Chuck Berry
(Marks/Brodie)
https://www.youtube.com/watch?v=SqVtqbzTdVs (Capo 3)
TIP: To move from the (A) to the (D9) in the intro hold firm on the middle finger and
drop your index finger down to cover the 2nd string/1st fret <c> lifting up the ring
finger as you do so.
TIP: Notice the extra measure of (A) after the line to keep with Chuck's usual strum
rhythm.
INTRO: A . . . D9 . . . A A7
D7 A A
Out of all the reindeers you know you are the master mind.
E A A
Run run Rudolph Randolph ain't too far behind.
D A A
Run run Rudolph, Santa's gotta make it to town.
D A A
Santa make him hurry tell him he can take the freeway down.
E A A
Run run Rudolph 'cause I'm reelin' like a merry-go-round.
D A A
Said Santa to a boy child "What have you been longin' for?"
D A A
"All I want for Christmas is a rock 'n' roll 'lectric guitar."
E A A
And then away went Rudolph whizzin' like a shootin' star.
D A A
D A A
E A A
A A D-A-D-A D D A A D D A A-E
A D A A
D A A
E A A
D A A
Said Santa to a girl child "What would please you most to get?"
D D7 A A
"A little baby doll that can cry sleep drink and wet."
E A A
And then away went Rudolph whizzin' like a, Saber jet.
D A A
D A A
E A A
A7 A7 A7 A7 D7 D7 A7

SANTA CLAUS IS COMING TO TOWN
(Gillespie/Coots)
TIP: The intro is the chords from the last line of the verse, "Santa Clause is coming to
town."
INTRO: G Em Am, D G
C G C
You better watch out, you better not cry. Better not pout, I'm telling you why.
G Em Am D G D7
Santa Claus is coming to town.
G C G C
He's making a list, and checking it twice. Gonna find out who's naughty and nice.
G Em Am D G
G7 C G7 C
He sees you when you're sleeping, he knows when you're awake.
A7 D A7 D
He knows if you've been bad or good so be good for goodness sake.
C G C
Oh, you better watch out, you better not cry. Better not pout, I'm telling you why.
G Em Am D G D7
G C G C
With little tin horns and little toy drums. Rooty toot toots and rummy tum tums.
G Em Am D G
C G C
With curly head dolls that toddle and coo, elephants boats and kiddie cars too.
G Em Am D G
G7 C G7 C
The kids in Girl and Boy Land, will have a jubilee.
A7 D A7 D
They're gonna build a Toyland Town all around the Christmas tree.
G C G C
So, you better watch out, you better not cry. Better not pout, I'm telling you why.
G Em Am G Em Am G Em Am D G
Santa Claus is coming, Santa Claus is coming, Santa Clause is coming, to town.

SANTA CLAUS IS COMING TO TOWN - Bruce Springsteen
(Gillespie/Coots)
https://www.youtube.com/watch?v=GYIVYxZOWwo (Capo 0)
TIP: The intro consists of fours strums of each chord and the intro plays over the top
of the spoken opening.
TIP: In the chorus, Clarence comes in with a second "Better be good . . ." in which you
want to hit the open 3rd string on the (G) and walk it down in the middle register.
TIP: In the outro you strike the chords once and then pick out the notes from Jingle
Bells. The very last chord, (F8), is actually a (C) but it looks like an (F) and is
played on the 8th fret.
INTRO:
|C|-|C|-|C|-|C|-|Am|-|Am|-|Am|-|Am|-|Dm|-|Dm|-|Dm|-|Dm|-|Gadd|-|Gadd|-|Gadd|-|Gadd|
<spoken> "It's all cold down along the beach. The winds whipping down the boardwalk.
Hey band! You guys know what time it is. What? Oh, Christmas time. You guys all been
good and practicin' real hard. Yeah? Clarence, you been rehearsing real hard now, so
Santa bring you a new saxophone, right? Everyone out there been good or what? Oh,
that's not many, not many, you guys are in trouble out here."
C F G
Yeah you better watch out you better not cry.
C F G
You better not pout I'm telling you why.
C F G C F G
Santa Claus is coming to town. Santa Claus is coming to town.
C Am F G C F G
Santa Claus is comin', to-oo tow-own.
C F G
He's making a list he's checkin' it twice.
C F G
He's gonna find out who's naughty or nice.
C F G C F G
C Am Dm G C C7
Santa Claus is comin' to-oo tow-own.
Gm C F Gm C F
D G
He knows if you've been bad or good. You better be good for goodness sake.
Better be good for goodness sake.

C F G
Oh you better watch out you better not cry.
C F G
C F G C F G
C Am Dm G C
Santa Claus is comin' to-oo tow-own.
<sax> C F, C F, C F G, C F G, C Am F G C C7
Gm C F Gm C F
D G
He knows if you've been bad or good. You better be good for goodness sake.
Better be good for goodness sake.
C F G
You better watch out you better not cry.
C F G
C F G C F G
Santa Claus is coming to town yeah-ah. Santa Claus is coming to town.
C Am Dm G C
Santa Claus is comin' to town.
(ho ho ho ho)
C F G C F G
C F G C F G
C F G C F G
C F G C F G
C F G C F G
(strike once each): |C| |Am| |Dm| |G| < C - pick first line of jingle bells > F8

SILENT NIGHT
(Gruber)
TIP: The intro is the chords from the last line of the verse, "Sleep in heavenly peace."
INTRO: G D G
D D7 G
Silent night, holy night. All is calm, all is bright.
C G C G
Round yon virgin mother and child. Holy infant so tender and mild.
D D7 G D G
Sleep in heavenly peace. Sleep in heavenly peace.
D D7 G
Silent night, holy night. Shepherds quake, at the sight.
C G C G
Glories stream from heaven afar. Heavenly hosts sing alleluia.
D D7 G D G
Christ the Savior is born. Christ the Savior is born.
D D7 G
Silent night, holy night. Son of God, love's pure light.
C G C G
Radiant beams from Thy holy face. With the dawn of redeeming grace.
D D7 G D G
Jesus Lord at Thy birth. Jesus Lord at Thy birth.

SILVER AND GOLD - Burl Ives
(Marks)
https://www.youtube.com/watch?v=azcj749wMIU (Capo 0)
TIP: The intro is a bit much but it's just a six-note step down from the bottom
string/3rd fret high <g>.
INTRO: |CaddG| |Dm7| |C| |Dm| |F| |G7|
C Am Dm G C Am Dm7 G7
Silver and gold, silver and gold. Everyone wishes, for silver and gold.
C Em Am D7 G G7
How do you measure its worth? Just by the pleasure, it gives, here on earth.
C Am Dm G C C7 F A7
Silver and gold, silver and gold. Means so much more when I see.
F D7 C Am Dm7 G7 C
Silver and gold decora tions, on every Christmas tree.
C Am Dm G7 C Am Dm7 G7
Silver and gold, silver and gold. Everyone wishes, for silver and gold.
C Em Am, D7 G G7
C Am Dm G7 C C7 F A7
Silver and gold, silver and gold. Means so much more when I see.
F D7 C Am Dm7 G7 C C
Silver and gold decora tions, on ev,ery Chris,tmas, tree.

SILVER BELLS
(Livingston/Evans)
TIP: The intro is the chords from the last line of the verse, "Soon it will be Christmas
day."
TIP: In the 2nd chorus the bit in parentheses is from the version by Bing Crosby & Carol
Richards.
INTRO: E7 E A
D
City sidewalks, busy sidewalks, dressed in holiday style.
E7 A E7
In the air there's a feeling of Christmas.
A D
Children laughing, people passing, meeting smile after smile.
E E7 A
And on every street corner you'll hear.
D E7 E A
Silver bells, silver bells. It's Christmas time in the city.
D E7 E A
Ring-a-ling, hear them sing. Soon it will be Christmas day.
D
Strings of street lights, even stop lights, blink a bright red and green,
E7 A E7
As the shoppers rush home with their treasures.
A D
Hear the snow crunch, see the kids bunch. This is Santa's big scene.
E E7 A
And above all this bustle you'll hear.
D
Silver bells, (the corner Santa Claus) silver bells (is busy now because).
E7 E A E7
It's Christmas time in the city.
A D
Ring-a-ling, (it fills the winter air), hear them sing (you hear it everywhere).
E7 E A
Soon it will be Christmas day.
D
City sidewalks, busy sidewalks, dressed in holiday style.
E7 A E7
In the air there's a feeling of Christmas.
A D
Children laughing, people passing, meeting smile after smile.
E E7 A
And on every street corner you'll hear.
D E7 E A
Silver bells, silver bells. It's Christmas time in the city.
D E7 E A
Ring-a-ling, hear them sing. Soon it will be Christmas day.
E7 E A
Soon it will be Christmas day.

TAKE A WALK THROUGH BETHLEHEM - Trisha Yearwood
(Cleveland/Jarvis/Wilson)
https://www.youtube.com/watch?v=E5bv8DjVbzs (Capo 1)
TIP: If you play the (F) at the end of the line, right after finishing the word, the
tempo will be on track with Trisha to then begin the next line.
TIP: Either the (Dm7) or a (Dm) works.
INTRO: Am, G-C; Am, G-C
F G C F Am G C F
City's decorated up for Christmas. All the stores are open late to night.
G C F F
People hurry through the frozen streets I take a walk.
|C|-|F| F G C F Am G C F
Every child has a thousand wishes. Every window has a thousand lights.
G C F F
Every soul has a need for peace, I take a walk.
G Am G C
There's a star that still outshines the night.
D E F G
You can find it if you close your eyes, see the light.
C Am
Take a walk through Bethlehem. Come and kneel before the Lamb.
F G Am Dm7 G Am Am Am, G-C C, Am Am, G-C
Good news for every man. Walk through Bethlehem.
F G C F Am G C F
Every night another TV special. Merchants counting down the shopping days.
G C F F
But something's missing underneath the tree, I take a walk.
|C|-|F| F G C F
'Cause every heart longs for more than tinsel.
Am G C F
Something more than just a hol i day.
G C F F
Come and celebrate the baby King, let's take a walk.
G Am G C
You don't have to travel anywhere.
D E F G
Faith and hope and love will bring you there, bring you there.
C Am
F G Am Dm7 G C G
C Am
F G Am Dm7 G C G
C Am
F G Am Dm7 G C
G C Am
F G Am Dm7 G C
G C Am
F G Am Dm7 G C

THE TWELVE DAYS OF CHRISTMAS
(Traditional English/French Carol)
TIP: The intro are the chords to "...and a partridge in a pear tree."
INTRO: G - C – F – C – G - C
G G7 C F C G7 C
On the first day of Christmas my true love sent to me: A partridge in a pear tree.
G G7 C
On the second day of Christmas my true love sent to me:
G G7 C F C G7 C
Two turtle doves and a partridge in a pear tree.
G G7 C
On the third day of Christmas my true love sent to me:
G7 C F C G7 C
Three French hens, two turtle doves, and a partridge in a pear tree.
G G7 C
On the fourth day of Christmas my true love sent to me:
G G7 C F C G7 C
Four calling birds, three French hens, two turtle doves, and a partridge in a pear tree.
G G7 C D7 G
On the fifth day of Christmas my true love sent to me: Five golden rings.
C F G G7 C F C G7 C
Four calling birds, three French hens, two turtle doves, and a partridge in a pear tree.
G G7 C
On the sixth day of Christmas my true love sent to me:
G G7 C D7 G C F
Six geese a laying, five golden rings. Four calling birds, three French hens,
G G7 C F C G7 C F C
Two turtle doves, and a partridge in a pear tree.
G G7 C
On the seventh day of Christmas my true love sent to me:
G C D7 G C
Seven swans a swimming, six geese a laying, five golden rings. Four calling birds,
F G G7 C F C G7 C F C
G G7 C
On the eighth day of Christmas my true love sent to me:
G C D7 G
Eight maids a milking, seven swans a swimming, six geese a laying, five golden rings.
C F G G7
Four calling birds, three French hens, two turtle doves,
C F C G7 C F C
And a partridge in a pear tree.
G G7 C
On the ninth day of Christmas my true love sent to me:
G
Nine ladies dancing, eight maids a milking, seven swans a swimming, six geese a laying,
C D7 G C F G G7
Five golden rings. Four calling birds, three French hens, two turtle doves,
C F C G7 C F C
G G7 C
On the tenth day of Christmas my true love sent to me:
G
Ten Lords a leaping, nine ladies dancing, eight maids a milking, seven swans a swimming,
C D7 G C F
Six geese a laying, five golden rings. Four calling birds, three French hens,
G G7 C F C G7 C F C
Two turtle doves, and a partridge in a pear tree.
G G7 C
On the eleventh day of Christmas my true love sent to me:
G
Eleven pipers piping, ten Lords a leaping, nine ladies dancing, eight maids a milking,
C D7 G C
Seven swans a swimming, six geese a laying, five golden rings. Four calling birds,
F G G7 C F C G7 C F C
G G7 C
On the twelfth day of Christmas my true love sent to me:
G
Twelve drummers drumming, eleven pipers piping, ten Lords a leaping, nine ladies dancing,
C D7 G
Eight maids a milking, seven swans a swimming, six geese a laying, five golden rings.
C F G G7
Four calling birds, three French hens, two turtle doves,
C F C G7 C F C

THERE'S ALWAYS TOMORROW - Janis Orenstein
(Marks)
https://www.youtube.com/watch?v=QBgJknKEgEE (Capo 0)
TIP: The last verse is sharped. At this point you can (1) ignore the sharps and play
the last verse the <same> as the previous (although it won't match the recording.)
Or (2) play the sharped chords where (C#) is played like a (D) on the 1st fret with your
pinky covering the 4th string/4th fret (D/A1), (A#m) is played like a (Bm) on the 1st
fret (Bm1), (F#) is played just like an (F) up one fret, and (G#) is played like an (F)
on the 4th fret (F4), or (3) slap a capo on the 1st fret and play the same chords (which
will match the recording). All options are presented when you get to the ------ line.
INTRO: C F |G7|
C Am F G
There's always tomorrow for dreams to come true.
G7 C G
Believe in your dreams, come what may.
C Am Dm7 G
There's always tomorrow with so much to do,
G7 C
And so little time in a day.
F Em F D7 G7
We all, pretend, the rainbow has an end, and you'll be there my friend, someday.
C Am F G
There's always tomorrow for dreams to come true.
G7 C
Tomorrow is not far away.
F Em F D7 G7
We all, pretend, the rainbow has an end, and you'll be there my friend, someday.
------
C Am F G
1 - <same> There's always tomorrow for dreams to come true.
G7 C F C
------
D/A1 Bm1 F# F4
2 - <sharps> There's always tomorrow for dreams to come true.
D/A1 F# D/A1
------
C Am F G
3 - <capo +1> There's always tomorrow for dreams to come true.
G7 C F C

UP ON THE HOUSETOP
(Hanby)
TIP: The intro are the chords from the last two lines of the chorus, "Up on the
housetop, click click click, down thru' the chimney with good Saint Nick."
INTRO: D G, D A7 D
G D A
Up on the housetop reindeer paws. Out jumps good old Santa Claus.
D G D A7 D
Down thru' the chimney with lots of toys. All for the little one’s Christmas joys.
G D A7 D
Ho ho ho. Who wouldn't go. Ho ho ho. Who wouldn't go.
G D A7 D D D
Up on the housetop click click, click. Down thru' the chimney with good Saint Nick.
G D A
First comes the stocking of little Nell. Oh dear Santa fill it well.
D G D A7 D
Give her a dolly that laughs and cries. One that will open and shut her eyes.
G D A7 D
G D A7 D D D
G D A
Next comes the stocking of little Will. Oh just see what a glorious fill.
D G D A7 D
Here is a hammer and lots of tacks, also a ball and a whip that cracks.
G D A7 D
G D A7 D D D
A7 D
Down thru' the chimney with good, Saint, Nick.

WE ARE SANTA'S ELVES
(Marks)
https://www.youtube.com/watch?v=KxHRA3k5-_U&t=19s (Capo 3)
TIP: In the intro, the first three ho ho ho's are <c><c><a>, which is, while holding the
(F), 2nd string, 2nd string, 3rd string.
F Em G G7 C
INTRO: Ho ho ho. Ho ho ho. We are Santa's elves.
Dm G7
We are Santa's elves, filling Santa's shelves,
C F G G7 C
With a toy for each girl and boy oh we are Santa's elves.
Dm G7
We work hard all day, but our work is play.
C F G G7 C
Dolls we try out see if they cry out we are Santa's elves.
F Em Dm G C
We've a special job each year. We don't like to brag.
G E7 A7 D7 G
Christmas Eve we always fill Santa's bag.
C Dm G7
Santa knows who's good, do the things you should.
C F G G7 C
And we bet you he won't forget you we are Santa's elves.
C Dm G7, C F Fm C G7 C; C Dm G7, C F Fm C G7 C
F Em Dm G C
We've a special job each year. We don't like to brag.
G E7 A7 D7 G
Christmas Eve we always fill Santa's bag.
C Dm G7
Santa knows who's good, do the things you should.
C F G G7 C
And we bet you he won't forget you we are Santa's elves.
Dm Em F G Dm G7 C
Ho ho ho, ho ho ho, we are Santa's elves ho ho! (Hmmm, well, it needs work.)

WE WISH YOU A MERRY CHRISTMAS – Peter, Paul & Mary
(Traditional Carol)
https://www.youtube.com/watch?v=41ybkZaQbZc (Capo 3)
TIP: In the intro the orchestra plays three notes before the choir begins singing. Form
(Gadd) and pick the 4th, 3rd, and 2nd strings, and play (G) at the first note of singing.
INTRO (choir) <hold (Gadd)>: 4 – 3 - 2 G Em Am D

Once in a year it is not thought amiss,
G C A D
To visit our neighbors and sing out like this.
G C Am D
We wish you a merry Christmas. We wish you a merry Christmas.
G C Am D7 G
We wish you a merry Christmas and a happy New Year.
C Am D
G C Am D7 G
D A7 D
Good tidings we bring to you and your kin.
G Am D7 G
C A D
We all want some figgy pudding. We all want some figgy pudding.
G C Am D7 G
We all want some figgy pudding, and a cup of good cheer.
C A D
And we won't go until we get some. We won't go until we get some.
G C Am D7 G
We won't go until we get some so bring it right here.
D A7 D
Good tidings we bring to you and your kin.
G Am D7 G
C D G
A hap, py, new, year.
Em Am D
Once in a year it is not thought amiss,
G C A D
To visit our neighbors and sing out like this.
G Em Am D
Of friendship and love, good neighbors abound.
G C D G
And peace and good will the whole year a round.
C A D
Watchay, Shanti, Saluuu, Shalom.
G Em Am D
The words mean the same, whatever your home.
G C D7 G
Why can't we have Christmas the whole arou-ound.
G C D7 G C
Why can't we have Christmas the whole year - we wish you a merry Christmas.
A D G C D G
We wish you a merry Christmas. We wish you a merry Christmas and a happy New Year.
G C A D
G C G D G C D |D|-|G|
We wish you a merry Christmassssss, and a happy New Year-ear.

WHAT CHILD IS THIS
(Dix)
TIP: The intro is the chords from the last line of the chorus, "The Babe, the son of
Mary."
INTRO: G-F E7 Am
G F E
What child is this who laid to rest on Mary's lap is sleeping?
Am G F E7 Am
Whom angels greet with anthems sweet while shepherds watch are keeping.
C G Am F E
This, this is Christ the King. Whom shepherds guard and angels sing.
C G F E7 Am
Haste, haste to bring him laud. The Babe, the son of Mary.
G F E
Why lies He in such mean estate where ox and ass are feeding?
Am G F E7 Am
Good Christians fear, for sinners here. The silent Word is pleading.
C G Am F E
C G F E7 Am
G F E
Nails spear, shall pierce Him through. The cross be borne for me, for you.
Am G F E7 Am
Hail, hail the Word made flesh. The Babe, the Son of Mary.
C G Am F E
C G F E7 Am
G F E
So bring Him incense gold and myrrh. Come peasant king to own Him.
Am G F E7 Am
The King of kings salvation brings. Let loving hearts enthrone Him.
C G Am F E
C G F E7 Am
G F E
Raise, raise a song on high. The virgin sings her lullaby.
Am G F E7 Am
Joy, joy for Christ is born. The Babe, the son of Mary.
C G Am F E
C G F E7 Am

WHITE CHRISTMAS – Bing Crosby
(Berlin)
https://www.youtube.com/watch?v=A9ibhWgMlso (Capo 2)
TIP: In the intro, strum each chord just once. Note in the second half there's a |D/A|
in which you just add your pinky to the 4th string/4th fret.
TIP: For the (G4) just swing your index finger down from the 5th string to the 2nd
string/1st fret and then back up again. For the (CaddD) just play (C) and add your pinky
to the 2nd string/3rd fret and then lift off again to get back to (C).
INTRO: |Gadd| |Em| |D| |D7|-|D7|; |Gadd| |Em| |D/A| |D|-|D|
G G4 G Am7 D7 D
I'm, dreaming, of a white, Christmas.
Am7 D7 G
Just like the ones, I used to know.
Em C CaddD
Where the tree, tops, glisten, and children, listen,
C G Am A7 D D7
To hear, sleigh bells in the snow.
G G4 G Am7 D7 D
I'm, dreaming, of a white, Christmas.
Am7 Am D7 G
With every Christmas card I write.
Em C
May your days, be merry and bright.
G C D7 G
And may all, your, Christmases be white.
G G4 G Am7 D7 D
I'm, dreaming of a white, Christmas.
Am7 D7 G D7 G
Just like the ones I used to know.
Em C CaddD
Where the tree, tops glisten, and children, listen,
C G Am A7 D D7
To hear, sleigh bells in the snow.
G G4 G Am7 D7 D
I'm, dreaming of a white, Christmas.
Am7 Am D7 G
With every Christmas card I write.
Em C
May your days, be merry and bright.
G C D7 G G
And may all, your, Christmases be white.

What follows is the narrative to Christmas Eve and Other Stories. The
link will take you to the full album so you can pair the narrative with
the music. There are time hacks throughout the narrative where the music
intertwines with the story. Read the narrative, stop at the time hack and
go to that point in the video, listen to the song, return to the
narrative, etc. Even if you don't care for the music, the narrative and
the story it tells is timeless. Enjoy, and Merry Christmas!
Christmas Eve and Other Stories

https://www.youtube.com/watch?v=BJXQYx7j_3I
~ ~ ~
Prologue
In an old city bar, that is never too far, from the places that gather the dreams that have been.
In the safety of night, with its old neon light, it beckons to strangers and they always come in.
And the snow it was falling, the neon was calling, and the night: Christmas Eve.
And here was the danger, that even with strangers, inside of this night it was easier to believe.
For it was into this bar that I happened to wander, to stare into a glass and my universe ponder.
So I walked up to the counter and shook the snow off my coat.
Then I ordered a whiskey that I used like a moat.
But an old man soon joined me and asked if I knew the time.
One word led to another and somehow I didn't mind.
Then he offered a drink from a bottle 'neath his coat, and he smiled a little smile as it trickled down my throat.
And I felt myself relaxing, here among the ghosts that failed.
Then the old man topped my glass off and began this little tale.
In the moments of our lives, both the joyous and the tragic, if truth is to be told we are all pursuing magic.
And the magic that we seek, as we're sure you have discovered,
Can be found in certain places far more easily than others.
In the sand beneath the sphinx, in the dreams of candlelight.
But the sureset place of all is in the forgiving world of night.
And of all the nights throughout the year that come and gently leave,
None hold the dream of magic like the evening Christmas Eve.
And so it's on this night, with its promise deep within, as the snow now starts to fall, our story does begin:
It was Christmas Eve and the Lord looked down from above at all His children. It had been nearly two
thousand years since the birth of His son and turning to His youngest angel the Lord said: "Go down to the earth
and bring back to me the one thing that best represents everything good that has been done in the name of this
day."
The Angel bowed to the Lord and spreading his wings, descended from heaven to the world of man, all the
while contemplating his mission. So much had been done in the name of honoring the birth of the Christ Child.
For this day, wars had temporarily ceased, cathedrals had been built and great novels had been written. With so
little time, what could he possibly find to represent all this?
0:00 - 3:49 -- An Angel Came Down
An angel came down one night to the earth
A mission from God to find out the worth
Of everything that His children had done
Since that winter night the birth of His son
And then a sound filled the night in the cold winter air
And in the midst of his flight it was holding him there
And as he looked toward the earth for the source of this sound
On that cold winter night it was pulling him down
To bring something back this angel was told

That no one could touch but angels could hold
So on that night when the sky had cleared
Among all the stars an angel appeared
As he soared above the earth, he suddenly heard the sound of church bells below. Their tone was so beautiful
that it reminded him of the voice of God. Looking down, he saw a small church whose bells were ringing out the
carol, Silent Night.
3:49 - 8:09 -- O Come, All Ye Faithful/O Holy Night (Instrumental)
As the final note died away, it was replaced by one lone voice singing inside the church. It was shortly joined by a
second voice that embraced the first in perfect harmony, and then another and another until a choir of voices rose
through the night. Enchanted by the magic of what he was hearing, the Angel found himself listening until the
song was finished.
8:09 - 15:48 -- A Star to Follow

God rest ye merry gentlemen . . .
There up in the sky a star to follow . . .
Christmas lead and we'll follow, hope and tomorrow, magic and dreams
You are all this and more now, childhood recalls how
You are visions and Christmas we are your children
You take us back whenever we call
Each year we are here waiting, anticipating, as the snow starts to fall
Merry Christmas, merry merry Christmas . . .
To fall . . .
Ornaments and evergreens with packages as yet unseen

All wrapped in paper colored bright reflecting candles in the night
With carolers and mistletoe and stockings all hung in a row
Or fireplaces glowing red with children safely sent to bed . . .
Ring the bells . . .

Let the churches ring the bells . . .
Joy to the world . . .
The Lord has come . . .
Let his light shine on everyone . . .
Everyone, everyone, everyone. Christmas lead and we'll follow.
As he resumed his flight through the night, he was delighted to hear these sounds everywhere, from the largest
cities to the smallest villages. He heard melodies from massive orchestras and in the voices of single soldiers alone
at their post. And any place where he heard these songs, he found hope in the hearts of men. As he flew over the
Urals he came upon a little town shining in the arctic darkness so the angel set down. He then walked among the
people in a fitting disguise so no one recognized him, though they wondered at his eyes.
15:48 - 18:12 -- First Snow (Instrumental)
Then he asked a village peasant, "What do Russian hearts desire?" He answered, "Peace on earth, of course, and
a little Stolichnaya."
18:12 - 22:56 -- The Silent Nutcracker/A Mad Russian's Christmas (Instrumentals)
22:56 - 26:30 -- The Prince of Peace

In the middle of a forest there's a clearing by a stream
Where a mother holds her newborn and the child begins to dream
And he dreams of hopes unspoken when the tears of man will cease
And his mother holds him closer for he is the Prince of Peace
Let the bells ring out these tidings, let it echo across the land
That a king is born in Bethlehem and His kingdom is at hand
Let the world rejoice together as it looks upon the stars

Knowing every man's our brother and that every child is ours
Hark, the herald angels sing, glory to the newborn king

Peace on earth and mercy mild, God and sinners reconciled
Glory all ye nations rise, join the triumph of the skies
With the heavenly host proclaim Christ is born in Bethlehem
Hark, the herald angels sing, Glory to the newborn king
In the middle of a forest there's a clearing by a stream

Where a mother holds her newborn and the child begins to dream
As he flew over Sarajevo there were scars upon the land and there were scars upon the people. It was hard to
understand. And the deepest scars of all, which to humans are unseen, but the angel could see clearly were the scars
upon the dreams. Like Belfast and Burundi, Rwanda, and Palestine. The only decorations here had been awarded
for their crimes. And in the gardens where the children played now soldiers only trod, and stranger still, he heard
some say that they were killing for their god. Now the angel heard God speak many times, and he had always paid
attention, but this killing of ones neighbor was something the Lord had never mentioned. But as he neared the
earth of a recent battleground, from among the ruins he once more heard the sound. It was a single cello playing a
forgotten Christmas song. And even on that battlefield the song somehow belonged.
26:30 - 29:54 -- Christmas Eve (Sarajevo 12/24) (Instrumental)
As he flew over the countryside he was still listening when from a little church below he heard a voice begin to
sing.
29:54 - 36:29 -- Good King Joy

Joy to the world, the Lord has come. Let earth receive her king.
Now it was long ago when it all began

Back in Bethlehem in the promised land
When a single star appeared in the sky
And three kings saw and they each asked why. Each asked why.
And they checked the books full of prophecy

And the one king said why it's plain to me
You see it means that a king is born
Who will save mankind on this blessed morn. Blessed morn.
So they packed some gold, myrrh and frankincense

On some old camel with some fancy tents
Closed down the house, set the servants free
And three kings rode into history. History.
It was long ago in a foreign land

When the Lord looked down said to make a stand
So He sent His son and he said 'through him, you'll know me!'
Well you'll know me.
And then the angels came and when they start to sing
All at once the past doesn't mean a thing
And the star comes out and the wise men say, Hey show me! Oh show me.
And they followed it over hills and sand
Til' they found the child like it all was planned
And as they knelt before the newborn king
The angel's were singing in their angel style
How all of our hopes had come down to this child
And as he flew away the angel took note that where he found music played one always could find hope.
Grasping a song out of the air he held it in his hand (angels are able to do this) and thought that maybe these songs
could be the one thing that best represented Christmas. They seemed to give voice to man's greatest joys as well as
hope to those deepest in despair. But though at first glance it appeared to be the answer he sought, his heart told
him that this music was not enough. There had to be something more. So, he continued his flight through the
night until he suddenly felt the touch of a father's prayer on its way to heaven. And looking once more to the earth
to determine whence it came he felt a million souls below. But one was not the same. For there he saw a man
alone, though he was walking in a crowd. And though this man had rarely prayed, tonight his head was bowed. For
even in a crowd, you see, a heart can feel alone when the night is Christmas Eve and a child is not at home. So
from a father to the Lord a prayer did swiftly race but the angel saw it first, and he listened to its case.
36:29 - 40:07 -- Ornament

There is an ornament lost inside the night
There on a Christmas tree with a thousand lights
No one can see her, she's standing all alone
Somewhere she glistens where no one can see
I don't believe I can say what had happened

All of those words that we put into play
No longer matter, I should have known that then
I just know you're far away, on this Christmas day
On this Christmas day, on this Christmas
Somewhere the wind carves moments in the snow

And if he sees it he never lets it show
He just drifts behind her erasing every step
Tinsel and garland are whispered through trees

I don't believe I can say what had happened
All of those words that we put into play
No longer matter, I should have known that then
I just know you're far away on this Christmas day
On this Christmas day, on this Christmas
Come Christmas, stay Christmas, watch over her this day

Keep her, protect her from harm now in every way
Shelter her gently there in your arms she'll be
Until the day when you bring her back home to me
There is an ornament lost inside the night

Seizing upon the prayer, the Angel followed it until it reached the lost child. She was standing on a corner, in a
quiet snowfall, looking very small in a very large city. And there the girl was in desperation and searching through
the sky for a star that she could wish upon. But stars were in short supply and the only light that she could see
there, shining all alone, was a neon sign on an old bar. And so on this she wished she was home, for every light can
be a star, just depends on where you are and the distance that you're looking past the places you have been.
40:07- 41:03 -- The First Noel (Instrumental)
Across from her was on old city bar, the kind that only the lost seemed to know how to find. The patrons of
this establishment rarely looked up from their drinks and so seemed not to notice the young woman. Now the
bartender in this bar had been working in there longer than anyone could remember. He believed in nothing except
his bar and his cash register. He had never married, never took a vacation, and as a matter of fact had never been
seen out from behind his counter by most of his patrons. He was there when they arrived and he was still there
when they left. He gave no credit and for seventy-five cents, served shots of unwatered whiskey to people who
used their drinks like a moat around their lives. For them, he provided a safe, unchanging world.
Suddenly, the door opened wide and into this world walked a small child. The bartender could not remember
the last time that a child had been in this place, but before he could ask the child what he was doing there the child
asked him if he knew that there was a girl outside their door who could not get home. Glancing out the window he
saw the girl standing across the street. Turning back to the child, the bartender asked him how he knew this. The
child replied: "That on this night of all nights, if one could be home, they'd be already there." The bartender looked
back toward the young woman as he reflected on what the child had said. After several seconds of thought, he
slowly went over to the cash register and removing most of the money, came out from behind the bar and followed
the child across the street.
Everyone in the bar watched as he spoke with the girl. After a few moments he called over a cab, put the girl
inside, and told the driver: "J.F.K. airport." As the cab pulled away he looked around for the child, but the child
was gone. And what was stranger still, even though his own tracks leading from the bar were still clearly marked in
the snow, the child's were nowhere to be found. Returning back inside he asked if anyone had seen where the child
had gone, but like himself no one had, for they also had been watching the departing cab. And then, some would
later say, that the most miraculous thing of all happened when, for the rest of the night, no one paid for a drink.
41:03 - 47:20 -- Old City Bar

In an old city bar that is never too far
From the places that gather the dreams that have been
In the safety of night with its old neon light
It beckons to strangers and they always come in
And the snow it was falling, the neon was calling

The music was low and the night, Christmas Eve
And here was the danger that even with strangers
Inside of this night it's easier to believe
Then the door opened wide and a child came inside

That no one in the bar had seen there before
And he asked did we know that outside in the snow
That someone was lost, standing outside our door
Then the bartender gazed through the smoke and the haze
Through the window and ice to a corner streetlight
Where standing alone by a broken pay phone
Was a girl the child said could no longer get home
And the snow it was falling, the neon was calling

The bartender turned and said, “Not that I care
But how would you know this?” The child said “I've noticed
If one could be home they'd be all ready there.”
Then the bartender came out from behind the bar

And in all of his life he was never that far
And he did something else that he thought no one saw
When he took all the cash from the register drawer
Then he followed the child to the girl cross the street
And we watched from the bar as they started to speak
Then he called for a cab then he said J.F.K.
Put the girl in the cab then the cab drove away
And we saw in his hand that the cash was all gone
From the light that she had wished upon
If you want to arrange it, this world you can change it

If we could somehow make this Christmas thing last
By helping a neighbor or even a stranger
And to know who needs help you need only just ask
Then he looked for the child but the child wasn't there
Just the wind and the snow waltzing dreams through the air
So he walked back inside somehow different I think
For the rest of the night no one paid for a drink
And the cynics will say that some neighborhood kid

Wandered in on some bums in the world where they hid
But they weren't there so they couldn't see
By an old neon star on that night, Christmas Eve
When the snow it was falling, the neon was calling

And in case you should wonder, in case you should care
Why we on our own never went home
On that night of all nights we were already there. There.
Then all at once inside that night the angel saw it all so clear. The answer that he sought so long had always
been so near. It's every gift that someone gives expecting nothing back. It's every kindness that we do, each simple
little act.
47:20 - 50:02 -- Promises to Keep
Christmas time on a cold December morning
All is calm and the world is still asleep
Christmas lights that have been caught without warning
Gently glitter on stars to wish upon. All the world is at peace
Christmas time and the year will soon be leaving

Cloaked in time till it's just a memory
Christmas stays if we don't forget its meaning
Days go quickly by, years they multiply, we go searching for thee
And the dream is still alive from that first December morning
And it always will survive as long as we can see
That the dreams that we find in life are the dreams we tend to seek
And Christmas has its promises to keep
Christmas time and the moments just beginning

From last night when we'd wished upon a star
If our kindness this day is just pretending
If we pretend long enough, never giving up it just might be who we are
So the girl had reached her home and the bar was closing down as the angel started back to bring his Lord what
he had found.
50:02 - 54:20 -- This Christmas Day

So tell me Christmas are we wise
To believe in things we never see
Are prayers just wishes in disguise
And are these wishes being granted me for now I see
The answering to every prayer I've prayed
She's coming home this Christmas Day
So tell me Christmas are we kind

More this day than any other day
Or is it only in our mind
And must it leave when you have gone away
It's different now. It's changed somehow
And now you're here to stay
She's coming home this Christmas Day
All at once the world it doesn't seem the same

In a single night you know it all has changed
And everything is now as it should be
I have the ornament, I have the perfect tree

I have a string of lights, I have a chance to see
Everything that my heart thought could be
For of all the dreams you were the first I knew
And every other one was a charade of you
You stayed close when I was far away
In the darkest night you always were the star

You always took us in no matter who we are
And so she's coming home this Christmas Day
Merry Christmas, merry merry Christmas

Merry Christmas, merry merry Christmas now.

Merry Christmas, merry merry Christmas now.
Oh, she's coming home, she’s coming home, she’s coming home
She's coming home, she’s coming home, she’s coming home this Christmas Day
The Angel returned back to heaven and placed in the Lord's hand the wish of one soul for the happiness of
another. And as the heavenly host looked on, the Lord smiled.
54:20 - 58:02 -- An Angel Returned

An angel returned that night through the sky
But the time was short he had to decide
And so as he flew back over the land
A gift for his Lord was there in his hand
It was the glow of a light, it was the heart of a song

It was the tear of a child where they never belonged
It was the wish of a soul on an old neon light
And the Lord smiled at him on that cold winter night
Hear the bells ring through the night

Kyrie among nations, Kyrie among nations, Kyrie among nations
Hear as they ring through the night
Listen to the bells as they ring, listen to the message they bring
Listen to the sound as they sing as one voice in the night
Hoping that we'll all understand every dream is there in our hands
And for every bell let them ring all through the night
Listen to the bells as they ring, listen to the message they bring
Listen to the sound as they sing as one voice in the night
Hoping that we'll all understand every dream is there in our hands
And for every bell may they ring all through your life!
58:14 - 1:00:50 -- O Holy Night (Instrumental)
1:00:54 - 1:02:13 -- God Rest Ye Merry Gentlemen (Instrumental)
Epilogue
And so with his story over, and our bottle nearly through,
I asked, "Did this really happen?" He swore every word was true.
Then he said, "I see you're puzzled, for your mind tells you to doubt me,
That my story can't be true. But your heart tells you, it might be."
He then asked, did it entertain me and I admitted it had charm.
Then he said, "Perhaps you have learned something, or at least I've done no harm."
Then he rose up from his chair and he said it's time that he should leave,
But may God keep and protect you this and every Christmas Eve.
Then he left through the front door and I ran out to ask him back.
But he was already gone and, stranger still, he left no tracks.
So I walked back to my home, recalling all I've heard and seen.
And for the first time since my childhood that night I dreamed a Christmas dream.
Merry Christmas
- Christmas Eve and Other Stories, narrative by Paul O'Neill. Lyrics and music by Paul
O'Neill, Jon Oliva, and Robert Kinkel. Performed by Trans-Siberian Orchestra, 1996
- Thanks to Rhino Records for making the entire album available via the Youtube link.
(Main Index) - (Christmas Song Index) (This Narrative)

What follows is the narrative to The Christmas Attic. The link will take
you to the full album so you can pair the narrative with the music. There
are time hacks throughout the narrative where the music intertwines with
the story. Read the narrative, stop at the time hack and go to that point
in the video, listen to the song, return to the narrative, etc. Even if
you don't care for the music, the narrative and the story it tells is
timeless. Enjoy, and Merry Christmas!
The Christmas Attic

https://www.youtube.com/watch?v=bT4ruFp5U2w
~ ~ ~
Prologue
Somewhere in this universe between reality and dreams, the Lord's youngest Angel sat upon a star lost deep in
thought. Once again the Lord had given him a quest, to return to earth on the night of Christmas Eve, and this
time to leave the one thing behind that would most benefit all of mankind. At first he thought that this would be
easy, for the Kingdom of God was filled with countless gifts that would be embraced by all humans, but then the
Lord gently told him that as part of his mission, he could bring nothing with him from the heavenly world. Like the
race of man that he would be endeavoring to help, he must arrive and leave the earth with only his soul. "Lord,"
the Angel humbly asked, "If I may take nothing with me, how can I leave something behind, especially a gift so
great that it will benefit all of mankind?" But the Lord only smiled and pointed out that he should leave swiftly for
his time was quickly passing.
And so the Angel now found himself lost deep in the labyrinth of his problem. But as he sat there pondering,
the Angel suddenly felt his soul being touched by the prayer of a child. Now this was quite unusual, for on this
night most children were long asleep in the anticipation of all the magic and possibilities the next morning would
bring. However, earlier that day some older children had told her that Christmas was not real. That it was a holiday
made up to amuse small children like herself and that no adults at all believed it was anything more. It had no other
purpose except for the possibility of helping stores clear away overstocked merchandise. When she protested that
her parents themselves had told her that everything about Christmas was real, they laughed and said that parents
were the ones most deeply involved in this conspiracy.
So on this normally most anticipated of nights, she found herself unable to sleep as she tried to figure out what
the truth of this situation was. Then all at once the shadow of a child's idea started to form in her mind. There was
one person who could solve this dilemma, for his presence alone in her home would confirm that all that was said
about this night was true. Now this man was very rarely seen for he usually only arrived when all were fast asleep,
but with so much at stake she had decided that she would sneak down to the living room and stay awake until he
had arrived to deliver his gifts. But on her way downstairs, she remembered that earlier that year her father had
walled up the chimney after some bricks had fallen. After a moment's hesitation, she decided to alter her plans and,
finding a candle for light, she climbed up the stairs to the attic where she would have a clear view of all that would
occur that night on the roof. Unsure of when, or even if he would arrive, she found herself saying a small prayer
before sitting down to wait.
Now the Angel was concerned because his remaining time to complete his mission was so limited, but like all
angels he was unable to turn away from any soul in need and moments later was at the young child's side. As the
Angel stood in the attic of that old Victorian house, he could not help but feel the numerous shadows of
Christmases past that inhabited this room and he immediately formed a plan to help this child believe once more.
Now as I'm sure you all must know when one is waiting time moves slow and as she wondered what to do, her
options seeming far too few, the angel caused that child to look behind a yellowed pile of books. Among these
memories disguised as junk she noticed there a well-worn trunk. Then while softly running his fingers through her
hair, he whispered to her that exploring it might be a good way to pass the time as she waited. Minutes later the
child would discover that the trunk was filled with numerous items that evoked memories of Christmases from long
ago. Ornaments, toys and old records were piled one on another, but the most interesting thing in that trunk was a
small stack of yellowed letters and Christmas cards from long before she was born. Fascinated with this window to
seemingly forgotten lives, she sat down on the small pile of books and began to read. These letters that had caught
her eye now in her hands they seemed alive. And as each letter she unsealed a small piece of the past was revealed.
For Christmas weaves a life-long spell and most of all remembers well. And as the child explored the past once
again that spell was cast. And as the child began to read, upon this night of Christmas Eve, the angel's plan, as you
can tell, it was already working well. So as the ghosts gently arise in our first song we'll summarize.
0:00 - 2:12 -- The Ghosts of Christmas Eve

In this room where shadows live
And ghosts that failed learn time forgives
Welcome, friends, please stay a while
Our story starts with one small child
Who spends this night in attics dark
Where dreams are stored like sleeping hearts
And so it's here that they must wait til someone wishes them awake
For somewhere on this night of nights she's looking to believe
Here among the ghosts on Christmas Eve
And there near an old looking glass

There was a trunk from Christmas past
That she had somehow missed before
But now decides she will explore
'Twas filled with toys and one old wreath
And several letters underneath
So as the evening hours leave
The child sits down and started to read
For somewhere on this night of nights she's looking to believe

Here among the ghosts on Christmas Eve
On Christmas Eve. On Christmas Eve
2:12 - 6:36 -- Boughs of Holly (Instrumental)
The letters were all from different individuals each with a different story of how Christmas had touched their
lives. That first letter that she had read in that attic far from bed was from a father trying to say how his first child
saw Christmas Day.
6:36 - 9:37 -- The World That She Sees

There in this night there is a life, someone who waits for me
Only a child, dreams and a smile waiting to play
And now she's found snow on the ground, magic has been set free
She's waited here all of this year just for this day
And then the night comes alive with lights to dazzle
And everything's extraordinary nothing is left ordinary
Christmas has come with its long memory
And in my mind it always will be the world that she sees
Caught in this night, pieces of light glitter and play for you
And made of glass dreams from the past wait for this day
And if you try, look in the sky, one star is shining through
And on this eve you can't believe it's far away
And then the night comes alive with lights to dazzle

And everything's extraordinary nothing is left ordinary
Christmas has come with its long memory
And in my mind it always will be the world that she sees
Then after he had thought a while the father recalled another child born in a time now far away and how this
child's dreams had reached this day. He wondered what that child had thought and when slept what dreams he
sought. And did the shepherds understand all the hopes in that child's hands? And how those hopes would still
survive as dreams within each newborn's eyes.
9:37 - 14:19 -- The World That He Sees

There was a cold winter night where the dark went on forever
And the world seemed like a dream gone astray
And somehow there on this night, as the world huddled together
There a child slept at the end of the day
And he dreamed of another world in another time and another place

Where no man has to wear a sign saying where he's from
Saying what's his race
And he wants us to believe this world that he sees
What is the dream of this night? Why does it echo forever

Here in the cold at the end of the year?
And with all our different lives why do we dream it together
When at the first sign of snow it appears?
When he dreamed of another world in another time and another place


Then the child heard a clock tolling from a distant city tower and she gazed up at the starlight on this Christmas
midnight hour. And she wondered if these stars were all but bits of dreams from somewhere in the distant past
that, somehow, could still be seen. And she wondered if her candle upon this magic night could be seen by
someone far away as their own starlight.
14:19 - 18:44 -- Midnight Christmas Eve (Instrumental)

Then she saw an old Gramaphone from a time gone long before any in this room were born. But tonight it
would be heard once more for she had found a small handle there upon one end. And when she turned it twice
around it began to play again.
18:44 - 22:35 -- The March of the Kings/Hark the Herald Angel (Instrumental)
Mixed among the letters was a young boy's school report about the three wise men and how they were nearly
caught. Now many books have been written about what had happened on that night but this report was based
upon some additional insight. It seems his uncle had come by each Christmas without fail and claimed to know
what really happened in that classic Christmas tale.
22:35 - 29:03 -- The Three Kings (What Really Happened)

O Holy night the stars are brightly shining
It is the night of our dear savior's birth
Now you all heard the story about Bethlehem

How the child was born and the three wise men
Heard the preacher tell it like the preacher does
But let me tell you children that's not how it was
Now you might ask me what I'm talking about

But I know the part that they all left out yes I do
Now do you hear what I said that Herod wanted those wise men dead
But on that blessed evening
My great great great great great great granddad, he saved those kings
Now granddad made his living playing jazz you see

But jazz wasn't big around one A.D.
So he got himself a job in the palace band
Where he heard about three kings inn the desert sand
Let me tell you children that at any time

Three kings in the desert that's a real rare find yes it is
But Herod heard of it too and when he heard his curiosity grew
So he asked those kings to drop by
And my great great great great great great Granddad, he wondered why
So the Magi told old Herod that they had come here
To find a newborn king of kings who'd heal our sins
Then old Herod told his guards to follow those Magi
And that the only king around here was gonna' be him
Then he told his soldiers as I recall

When they found that child to kill them all
Granddad overheard what Herod said
And he had to act fast or else they'd all be dead yes they would
So granddad got to those kings

Filled them in on the plan, told them everything
When they heard what he had in store
They grabbed the gold, the frankincense, the myrrh, the jewels
The desert tents and when they found his plan was sound they followed
Granddad out the back door yes they did. They followed Granddad
And what a night it must have been

But when God is on your side
You kinda' know that in the end you're gonna win
They traveled fast, they traveled far
But in the end they found that they were standing
With the Child beneath the star
Hallelujah, Hallelujah. Hallelujah, Hallelujah, Hallelujah

Hallelujah, Hallelujah. Hallelujah, Hallelujah, Hallelujah
And so you see we've reached the end of our story

When Granddad and the kings reached that stable on the hill
And while I said that three kings in the desert is a rare sight
Angels singing in the desert that's far rarer still
Now I ain't sayin' that the bible was wrong

But ya' see the whole tale would have taken too long
'Cause way back then in the promised land
Every copy they sold it had to be written by hand
And Granddad lived a long life,

Stayed friends with those kings and found a good wife
And eventually I came along
But that my children, that my children, that's another song
The next letter included a receipt for one toy stuffed bear donating it to a small thrift shop. But for somehow it
was left here. For attics have their secrets and toys will have theirs, too. Like who once held or loved them, when
they last were new, whether they were made of metal or they were cotton stuffed, or how they had been left here
when they were not enough. And so it's here that they must wait between reality and dream, hoping all will be
remembered and that all can be redeemed.
Then in the sound of the wind whistling through the door she thought she heard the sound of children that had
held this toy before. And she then thought to herself, as she now held it in her hand, that no one could save all the
world but we should save who we can. So she placed it near her candle, for she had decided in her mind, that when
she left this attic he would not be left behind.
29:03 - 33:23 -- Christmas Canon

Merry Christmas . . .
May He join us . . .
This night we pray our lives will show this dream He had each child still
knows
This night we pray our lives will show this dream He had each child still
knows . . .
We are waiting. We have not forgotten . . .
On this night, on this night, on this very Christmas night . . .
33:23 - 37:21 -- Joy/Angels We Have Heard on High

Angels we have heard on high sweetly singing o’er the plains
And the mountains in reply echoing their joyous strains
Oh, oh, oh gloria, in excelsis Deo!
The next letter that she found, was by a ribbon gently bound, to the key for a small music box, and she placed
that key into its lock, and the melody that it had learned, once again began to turn. And as that tune it filled the air,
she opened the letter that was there. That letter contained a news clipping about a man with many things in his
world (a great success), and where he lived (the best address), his happy life the world did know, because the papers
told us so. But the angel he could clearly see, that all was not as it appeared to be, for on this night as snow clouds
gathered, that man wondered if that all really mattered. And on this night, inside his home, he realized that he was
alone, and he asked himself what his life had meant, how all these years they had been spent. And how he could
feel his life such a waste, when he had every dream that he had chased. But then the angel whispered in his ear, and
in his mind the man heard clear. "Tell me one wish that you have granted, tell me one of these things that you have
done." But the man could not recall a single one. He was close to no one, this thing he did know. Well, there was
one person but that was long ago, and thought that someone had been far more than a friend. It was far too late to
ever go back to her again.
37:21 - 41:06 -- Find Our Way Home

He believed in the things that he always thought he knew
And had done all the things that he always wanted to do
Collecting each thing reflecting his worth
But now he pondered how he had wandered this earth
For we all seem to give our lives away
Searching for things that we think we must own
Until on this evening when the year is leaving
We all try to find our way home
He had time or at least then he always thought he did

And mistakes well he thought that time always would forgive
Each transgression for his intentions forgetting
Years he squandered on things he now was regretting


There is something about this night that the Lord has arranged, that reaches deep into our souls and causes us to
want to change. And angels know things about us that no one else can know. And this angel's heart it formed a
plan and then caused the night to snow.
41:06 - 45:15 -- Appalachian Snowfall (Instrumental)
Behind that single letter was a weathered photograph of that man in the article but from somewhere in his past.
And standing beside him in a setting summer sun, was the lady who used to own this house only here she was quite
young. She had moved to a smaller place that was only right next door, and then the child noticed something else
that she had missed before. This letter had no stamp it seemed and was surely never sent. And as she sat upon the
floor that child she wondered what it meant.
45:15 - 48:18 -- The Music Box

Remember last Christmas Eve when we sat next to our first tree
Ornaments reflected light of a candle in the night
And I gave you a music box back then that seemed like so much
We watched it go round and round as the melodies unwound
But all these things are now long gone and not to be wished upon again
But the musical box continues to turn

The candle in the window continues to burn
But I know they're just memories
Like Christmas past and you and me
Remember that old fireplace that held the room in warm embrace
And as we watched for Christmas ghosts the fire held the shadows close
But now upon that Christmas scene the candle wax of melted dreams
And ornaments of shattered glass now belonging to the past
But the musical box continues to turn

Then the angel whispered to her a most important fact, that for compassion to be real it requires one to act.
Then once again that child came up with a child's idea, but she knew she must act fast for time it was growing dear.
So taking that article back downstairs she found the kitchen phone, and called up information to find the number of
his home. And when he picked up the receiver she quickly told him, quite enough to know who was waiting on this
night for him. And then the child, she just hung up. Then to make sure that no one was awake she took a quick
look down the hall. Then she found her neighbor's number and repeated that same call.
48:18 - 54:02 -- The Snow Came Down

A railway station on a long forgotten line
No destination but it always leaves on time
He buys his ticket as the train prepares to leave
Don't want to miss it on this night Christmas Eve
He stared into the night no expectations

He watched the world go by without a sound
He saw the city lights arrive and fade away
While all that night, all that night the snow came down
No conversation as the snow fell from the sky

His consolation that the world is well disguised

He watched the world go by without a sound
He saw the city lights arrive and fade away

But in his heart he wanted to believe
That somehow someone would be waiting there
Upon this Christmas Eve
And when his train it pulled into that station

He saw there was a single pair of tracks
Within the snow and leading to that station door
And he followed those steps back
And on this night of our salvation
Where dreams that have been lost can there be found
They walked away together oOn that Christmas Eve
In this last season of the year, this season that we trust, it's not only important to know for whom we wait, but to
know who waits for us. And as they walked home togther to the light of Christmas trees, they could not help but
wonder about how this night came to be.
While back inside the attic the girl saw them walking through the snow, and she smiled with a child's delight
thinkingt how they would never know. And suddenly she realized, beneath this night of stars, sometimes
Christmas uses its own hands, and sometimes . . . it uses ours.
54:02 - 58:16 -- Christmas in the Air

Christmas time in the middle of a city seeking its salvation
With every string of lights hat suddenly appears
Children stare with new found wonder no one dares to break the trance
Every wish is carefully numbered
And God has granted all a second chance this day
And all at once the dream's begun

Snd as we mark the old year's passing
Strangers greet on every street
And suddenly there's goodwill everywhere
There's Christmas in the air
On this night to this light we see it all again

On this night to this light we see it all again, all again, all again
On this winter night we still wait for you
And now the time has come when all the world is one
And as we mark the old year's passing
There comes a time when we're on our own

Some times in life such a thing must be
But such a thing should not be known
This night, this night, this night
And now the time has come, and now the time has come
And now the time has come, and now the time has come
And now the time has come and all the world is one
And as we mark the old year's passing
The final letter that she read was from a younger man. It came with a journal that was all written by hand. He
had done something so wrong in life that he no longer wished to live. But on this night he had a dream and found
that God forgives. If we truly regret the others we have hurt He will understand. So he took the message from this
night and became a different man.
58:16 - 1:05:19 -- Dream Child (A Children's Dream)

In the night was the dark. In the dark was the dream
In the dream was the Child and myself there unseen
In the book was the word. In the word there was truth
In the truth there was age. In the age there was youth
And I said to the Child, “Do your hands they still bleed
After all of this time, do you think there's still need?
But the Child only smiled and said not a word
The snow it came down as if it hadn't heard
And all that night the snow came down

To heal the scars our lives had found
And the year that lay broken and there upon a bridge of dreams
Across the night we walked unseen with no words ever spoken
And then on through that night we did walk for a while

And our steps turned to blocks and the blocks turned to miles
Then we followed a path for as far as we could
Til we found ourselves there in an evergreen woods
There were thousands of candles upon every tree

It was beautiful but there was one mystery
For with all of those candles you must understand
That the only one lit was now in that Child's hand
And there upon that Christmas scene

The candle wax of melted dreams and the years they had taken
And as the snow did gently fall we one by one we lit them all
Til each dream was awakened
And then there to that light that young Child showed to me

All the things that he dreamt, all the things that might be
How for everything given that something is gained
Strike one match in the dark and all the world's not the same
And then I asked that Child why this night has a star
And he said, "So we'd know that we could see that far"
And these candles are wed to that distant star's light
And it all came to be upon that long winter's night
That long winter's night. That long winter's night
And when I awoke well the Child he was gone

But somewhere in my mind I believe he lives on
And somewhere in my life between here and the end
On a long winter's night I will dream him again
Then she noticed on some Christmas cards a reddish purple stain where someone had spilled some Christmas
wine. And there it had remained until the heat from a radiator whistling in the air, had caused it to evaporate into
an angel's share.
1:05:19 - 1:08:21 -- An Angel's Share

Deep inside this Christmas Eve watching as the hours leave
Gently drifting in the air, shadows of an angel's share
Christmas lights on Christmas nights with peace for every nation

Stable scenes and evergreens with snow still glistening
Angels grace this humble place with hopes of our salvation
Christmas cards and snow filled yards and children wondering
Rejoice all awaken. Rejoice quickly hasten. Rejoice for the newborn king
Rejoice for the vision, rejoice He has given, hear the choirs as they sing
Scrooge returns to once more learn that Christmas ghosts conspire

To redeem his soul it seems but still he hesitates
To believe he's not deceived until this night inspires
Him to find that at this time it never is too late
Rejoice all awaken. Rejoice quickly hasten. Rejoice for the newborn king
Rejoice for the vision, rejoice He has given, hear the choirs as they sing
And sing, and sing and a sing and sing and sing.
Winter dreams her endless scenes in endless combinations

To embrace this world of faith this world that we now see
Every year it returns here with all its variations
And as the day it fades away and we once more find that . . .
Once again the promise kept one by one the angels slept
So we leave this night in peace and the world in gentle sleep
When she finished that last letter from that little stack, she put each one in its envelope and carefully put them
back. Then she sat and thought quite carefully about all she had learned, realizing that her belief in this night had
completely returned. For if all these grownups she had read had in this night believed, it could not be possible that
they all had been deceived. And she marveled, not though every letter was signed with a different name, bu that in
the end it seemed that all their wishes were the same. That the light that reached our lives from that distant
Christmas star, would make us if not perfect then perhaps better than who we are. And suddenly she noticed that
there was a present there. He must have come and left it when she had gone down the stairs. Then she realized as
for that chimney she needn't have worried after all, for Christmas she had found this night could not be stopped by
walls. Could not be stopped by distance, could not be stopped by time, and if one lived a thousand years it would
still be there to find.
Now some will say that all these gifts were left her her father and mother, but I for one will always supsect it
could have been another. And before she went back down the stairs with her fading candlelight, she found some
paper and wrote down all that had occurred that night. And sometime on some distant night we really can't say
when, someone will read that letter and this night will live again.
And so our story's over and the child returned to bed, to dream about this magic night and where it all had led.
And the most magical thing about this night, is that no matter where you are in life it never is too late.
1:08:21 - 1:13:22 -- Music Box Blues

Remember last Christmas Eve when we sat next to our first tree
Ornaments reflected light of a candle in the night
And I gave you a music box back then that seemed like so much
We watched it go round and round as the melodies unwound
But the music box continues to turn

Remember that old fireplace that held the room in warm embrace
And as we watched for Christmas ghosts the fire held those shadows close
But now upon this Christmas scene the candle wax of melted dreams
And ornaments of shattered glass now belonging to the past
All these things now long gone and not to be wished upon again
But the music box continues to turn

Like Christmas past girl you oooh and me
I miss you baby. Oh yes I do.

And it's been far too long girl since I last laid eyes on you
I got the lights upon the Christmas tree

I got the candle lit for you to see
And beside this window I will wait
For inside this night it's not too late
I got the lights upon the Christmas tree

For inside this night I know it's not too late
I’ve got the lights upon the Christmas tree
For inside this light I know it's not too late
And the angel who had heard her thoughts about what she learned, now realized that his work was done and it
was time he should return. And taking back all he had thought he returned just in time, to appear before his Lord
and tell him what he had left behind. There were two souls reunited on a snow-blessed Christmas Eve. And
sleeping safely in her bed was the child who still believed.
And once again the Lord smiled down from His heavenly throne, and took the angel into his heart and
whispered, "Welcome home."
May you also hear those words all through your life, but may you hear them most of all on every Christmas night.
Merry Christmas!
- The Christmas Attic, narrative by Paul O'Neill. Lyrics and music by Paul O'Neill, Jon
Oliva, and Robert Kinkel. Performed by Trans-Siberian Orchestra, 1998
- Thanks to Rhino Records for making the entire album available via the youtube link.

What follows is the narrative to The Lost Christmas Eve. The link will
take you to the full album so you can pair the narrative with the music.
There are time hacks throughout the narrative where the music intertwines
with the story. Read the narrative, stop at the time hack and go to that
point in the video, listen to the song, return to the narrative, etc.
Even if you don't care for the music, the narrative and the story it tells
is timeless. Enjoy, and Merry Christmas!
The Lost Christmas Eve

https://www.youtube.com/watch?v=CLfNgYF1h-Y
~ ~ ~
Prologue
It was the night of Christmas Eve and somewhere on the other side of eternity (which is somewhere after today
but before tomorrow) a tear of incredible sadness slowly welled up within the eye of a beautiful young lady. The
sorrow within the tear was so great that, though it desperately wanted to stay with her to give whatever comfort it
could, the weight of the pain it contained eventually caused it to fall. It fell through eternity, across countless
galaxies, star systems and universes until it found itself entering the atmosphere of our own world. There, while
falling through the clouds, it was slowed for a moment as it landed on a strand of the Princess of Winter's snow-
white hair. The tear ran to the end of that strand, where it lingered for a moment, before continuing its fall. The
Princess, having noticed her small visitor, had blessed the teardrop, transforming it into a snowflake which allowed
it to continue the remainder of its journey in a gentle descent among countless other snowflakes until it finally
landed in front of an old toy store in New York City. Now while the snowflake was nestling in amongst its fellow
winter travelers, downtown in the business district on Wall Street all was unusually quiet. The streets were empty of
people and cars, and a thick layer of still falling snow muffled everything, even the footsteps of dreams on their way
to tomorrow. Everyone had gone home early to prepare for all the promised magic of the next day and the lights
were out in every office window.
Well, nearly every office window. Up on the fifty-eighth floor of one massive office building a single office
window was still brightly illuminated in cold fluorescent light. Within that office sat a businessman going through
legal documents. He was a gentleman, in his early sixties with graying hair, but still in excellent physical condition.
Calling for his secretary, the man was visibly annoyed to have received no response. Getting up, he looked out his
office door only to see every desk and cubicle empty. "Christmas," he muttered disgustedly, as he realized that
everyone had long since gone and he would be getting no other work done this night. Putting on his coat and scarf,
he grabbed his briefcase and left. Stepping out to the street his frustration mounted as he soon came to the
conclusion that his probability of finding a cab was extremely low at best. Resigning himself to the situation, he
pulled his coat a little tighter and started walking home.
0:00 - 4:29 -- Faith Noel (Instrumental)
Meanwhile, across eternity, the Lord called before Him His youngest angel and once more requested him to
return to the world of mankind and to bring Him the name of the person that best continued the work of his Son
on Earth. His mission had to be completed in one night, and unlike all his previous journeys to the world of
humans, this time he would only be allowed to use his wings twice, once when he descended, and once more when
he would leave (not unlike the souls of humans). So, with the nightfall having already started on Earth, the angel
quickly unfolded his wings and began his quest, all the while wondering how he would be able to find this
individual. Humans were such an extremely varied lot, a seemingly infinite mixture of rich and poor, successes and
failures, young and old, that he wondered exactly where he could land that would allow him to see as many of these
individuals as possible within his allotted time. As he thought, his mind recalled how on the day his Lord's Son was
born that all roads on the Earth seemed to eventually lead to Rome. Every individual or idea of note seemed to
make its way to that eternal city. He wondered what was the present day equivalent of that glittering jewel from
mankind's past. Then, all at once he found himself whispering the words, "New York."
Within moments he found himself hovering over that city, feeling the gentle rhythm of millions of heartbeats,
but still unsure of exactly where to land. Suddenly, he noticed an old Grand Hotel, with a toy store on its right, a
blues bar to its left, and a nineteenth century gothic style cathedral directly across the street. Also in this city, that
often had guards at nearly every door, this hotel had a sign that said, "Vacancies. There is always room for one
more." Thinking to himself how that sign seemed so appropriate for this night, he landed on the roof of the
cathedral across the street from the hotel. Within a few minutes he realized that people of every race, creed, and
age inhabited this block and he slowly took in the scene.
4:29 - 10:01 -- The Lost Christmas Eve

On a street in the night in the cold winter’s light
A child stands alone and she’s waiting
And the light that’s out there it just hangs in the air
As if it was just hesitating
And the snow it comes down and it muffles the sound
Of dreams on their way to tomorrow
And when they appear this night will hold them near
For where they will lead she will follow
For here in this city of lights

This evening awakens the dreams that it might
The winter it conjures the spells it will weave
The snow gently covers the ground, Christmas Eve
In this scene on this night there’s an ancient hotel

Where shadows they do tend to wander
And the ghosts that live here hold each moment so dear
For time’s not a thing one should squander
And they recount their sand as it runs through their hand
And examine each moment for meaning
It can be wished upon tll the moment it’s gone
Like day disappears into evening
For here in this city of lights

This evening awakens the dreams that it might
The winter it conjures the moment is seized
The snow gently covers the ground, Christmas Eve
Merry Christmas, merry Christmas, merry Christmas, merry Christmas

Christmas, Christmas, Christmas, Christmas . . .
Through this night the dream still wanders as it was meant to be
And every year this night grows fonder
Of children and circumstance caught in this childhood dance
As the world turns around keeping dreams on the ground
Windows of frosted ice prisming candlelight
And somehow we start to believe
In the night and the dream as it cuts through the noise

With the whisper of snow as it starts to deploy
In the depths of a night that’s about to begin
With the feeling of snow as it melts on your skin
And it covers the land with a dream so intense
That it returns us all to a child’s innocence
And then what you’d thought lost and could never retrieve
Is suddenly there to be found on Christmas Eve, on Christmas Eve
And so it was in front of this hotel our angel did finally arrive. And standing at one corner was a young man who
caught the angel’s eye. He had a small group of children gathered round him there, who all were quietly listening
which for children is quite rare. He was telling them Christmas tales and each one brought more children near,
where they nestled round him on those steps so each word they could clearly hear. He then told them a Christmas
story about how all men are brothers, and when that story had ended the children clamored for another. "Where
does Christmas go when its day is through? Where does Christmas go,” they asked, “And what does Christmas
do?” Now children have such simple requests, their wishes are so small, that the young man saw no reason why he
could not grant them all.
10:01 - 13:58 -- Christmas Dreams

Somewhere beyond where the light rarely goes
Somewhere beyond where the dark barely breathes
Somewhere this night where the dark only knows
She awaits ever patient. She awaits rarely seen
But her moments are taken for in the dead of the night, gathering light
Christmas dreams
I want to wrap all my moments around her

I want to watch as she glitters the night
Floats her dreams in the air, people watch, children stare
At these tears of captured light
While she awaits ever patient, she awaits rarely seen

Still her moments are taken for in the dead of the night, gathering light
Christmas dreams
And a tear falls upon her snow-white hair

And it runs to the end where it lingers there
Then it falls through the air of a winter’s sky
Til it captures a dream and it’s crystallized
Let it go, let it go! This old world that I know
For soon everything will be changing
In a single glance where it all enchants
And every hope is worth saving
And a tear falls upon her snow-white hair

And it runs to the end where it lingers there
Then it falls through the air of a winter’s sky
Til it captures a dream and it’s crystallized
Let it go, let it go! This old world that I know

For soon everything will be changing
In a single glance where it all enchants
And every hope, every hope, every hope is worth saving
They liked his stories so much they begged him not to let it end. So he told them about the wizards of winter,
whose winter ball they must attend. How these wizards decorated their whole world with icicles, frost and snow,
and how with the dreams of this night beneath it it all would magically start to glow. And the snow seemed to obey
the young man’s every gesture in the cold December’s air, and as for the wizards’ imperial ball, well, they were
already there.
13:58 - 17:02 -- Wizards in Winter (Instrumental)
Now every moment the angel spent listening his time on earth diminished. But the angel found himself waiting
there until each story was finished. He had only several hours left for the quest he had been assigned, but angels,
like small children, have trouble keeping track of time. But in the end it seemed this delay had turned out for the
best, for now there were grownups all around listening with the rest. For as they listened to his stories, each one till
the very end, those adults remembered their own childhoods and a time when faith was not pretend.
17:02 - 20:28 -- Remember

Remember, remember, remember long ago
Remember, remember, remember long ago . . .
On a night with a gentle falling

On a night with a gentle falling
On a night with a gentle falling snow . . .
If you put your eyes in a moment you’ll be there

If you put your eyes in a moment you’ll be there . . .
Falling snow, falling snow, falling snow . . .

Can I offer you what Christmas dares to know?
Christmas is how, in every nation, that hope is passed through generations. From old to young, and sometimes
I’m told, it’s actually passed from young to old. Yes our angel had been quite impressed with this youth that he had
found, but then across the street he heard an old familiar sound. It was a multitude of voices from the old
cathedral’s choir, singing out about this night and the hopes that it inspires.
20:28 - 22:41 -- Anno Domine

On this night of hope and salvation one child lies embraced in a dream
Where each man regardless of station on this night can now be redeemed
Where every man regardless of his nation, ancestral relations

On this night the past can fly away
And that dream we’ve dreamed most that every child is held close
On this night that dream won’t be betrayed
All as one raise your voices, raise your voices

All as one on this Christmas day
All rejoice, raise your voices, raise your voices
All rejoice, Anno domine
On this night when no child’s forgotten

No dream sleeps where he cannot see
No man here is misbegotten and this night’s dreams are still yet to be
Realizing that the past can be forgiven, the future be rewritten

On this night where every child is saved
And that dream we’ve dreamed most that every child is held close
On this night that dream won’t be betrayed
All as one raise your voices, raise your voices

All as one on this Christmas day
All rejoice, raise your voices, raise your voices
All rejoice, Anno domine
After the song was over nearly every person there went to the cathedral’s basement and started setting up tables
and chairs. For that night this church would feed any person in life who had less. And both those that gave and
those that received left that night feeling blessed.
Then the angel remembered something that his Lord’s son had once said, on how one truly followed him when
words and acts were wed. Some people claim to follow him but themselves they just deceive. For his Lord’s son
had said, “You will know who truly follows me not by what they say, but by their deeds.” And this church was
clearly filled with kind people of goodwill, but the angel had more time left on this night and continued to search on
still. So the angel left the parishioners with their Christmas meal in happy bliss, and returned once more to the
hotel to make sure that there was no one there he had missed. And passing by a village square he heard a brass
quartet, whose Christmas concerto in the key of G he felt lighten his every step.
22:41- 23:24 -- Christmas Concerto (Instrumental)

And so back at the hotel our angel again arrived, but this time he went up the front steps, which, of course, led
him inside, (it’s one of those things that architects conveniently decide). Now hotels are quite like people, no two
exactly the same, and this one had such a magical past the angel found himself quite entertained. The foyer still had
an elegance that the years could not disguise, and the shadows of Christmas Eves long disappeared this night, still
gently glided by. For in this hotel, here side by side, the past and the present dwelled, and the ghosts who lived here
not only lived, they honestly lived well. The lobby had a Steinway piano that was steeped in memories, and some
said Duke Ellington’s fingers still lingered on those keys. There was a grand palace ballroom where princesses had
once waltzed, whose beauty and sense of style the newspapers would constantly exhault. The ghosts of Rockefellers
and Vanderbilts still met at their Christmas Eve charity balls, raising money not for themselves but raising it for all
(and the sound of their children laughing still echoed in these halls).
Now these spirits of course, could not be seen by any human eyes, but each one smiled at the angel when they
saw him walking by. And these ghosts reminded the angel how every human waiting to be born, and every life that
had already left, when it was tired out and worn, were connected by those alive right now which gave the living
quite a trust to pass on what was best and good inside of each of us. Now within each guest room he heard many
hearts and behind each heart there was a life. And the angel carefully read them all with the next hour of that night.
When he reached the grand palace ballroom it was behind closed mahogany doors, and when the angel was passing
by it he could hear music begin once more. It seemed that since this room was built, musicians did permanently
reside. And then the angel did what we all would do, he went to look inside. And there he found such a majestic
orchestra, to please all it would be enough, but then someone plugged a guitar in and the volume, it crept up. So
with a song inspired by Mozart’s famous “Queen of the Night” the orchestra added the word, “winter” and some
notes, some fog, some lights.
23:24 - 26:35 -- Queen of the Winter Night (Instrumental)
He could have stayed there the entire night for to him music was the voice of God, for it never needed
translation and could lift up lives that were often quite hard. But then he heard a different kind of music from
somewhere else close by, and he followed the trail of those new notes till he found himself outside. The notes led
him to a blues bar that was right next to the hotel, and the angel watched some lonely people enter it and wondered
if this was where all the lonely people did dwell. Then another guardian angel who happened to be near, told him
about the old blues bar and whispered in his ear: "Here the tragically beautiful and the beautifully tragic, drift
through this night in a last quest for magic. Their faces are masks that so artfully disguise, the wounds in their
hearts, the scars in their eyes. Now these scars in their eyes never hurt, never bleed, but like cracks in a mirror they
distort all they see. For when the heart’s an open wound it's greatest threat, I fear, is that the salt rubbed into it
does come from ones own tears. Now there are many places on this earth that one thinks that God has forgot, but
one can often find an angel or a saint where one assumes angels and saints are not.” And then the other angel
reminded him of their Lord’s point of view, “You’ll know them not by how they appear, you’ll know them by what
they do.”
So when the next patron went inside the angel followed him undetected, but what he found within that bar was
not quite what he expected. There was an old piano player there playing with a honky-tonk sound, and everyone
who entered that place depressed, that piano player turned their night around. And one by one he’d draw each
person out of their self-imposed cage, and before they realized it he had them singing on the stage.
26:35 - 30:53 -- Christmas Nights in Blue
Just another night in New York city
Snow comes down looks real pretty
Don’t know how but suddenly there you are
With Jelly Roll Morton playin’ for the bar
Inside here lights are low but each song has its own glow
As he floats them through that smokey air
We just can’t believe he’s really there
How old is he? Cannot say but claims he taught Cab Calloway
And on this night I somehow believe him
Knows every song that Christmas got even ones my brain has dropped
Just him and that old fir tree all lit up this night, electric blue
Just another night in New York city, snow comes down looks real pretty
Can’t believe but suddenly there you are
Talking with strangers sittin’ cross the bar
Suddenly all are laughin’, this night’s smart always craftin’
Building bridges nearly everywhere, hits a wall it just builds a stairs
Outside the colored lights they bleed, snow is white and colors need
As it just comes down like pure salvation
It offers all its amnesty and makes your neighbor different see
By the light of that fir tree and this old bar electrified in blue
I gotta drop dead simple childhood view of salvation

Perhaps that’s how it was always meant to be
And the more I add up all this information
It seems it all comes down in the end to you and me
Hey you look around till you find a phone
You call your mom and everyone at home
And the bar looks on and they start to cheer
When you talk to folks you haven’t seen in years
And the snow comes down and the children play
And they pray to God it never goes away
And a childhood prayer should never be denied
And the night rolls on till it’s carolized, carolized
Carolized. Carolized, carolized
And on this tree the lights are done but the colors here are down to one
I guess it kind of fits the situation
Ornaments still shining bright watch them glitter in the light
Just this old fir tree and me, all lit up this night electric blue
Then a guitarist and a bass player read some notes off a music page, and added a little bit of jazz, a sound that
never seems to age.
30:53 - 33:07 -- Christmas Jazz

Now that old piano player knew there were other musicians in that crowd, and one by one he brought them up
and the music, it got loud.
33:07 - 36:58 -- Christmas Jam

Carolize, understand?
Turn it up, Christmas jam
The band played on and on, with no one looking at their watch, and just when you thought it couldn’t get any
better they would turn it up a notch.
36:58 - 40:06 -- Siberian Sleigh Ride (Instrumental)
By this time a harder rocking stage would be impossible to find, and though no one was now drinking the owner
did not seem to mind. And the angel marveled how one man could turn around a life, and then that life turn
around another’s. And how it rippled through this night. But there was someone in that room whose heart had not
been changed. A heart that had grown so hard you’d have thought it could never be arranged. It was the
businessman from downtown who had stopped there to rest his feet, and he clung to his drink (where he watched
his thoughts sink) while any strangers, he refused to greet. You could see upon his face how happiness had been so
long deferred. It was practically as if unhappiness had somehow become preferred.
Now the angel had not seen the businessman though they had in that room been near, nor did the angel see him
as he left the bar when he could no longer stand this Christmas cheer. And as the businessman exited the door he
heard someone complaining on the TV. It was the “Grinch” ranting against Christmas and the man found that he
agreed.
40:06 - 42:59 -- What is Christmas?

What is Christmas? Tinseled fairytales
Day old stockings lined up in a row
What is Christmas, could someone tell me that?
What is Christmas? Surely I don't know
And everywhere these lights, who needs to color night?

Could this whole thing be planned? I do not understand
This Christmas, trees with colored lights
Underneath they still are only trees
Do you think that one day perhaps they might
Find that Christmas is kind of a disease?
Every year it's waiting for me waiting for me

Every year it constantly defies
Placing strangers there before me there before me
Spreading hope and cheer mixed in with happiness fraternal bliss
And other christmas lies
And there's one more thing that I have discovered
That I would now like you to know
The reason for Christmas I now realize is an excuse to tolerate snow, snow
I don't even like the sound of it. Anyway, where was I, oh yes
What is Christmas? Candles everywhere, a fire hazard any other day

Children light them, no one seems to care. All for Christmas
Every year it returns here and every year it’s waiting for me
Why can't Christmas disappear and just pretend it never saw me
Every year I get my hopes up that it will somehow just leave
But every year I wake to find that once again it now is Christmas Eve
And though his time was growing strained, he could not walk away from this soul in pain, for in the dark he had
now seen, the bleeding of this wound extreme. So along the snow covered sidewalk the angel did carefully step,
following the trail of blood drops combined with tears that had never been wept. And then he saw the
businessman who had been grumbling about this night, and he wondered how that man had carried this wound so
long throughout his life. He watched the man walk past the church where a song seemed to reach out for him, but
the man just walked right past it and would not let it in.
42:59 - 46:03 -- For the Sake of Our Brother

In a stable in a manger in the cold winter’s air
In the arms of his mother a child’s lying there
In a city in a village though the years have gone by
The child still remains with the dream still close by
And each year on this night that child reawakens

And each year on this night that hope rebegins
That the dream he has offered might one day be taken
For the sake of our brother, for the child who’s forgotten
For the dream that is still lying there
O’ come all ye faithful, joyful and triumphant

O’ come ye, o’ come ye to Bethlehem
Come and adore him, born the king of angels
O’ come let us adore him, O’ come let us adore him
O’ come let us adore him, Christ the Lord
In a stable in a manger in the cold winter’s air

In the arms of his mother a child’s lying there
Now why this man’s soul was bleeding the angel had to understand, so invisible he stood by him and then gently
touched his hand, which caused the man to stand there still despite the winter’s cold, and while he stood there in
that trance the angel read his soul.
It seemed the man was not always like the man he had become, and that angel wondered how that change had
happened and when it had begun. The man had been born to a kind and religious family and raised in the midwest,
and all throughout his childhood this man, clearly, had been blessed. He grew up believing, among other things,
man was made in the image of God. He went to school, observed all rule, while working very hard. He had always
tried to help others, excelled at nearly every task, and when he’d graduated high school of course he was the first
one in his class. And in his eighteenth summer when it was time for him to leave, he had offers from several
colleges, all of them Ivy league. And at college in all his studies he always received straight “A”s, and when he tried
his hand in theater he got the lead in the senior play. It appeared to nearly everyone there was no talent that he
lacked, and for three years on the football team he was the star quarterback.
And there he also met the girl who did become his wife. With her his world was now complete - he had the
perfect life. When they had graduated college they were wed in a ceremony quite grand. Then they moved to New
York, in a dream they seemed caught, where all had been perfectly planned. She decorated their park avenue
apartment in a 1920’s art-deco style, and six months after they had moved in she told him they would soon be
having a child. And after their first ultrasound he knew they were having a son. Their lives could not have been
better and they had only just begun. Together they arrived early at the hospital on the delivery date, the father was
taking no chances and did not want to risk being late. But while waiting outside the delivery room he could tell that
something was going wrong, for too many doctors were rushing in with none coming out for too long. When her
own doctor finally came out with several nurses at his side, he said that his wife had started hemorrhaging, and
despite their best efforts, she died.
Then in an effort to console him a nurse gave him his newborn to hold, but from the way the child felt limp in
his arms he knew there was still more bad news to be told. The doctor then gave the prognosis as gently as anyone
could, but before he could finish explaining the father only too well understood. The child had been cut off from
oxygen for minutes, which is far too long, the damage was now irreversible, his brain permanently malformed.
He’d never hold a job, learn to read or ever talk, and it would be a miracle if the child even learned how to walk.
And with those words the father felt his entire world falling apart, and he stumbled for the words to express the
tearing inside of his heart. He cried out, why did God have to take her while she was still so young, and then as if to
cut him deeper leave this thing here as his son. "Please explain to me God’s wisdom." How could he decide, to
take from me my precious wife while leaving this alive? There is no reason for this life, why does he even exist, and
if he had never been born there is no way he’d have ever been missed. If man is made in God’s image then
something here is surely amiss, for there is nothing of God in this.
And then he asked for the child to be placed in a state-run home, and after he had signed the papers he walked
into that night alone. And in this world he found unkind, he built a wall around his mind, and every year he’d add
new parts until it had also enclosed his heart. He kept his job and paid his debts, as he slowly became a silhouette,
of a man walking among the tombs, while living his life within his wounds. He distanced himself from all his
friends, even his sisters and brothers, and as time it went by he developed his eyes so they could only see the flaws
in others.
With this final glimpse, the angel stepped away and the man shook himself out of his trance and then continued
his walk back towards his home. And few would have given his soul half of a chance. And the angel himself felt
helpless as he watched that old man there so he did what even humans do and he quickly said a prayer. And as the
prayer flew to his Lord the angel did decide, to carefully follow the old man and stay closely by his side. For on this
night can one deny, the gift of a more sympathetic eye, to cast upon our fellow man and on this night - to
understand the frailty of childhood dreams? Like fireflies over summer streams, and if one dared to remove time’s
veil, could one retrace those childhood trails? But whispers in the winter’s wind, told of rescued dreams, forgiven
sins, and who among us shall be deemed, to rescue some forgotten dream? So on this night of Christmas Eve, as
once again the spirits weave, its snowswept dreams and colored lights, with bits of magic into each life, and as the
snow comes gently down, its soul intent to reach the ground, to cover scars the world still feels, perhaps to give
them time to heal. For as men invest in money, and professors in what they know, God invests in mercy like winter
invests in snow.
46:03 - 48:06 -- The Wisdom of Snow (Instrumental)
Now the old man was nearing a toy shop where he could hear a music box kind of sound, from a miniature
carousel with its miniature horses all circling faithfully around. And a little girl wearing a Russian styled coat was
carefully looking inside, at the horses and knights and the trains with their lights, while she was imagining they all
were alive. For at this time a child will dare to see, what is perhaps not there, or at least not there to adult eyes, who
have forgotten how to fantasize.
48:06 - 51:48 -- Wish Listz (Toy Shop Madness) (Instrumental)
Now that young girl outside the store was trying to capture snow’s magic, but each flake melted at her touch,
which her young mind found quite tragic. And while chasing an elusive snowflake that was determined to reach the
ground, she bumped into the businessman passing by and nearly knocked him down. And thinking she was in
trouble the child quickly apologized, but the man was not accepting it, she could see it in his eyes. She explained
she had been looking in the toy shop, that tomorrow would be Christmas day, but the man muttered words she
could not understand so she searched for something else she could say. "Do you have any children?” the child
asked the man. "No,” was his instant reply, and though he said it in his firmest voice, in his heart he knew he had
lied. The girl was getting on his nerves which were already shot. Something about her bothered him but he could
not say quite what. Then he noticed the time was approaching midnight. What was she doing on the street? When
he asked the girl this question the child seemed to retreat. She said she was staying with her parents at the hotel
right next door. They were there for just this one night in room twelve twenty-four. Then he said, “You best get
back there as quick as you can fly!” And he watched as she ran all the way until she was safely back inside. Then he
took several steps in the direction towards his home, but then he hesitated and took out his mobile phone, and
called up the institution where he had left his son, to find out if he was still there and alive, wondering, if the past
could be undone.
The operator who answered searched the computer to see if the child had survived, and she was sincerely happy
to tell him “Your son is no longer here but he is still alive!” Then the lady, who was very kind, said “If you have a
short while, I can give you all the information that is here inside his file. I see that at the age of twelve he had finally
learned to walk, and could understand most things people said but has never learned to talk. He’s living uptown in
the Bronx at a boarding house hotel.” And then the lady gave him the phone number and hotel’s address as well.
And for the first time in many years the man thought about his life, and all the things he had left behind and, of
course, he thought about his wife. And he wondered if she had lived the things they might have done. But really
most of all right now he thought about his son.
51:48 - 56:43 -- Back to a Reason (Part II)

Time, standing all alone. I bled for you, I wanted to
Each drop my own, sSlowly they depart but fall in vain like desert rain
And still they fall on and on and on
Got to get back to a reason. Got to get back to a reason I once knew
And this late in the seasons one by one distractions fade from view
So, drifting through the dark, the sympathy of night's mercy

Inside my heart, is your life the same? Do ghosts cry tears?
Do they feel years as time just goes on and on and on?
I’m looking for you, I’m looking for I don’t know what
I can’t see there anymore and all my time’s been taken
Is this what it seems?
The lure of a dream and I’m afraid to walk back through that door
To find that I’ve awakened
The night seems to care, the dreams in the air
The snow’s coming down, it beckons me dare, it whispers, it hopes
It holds and confides and offers a bridge across these divides
The parts of my life I’ve tried to forget
It’s gathered each piece and carefully kept somewhere in the dark
Beyond all the cold there is a child that’s part of my soul
That’s part of my soul
The only reason I have left is you.
If he went there and saw his son what words could he possibly say? Would his own child recognize him, and if
he did, would he turn away? Dare he rekindle this hope perhaps to only watch it die, and standing there in this
man’s place I wonder, would you or I?
Now the angel knew if enough time passes by any hope can be smothered. So before it was dead, to the first
prayer he had said, the angel quickly added another.
56:43 - 57:47 -- Christmas Bells, Carousels & Time (Instrumental)
The old man stood there thinking while staring in that old toy shop, with its carousel still turning round in front
of a music box clock. For what good’s a clock without a chime, a useless thing that just keeps time, recording
moments that come and leave, but this clock’s chimes struck midnight upon a lost Christmas Eve. And when the
final chime had spoken, and the twelfth bell had finally rung, the indecision in the father was broken. He now knew
what had to be done. So he got into a yellow cab and prayed that it might lead, through all this snow and streetlight
glow to a past he might retrieve.
When the taxi dropped him off at the boarding house hotel, it was a rundown building with a musty, rundown
smell. And he asked for his son from the hotel’s night desk clerk, who said his son was not there, he was not back
from work. When the father said that was impossible the clerk replied, “I'm not here to debate, but he works at the
hospital just down the block. If you want you can sit here and wait but he never returns till real late” Then the
father tried asking another question but the clerk went back to watching his TV which was also playing, “How the
Grinch Stole Christmas.” And the father mused, “this movie has no sympathy, well, at least not when it comes
down to me.”
Once outside he saw the hospital’s entrance and went to information by the front door, who confirmed that his
son had a job there and worked up on the seventh floor. So he took the elevator up to that floor which was marked
“Maternity.” And the man knew in his heart that this was a mistake for his son working here could not be. But the
nurse on duty reconfirmed that he did and, since her rounds were about to begin, if he would like to follow her she
would gladly take the father to him. So he followed her to a large dark room that to him seemed unusually empty,
except for several incubators glowing on the right, each with a trembling baby. These infants were all extremely
frail and obviously in incredible pain, and this sight cut deep into that father’s soul and he asked the nurse, please, to
explain.
"These children were born to mothers who were addicted to crack cocaine, and these children are born in
complete withdrawal for that drug is still deep in their veins. We can give them no other drugs to ease their
withdrawals since they are born premature and quite frail, and any form of pain killer could easily cause their small
hearts to fail.” “And what does my son do here?” the father asked, “He is not a patient, I assume.” The nurse did
not say a single word but nodded to the far left corner of the room. And there the father saw his son, who looked
like himself when he was a younger man, rocking back and forth in a rocking chair, a trembling infant held in his
hands. And in his arms the child did not cry, but slept to silent lullabies, and his son rocked that newborn back and
forth until finally, a dream was caught. But still at his rocking, his son faithfully kept, till that poor child’s trembling
had also, finally, left. Then the nurse whispered softly into the father’s ear, something that a blind man could see
but the father needed to hear. Whispered to him in this room filled with mankind’s misbegotten, something that
the father had known once but somehow had forgotten. She said, “It is this way with each of us. We all need to be
held at least twice, once upon the day that we are born and once more when we leave this life. Your son has been
coming to this place since as long as I’ve been working here. He’s never missed a single day in nearly twenty years.
He always arrives promptly on time but a time card he does not keep, for he never leaves this maternity room until
every last child is asleep.”
Then the nurse noticed the father trying to choke back the things he now felt, so mentioning she had to
continue her rounds she quietly excused herself. So he was now alone in the darkness between the past and future
caught, not knowing what to do as his mind flooded with so many thoughts. Some beauty comes too early, while
its moment never waits, and some beauty is always there but never seen, till it’s too late. Look! There is a moment
-- it has just slipped away -- and so we lose our lives in such ordinary ways. Where do we get our dreams from?
Where do we get our faith? Is it something that we are born with or is it something for which we must wait? The
mist of things we once believed, the childhood truths for which we grieve, and in our lives could we have missed
those that in the dark the angels kiss.
57:47 - 1:03:43 -- What Child is This?

What child is this who laid to rest that I now find here sleeping?
Do angels keep the dreams we seek while our hearts lie bleeding?
And could this be Christ the king whose every breath the angels bring?
Could this be the face of God, this child, the son I once carried?
What child is this who is so blessed he changes all tomorrows?

Replacing tears with reborn years in hearts once dark and hollow
And could this be Christ the king whose every breath the angels bring?
Could this be the face of God, this child, the son I once carried?
In the dead of the night as his life slips away

As he reads by the light of a star far away
Holding on, holding off, holding out, holding in
Could you be this old and have your life just begin?
Reading by the light of a lost Christmas day

It begins - reading by the light of a lost Christmas day
Tell me how many times can this story be told
After all of these years it should all sound so old
But it somehow rings true in the back of my mind
As I search for a dream that words can no longer define
In the light of a lost Christmas day

And the time - in the light of a lost Christmas day
And the time and the years and the tears and the cost
And the hopes and the dreams of each child that is lost
And the whisper of wings in the cold winter’s air
As the snow it drifts down and visions appear everywhere
Reading by the light of a lost Christmas day

In the air – reading by the light of a lost Christmas day
In the dead of the night as his life slips away
As he reads by the light of a star far away
Holding on, holding off, holding out, holding in
Could you be this old and have your life just begin?
Reading by the light of a lost Christmas day it begins


Looking at his son across the room he feared to cross that divide, but how long could he stay in this dark that
allows us all to hide? Is there a wrong so great in life that it undoes every good we’ve ever done? Is there an act so
good it would undo all our wrongs, every single one? And in putting his whole life into this gesture, would failing
make it any lesser? Then through the window he thought he saw in the falling snow so near, the outline of his son’s
mother’s face but then it disappeared. It was only there for a second and a second’s not long but yet, it was enough
to cause that man to take that very first step. And that step was followed by another, in that room still lit so dim,
and before he realized how far he had gone his son was directly in front of him. Then the father noticed on the
window sill an old photo that he long ago had seen. It was a picture of him and his wife when they were both about
nineteen. It was leaning against a folder that said “Property of the Deceased.” And underneath was his wife’s name
and the date it had been released. It was obviously her personal possessions that had been given to his son, because
since he had left them all behind, the child was the only one. His son must have always kept it with him for the
folder was weathered and torn, and he must have gazed at that picture countless times for it was also all tattered and
worn.
Then his son noticed him standing there and from his task looked up. And then looked at the picture beside
him and that one look was enough. He recognized it was his father that was now standing there and gave him a
smile of pure love and forgiveness. And of the past he did not care. He did not care where he had been, the whys,
the wheres, the hows, he only cared that his father was there standing by him now. Then the father turned and
walked across the room which by now had lost its distance, and went to the nearest incubator and picked up a
trembling infant. And with the child within his arms he returned to his son, and all the pain within his soul at that
moment was undone. And he sat in the rocking chair beside him with the life he had retrieved, and side-by-side
together they rocked all through that Christmas Eve.
1:03:43 - 1:05:09 -- O Come All Ye Faithful (Instrumental)
Now all that had occurred here this night the angel had clearly seen. Not unlike an old fashioned movie upon a
silvered screen that borders on the edge of a forgotten childhood dream. And from all that he had witnessed he
thought his answer he had found, and once more unfolded his wings and left earth’s solid ground. With every
sweep of those wings across time and space he soared, until he found himself standing back in heaven before his
Lord. And he told his Lord the name of the father’s son but then he hesitated, like a child in school unsure of his
answer, but the Lord, he patiently waited. Then the angel added the names of the parishioners at the church, the
musicians, the storyteller, the operator and the hospital nurse. Eventually there was hardly a person that the angel
had missed, and then at the very end he placed the father’s name also on that list. That anyone could reflect his
Lord’s son was now the angel’s view. All it took was to follow the simple words of his son, “To do unto others, as
you would have others do unto you.” Then the Lord smiled at his angel and said, “You have done more than your
task. It’s a gift that eyes rarely have that can see further than they are asked.”
And so this night is ending, so close to where it did start, as the angel slept deep that night within his Lord’s own
heart. For hope never dies, at worst it only sleeps, and all we surrender Christmas safely keeps. Through the cold
winter nights of the longest Decembers, till here by starlight we begin to remember, that in the very end the
message Christmas is sending, is that it is never too late to change any life’s ending.
So Christmas Eve had come and past, but not so Christmas day, and thus it is we add a final act onto our yearly
play. A taxicab pulled up to the Grand Hotel that morning somewhere around eight, and the father with his son got
out and asked the driver to please wait. Then the father asked the clerk if he could speak to the couple in room
twelve twenty-four, adding he did not know the couple’s name but had met their child the night before. The clerk
answered most politely that he would like to fulfill his wish, but room number twelve twenty-four in this hotel did
not exist. The father then described the little girl, her age and dress as well, but the clerk said there had been no
children there at all that week -- was he sure he had the right hotel?
So the father started wondering if, in the cold winter’s air, he had somehow imagined the entire event, but then
he realized he didn’t care. The only thing that mattered when all was said and done, was that he was reunited with
his one and only son. And when they got back into their cab he heard a ripping sound, as the contents of his wife’s
folder spilled out onto the ground. As he rushed to pick it all up he grabbed the picture, first of him and his wife at
the age nineteen, long before she had given birth. And on the back he saw a poem he had written to her years
before they had wed, when they were young, their lives just begun, and here is what it said:
"If a single tear fell from your eyes into the ocean
And then washed up on some far and distant shore
I would still recognize that teardrop
For in the end that tear would still be yours.”
And then he saw another picture that he had never seen before, of a little girl in a Russian styled coat standing
with her parents in front of their store. The little girl he saw there he now knew was a childhood picture of his wife.
But it was also a picture of the little girl he had just met on the previous night. And he realized that those who love,
death cannot divide. It only provides an extra soul to watch over us from the other side. And together they
returned back to the father’s home, and shared the best Christmas that either of them had ever known.
And somewhere across eternity, which in distance cannot be measured, the mother looked down upon them
both and their happiness she treasured. And later on late that night when her son was drifting off to sleep, a tear
once more rolled from her eyes and trailed across her cheek. But this one was a tear of joy that she could not keep
inside, and this time she followed it through eternity across the great divide, till it landed by another joyful tear that
her husband had just wept. And there unseen she joined him in the silent vigil that he kept.
1:05:09 - 1:10:12 -- Christmas Canon Rock
This night we pray our lives will show
This dream he had each child still knows
This night we pray our lives will show
This dream he had each child still knows . . .
We are waiting. We have not forgotten

We are waiting. We have not forgotten . . .
On this night on this night on this night on this very christmas night
On this night on this night on this night on this very christmas night
For we are all born mortal like stars and candlelight. And all that really matters is what we do before we fall
asleep each night. Like the sphinx knows silence and the pyramids know time. Like Sisyphus knew regret as he
thought about his crime. As Julius knew betrayal, as Judas knew the kiss, and David with his nervous hand knew
when not to miss. And Helen in her blindness knew better how to touch, and Lincoln in his wisdom knew the
angels in each of us. Like the Delphi knew tomorrow, like crocodiles know the Nile. Like Michelangelo knew
stone, a mother knows her baby’s smile.
Then she placed her hands upon his lips, in something akin to a kiss. And in her arms he stayed asleep, as the
night grew dark and the child dreamt deep.
1:10:12 - 1:12:52 -- Different Wings

Dream child as childhood wants to do, dream all this night will allow
Dream child, dream with an angel’s view out there safe in your clouds
Wait for me now, I will be there for you no matter what tomorrow may bring
This I will vow, I will be there for this child with different
Dream child, stars have been rumored to see dreams within newborn eyes
And in their arms I believe they do keep safe until you arise
Wait for me now, I will be there for you no matter what tomorrow may bring
This I will vow, I will be there for this child with different wings.
Shhhh.
And so it’s here our story ends exactly where it did start, in that labyrinth of mystery we call the human heart.
For they say that without it no one can truly live, and it also has been rumored that without it we cannot forgive.
Merry Christmas!
1:12:52 - 1:14:30 -- Midnight Clear (Instrumental)
- The Lost Christmas Eve, narrative by Paul O'Neill. Lyrics and music by Paul O'Neill,
Jon Oliva, and Robert Kinkel. Performed by Trans-Siberian Orchestra, 2004
- Thanks to Rhino Records for making the entire album available via the Youtube link.

INTRODUCTION
Songbook is dedicated to Keith "Pineapple" McMillan

who in 1975 taught me three chords and changed my life.
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 45 years now. You
might think that after all that time I would 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 the notes and play a little fingerstyle, mainly I just strum the
chords and sing the melody and don't care who hears me. Life's too short. And I can’t read music
either. Well, I mean, I can read music, if by “read” you mean staring at a scale or a tab and
(eventually) figuring out what’s being depicted. But it would be the musical equivalent of “See Spot
run, run Spot run.” Doesn’t help me that much in playing the guitar. So if this sounds about your
speed then maybe you'll enjoy this songbook.
Now before I go any further, a note about this particular version of Songbook, this one here, the one
you’re looking at, with the chords placed above the lyrics. This is not how Songbook originally
looked. Originally, and for many many years, Songbook had the chords in-line with the lyrics. It was
so much easier to do it that way in the beginning rather than getting the chords to line up perfectly
above the syllable it pertained to. But all that changed in 2021 when I essentially did just that,
rewrote the entire Songbook to place the chords above the lyrics. I’m telling you this because, more
than the other version, there may be a stray chord designation or placement. See I did the
conversion by looking at both versions side-by-side doing one line at a time. And there are over
57,000 lines of text in Songbook. So while I tried to be careful, because going back and fixing a
mistake across all the different versions is a real pain in the rumpuss, there may be an occasional “C”
where a “G” should be, or the “C” should be one syllable over. I hope not, but given how many I had
to do it’s inevitable.
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 . . . where was I . . . 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 Hank Williams Took a Drink 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 lying around 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 Berkeley
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 them 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.
My process goes like this: When I come across a song that tickles my eardrums 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 Songbook. Then I research the songwriter in order to properly credit
him or her. Next I find a popular recording and determine the key and where/if a capo is needed in
order to be able to play along with the recording. If necessary I'll rekey the song (changing the chords
used) and insert the hyperlink to the recording I used. After all that I manually insert the chords
above the lyrics one at a time and finally I insert the appropriate chord diagrams below the title and
hyperlink the song to the appropriate indexes. Again, this is all done manually. Then I convert the
MS-Word document to .pdf, run a virus scan on both, and upload them to my website.
Now you might say that Songbook isn't much different than other songbooks you'll see on the web.
Those on Chordie or Ultimate Guitar come to mind. And that's fine; those are great sites and I'm not
in competition with anyone. But unlike those songbooks, which are pretty much take it or leave it, I
wanted to create something to share with others that could be easily modified and then claimed as
their own. There might be 700 songs here but you might only know or want 50 of them so just delete
the others and you have your own Songbook. Also, as technology advances there are more and
more software apps being created for guitar and I don't know how Songbook fits into the modern
world. But as long as Songbook continues to be appreciated I'll keep plugging away. So that was the
genesis for The Amateur Guitar Player’s Chord-Strummin’ Songbook.
Here are a few comments about how Songbook is set up, which is kind of important to fully
understand how Songbook "works". This applies only to viewing with MS-Word. If you’re reading this
in pdf format then the editing comments may or may not apply to your individual pdf reader.
ABOUT FORMAT:
Songbook was initially created in Landscape layout with the chords imbedded within the lyrics, and
arranged so can follow the entire song from start to finish without backtracking to repeat a chorus,
refrain, or verse. Like this:
“Oh (G) give me a home, where the (C) buffalo roam . . .”.
I also wanted the song to fit on a single page if possible so you don’t have to stop playing in the
middle of the song to scroll for the next verse but because of the start-to-finish approach this just
wasn't possible in most cases.
In 2021 I began a project to create a second version of Songbook, with all the interactive
hyperlinks and genre categories, but with the chords above the lyrics as in the more convential
format. That’s the version you see here. This version uses a fixed-width (Courier New) 10-pitch font
in “Portrait” orientation. As a result you probably will want to adjust the zoom function to find a level
you’re comfortable with. And if you change the pitch size or adjust the margins the lyrics may run
over to the next line and the chords may no longer be in the correct position. You can adjust the line
spacing (I have chorus and verse separated by a double space) but then you may have to adjust the
page breaks.
I'm also using an older 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 but so far I have not noticed any problems
using current versions of MS-Word. If you do encounter problems try opening it as a .doc file rather
than a .docx. When editing the Word version of Songbook, do whatever editing you like, then choose
the "save as" function to create a .pdf.
The layout of the individual songs within the main section of Songbook is alphabetical, regardless
of genre, except for Christmas songs which appear by themselves. The subgenres also have their
own alphabetical listing but those songs also appear in the main listing. 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/Genre".
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 there will be an option to return to the Artist Index.
The Song Index/Genre. Click on "By Song Title/Genre" to go to the Song Index. The index is
divided further into Pop/Rock, Country, Spiritual, Traditional, Kid Friendly, Christmas, and Tibetan
Yak Chants. Just kidding about that last one. The "Pop/Rock" category is further subdivided and
searchable by the genres "Oldies & Doo Wop" and "Folk Songs". All of the songs in these two genres
are also included in either the Pop/Rock or Country categories. And some titles, especially those
deemed Traditional, may also appear in any of the other genre categories. Along with the title is one
or two of the most well-known performers 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,
Genre, 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 Song 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 there is usually a hyperlink to the recording I used to key and capo the
song.
Below the hyperlink, Tips will 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 navigation through Songbook much easier.
AUTO-SCROLL: If you don’t have a fancy pedal-activated page turner, both MS-Word and Adobe
Acrobat Reader have an auto-scrolling feature that can be used if you're viewing Songbook on a PC.
Here's how to activate it:
MS-Word. Kind of depends on which version of Word you're using. In any case you want to get to
"All Commands".
For Word 97, 2000, 2002, and 2003: Click "Tools" on the menu bar, then "Customize..." --->
"Command Tab" ---> "All Commands" (left side) ---> AutoScroll (right side). Clicking on AutoScroll will
add the function to the tool bar.
For Word 2007 and later: Display the Word Options dialog box. (In Word 2007 click the Office
button and then click Word Options. In Word 2010 and Word 2013 click the File tab of the ribbon and
then click Options.) At the left side of the dialog box click Customize (Word 2007) or Customize
Quick Access Toolbar (Word 2010 and Word 2013). Use the Choose Commands From drop-down
list to choose All Commands. In the list of available commands at the left side of the dialog box select
the AutoScroll command. Click Add. Word moves the command to the right side of the dialog box.
Click OK.
When you click on AutoScroll the mouse cursor will change (on older versions along the right
side vertical scroll bar). Moving the mouse up or down controls the speed. To exit, click the mouse
button.
ADOBE ACROBAT READER. Much easier than Word as the Auto scroll function is imbedded.
Just use CTRL-SHFT-H to toggle the feature on and off. Control the speed with the up and down
arrow keys.
KEYS, CAPOs and TRANSPOSITION. A.K.A. I like [G]

(I also like a good southern barbecue and a pint of Guinness)
Cowboy chords. Campfire chords. I-IV-V chords. Songbook is based on playing easy-to-play
chords in the open position almost entirely within the first 5 frets. I’ve always found songs in the key
of [G] the easiest to play, both for chord strumming and fingerstyle. I also found I didn't like the (B) or
(Bb) chords. Or Sidney Crosby of the Pittsburgh Penguins. I don't mind the (B7) or (Bm) but for
whatever reason I just find the (B) and (Bb) uncomfortable and try to avoid the whole (B) family if I
can. So whenever possible I would transpose as many songs as I could into [G] and only used a
capo to make the song more comfortable to sing within my vocal range (which is somewhere between
"tractor" and "screech owl.")
Years later I started reworking Songbook so I could play along with a recording of the song. The
dilemna then became, how do I keep those comfortable chord shapes I’d become accustomed to and
still match the recording. Might I just use a capo? Without getting too much into music theory, or
alternate tunings, the answer was, a lot of the time, uh no. Especially with my favorite [G] family of
chords it often meant I’d have to capo at some very high frets which creates all sorts of problems with
scale and fret spacing and intonation and just general unsuitability.
So what I did was kept the “[G] chords” if possible as long as I didn’t have to capo above the 5th
fret. And if [G] just won't work I've transposed to a different chord family, letting the (B7) and (Bm)
slip in but trying to avoid the (B) and (Bb) whenever possible. The result is 99% of the time you can
sing/play along with the original. And whenever I did come across a song written in a key that means
a capo at the high frets I'll just say "screw it" and you'll see two versions of the same song, one in the
original key capo'd as necessary, followed by a friendlier version in [G] that won't match the recording
but you can at least play comfortably.
So after the song title you'll see something that looks like this: (C1). That means capo the first fret
in order to play the song in the same key as the original recording. Further along on the same line is
a second designation like this: (MC2). This is “my capo” setting for my particular vocal range. After
all, it is my songbook.
Now all that being said there is a distinction to be made between chords and chord shapes.
Adding a capo changes the key. While you can still play the same chord shape you’ll no longer be
playing the same chord. For the most part I’ve ignored this distinction and treat adding a capo as
establishing a new nut position. So I may have a capo on the 2nd fret and depict a (G) chord shape
and say “play a (G)”. But by adding the capo it’s not really a (G) chord anymore, it’s an (A) chord.
(G) chord shape but an (A) chord.
The same thing occurs with the naming of the key for the song. I may have a song titled “In D” but
this key of (D) is only accurate if the song is played without regard to any capo setting. If I’ve added a
capo in order to keep certain chord shapes to match the recording then the song is no longer in the
key of (D). The key increases one semi-tone for each fret position. An example of this is Leonard
Cohen’s song “Hallelujah” which is presented in both (C) and “(G)”. The version in (C) is uncapo’d so
it is indeed in the key of [C]. But the version “in (G)” is played with a capo at the 5th fret. So while you
play the chord shapes as if the song was uncapo’d, which would be in (G), the song is now actually in
the key of [C] as well.
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:
G C G A7
Oh give me a home, where the buffalo roam, where the deer and the antelope
D7
play.
There’s a full chord chart at the end of Songbook. I've taken a lot of liberties with chord diagrams and
some chords I just made up. Not the chord itself, just the name.
For example, this chord I’ve named (A7/C): It’s not really called that but for my purposes it
looked like an A7 but with a c-note so (A7/C) it is. Here is (C#m): You don't play (C#m) very
often and if you're playing along and just see (C#m) in the lyrics you're likely to have a WTF moment.
But (C#m) also looks like (Bm) played on the 4th fret: so I may put that diagram with the rest
of the chords and (Bm4) in the lyrics instead of (C#m).
Also there are alternative ways to play a chord. For example, you can play the (A) like this or
like this which is like playing an (F) but on the 5th fret. Sometimes I’ll call this chord the
(F5) . I know there's no such thing as an (F5) but for the sake of how you play it, (F5) it is.
Chords in brackets: If you see a chord in brackets it means strum the chord once. American Pie by
Don McLean is a good example of this:
|G| |D| |Em|

A long long time ago . . .
Hyphenated chords. Chords with a hyphen between them usually means it's a one-beat transition
chord. They often appear in an intro, like this one to the Beatles' I Wanna Hold Your Hand:
INTRO: (C)-(C)(D); (C)-(C)(D); (C)(C)-(D)-(Bm)-(D)-(Bm)-(D)-(Bm)-(D7)
Notes, not chords. Lower case letters (sometimes within chevrons, e.g., <e> - <f>- <g>) are
individual notes (picked strings) and usually appear in an intro or instrumental bridge. When notes
appear there's usually an explanation to go along with them in the "Tips".
Here's an example from Johnny Cash's Folsom Prison Blues:
INTRO: b – b – d# - d# - b- f# - E
ABOUT TIPS: Look, I'm no pro, and you can ignore these tips if you want. But tips (hints) appear
below the song title and above the chord diagrams to give suggestions on how to play a particular
chord, chord sequence, or lead-in notes. 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
and whisper under your breath "Piss off, mate." Not long after learning to play I switched to a 12-
string acoustic with a 2-inch nut width and that’s the guitar I mostly played for quite a long time. As a
result I might 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 that 12-string
fingerboard to fit them all in. However most standard nuts 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. And that's okay. 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 normally play (A) with the middle three fingers. To others already playing the (A)
chord with the bottom three it will just seem obvious. Another example involves how you play the (G).
I learned to play (G) with ring finger on the bottom string. Others use the pinky. So if I'm babbling on
about how to play a certain (G) chord sequence which makes absolutely no sense to you, that's why.
ABOUT INTROs: Initially Songbook contained no intros, outros, or instrumental bridges, just lyrics.
But in 2018 I began the process of adding these. This meant revisiting and listening to each and
every song, one at a time, either on CD/mp3 or YouTube to see if I can pick out the intro and
instrumental passages. 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. But I do try to
get pretty close. 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 when I saw 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:
Grammatically correct:
C Am Dm7 G7 C Am Dm G7
When I want you in my arms. When I want you and all your charms.
C Am F G7 C Am F G7
Whenever I want you all I have to do is dream. Dream, dream, dream.
Melodically:
C Am Dm7 G7 C Am Dm G7
When I want you, in my arms. When I want you, and all your charms.
C Am F G7 C Am F G7
Whenever I want you, all I have to do, is dream. Dream dream dream.
It makes more sense to me to place the commas melodically rather than grammatically. And after I
rearranged the commas I found it was much easier to play the song as it was intended. So at the
same time I'm added the intro I'm also went through every song and added or removed commas to
make the song easier to play and sing. Just don't get me started about songs from R.E.M. or
Springsteen.
ABOUT Martin vs Taylor vs Gibson, and Martin vs D'Addario vs Elixer: I own both Martins and
Taylors. To me Martins sound better but Taylors are easier to play. Gibsons always sounded kind of
boxy and harsh to me although I also have an Epiphone Masterbilt that sounds like velvet . . . or how I
imagine velvet would sound if velvet had a sound. I'm partial to Martin Retro MM12s on my
spruce/rosewood dreadnought but prefer D'Addario EJ16s on my GC mahogany. I'm not much of an
Elixer fan. Friends, this is just my opinion. I also prefer beer over wine, ribs over sushi, Ovechkin
over Crosby, Stansted over Heathrow, and Mary Ann over Ginger.
Enough.
(Back to the Main Index)

CHORD DIAGRAMS
Most of these are diagrams 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.
(Main)
(Main)
(Main)
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).
(Main)
(Main)
(Main)
(Main)
(Main)
(Main)
(Main)
(Main)
(Main)
(Main)
ALTERNATE CHORD FORMATIONS UP THE NECK
(A on 5)
(A6+ on 4)
(A6+ on 7) (D on 5)
E
(D/A on 5)
(Main)
(D/A on 7)
(That's it, move along folks, nothin' more here to see . . . )
(Main)

Songbook 319 Lite (Col) 1105

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Songbook 319 Lite (Col) 1105

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If you're new to Songbook: Basically, Songbook is a compilation of songs, stitched together from many sources

THE AMATEUR GUITAR PLAYER'S

WHAT'S RECENT AND NEW:

The Andrews Sisters

The Beach Boys

Big & Rich

The Bow Triplets

The Box Tops

Mary Chapin Carpenter

The Carter Family

Cowboy Jack Clement

Creedence Clearwater Revival

Crosby, Stills, Nash, and Young

Danny and the Juniors

Delaney & Bonnie

Little Jimmy Dickens

The Dixie Chicks

Bob Dylan (Also as Lucky Wilbury)

Electric Light Orchestra

Elmo & Patsy

Emerson, Lake, & Palmer

The Everly Brothers

Five Man Electrical Band

Flatt & Scruggs

Tennessee Ernie Ford

Gerry and the Pacemakers

Grand Funk Railroad

Bill Haley & the Comets

George Harrison (Also as Nelson Wilbury)

Hootie and the Blowfish

The Irish Rovers

Tommy James and the Shondells

Jan and Dean

Jarvis, McDade & Ingram

Jay and the Americans

Matthew Perryman Jones

Robert Earl Keen Jr.

The Kingston Trio

The Left Banke

Lind, Holm, Fuentes, Nilson

Marshall Tucker Band

Meyer & Drake

Mitch and Mickey

The Moody Blues

Michael Martin Murphey

Tim Blake Nelson

The New Main Street Singers

Oak Ridge Boys

Roy Orbison (Also as Lefty Wilbury)

Peter, Paul & Mary

Pure Prairie League

David Rawlings (with Gillian Welch)

The Righteous Brothers

The Rolling Stones

Rose & the Arrangement

Sam the Sham & The Pharaohs

The Soggy Bottom Boys

Sons of the Pioneers

Stompin' Tom Connors

Noel Paul Stookey

Sweethearts of the Rodeo

The Terrytooners & Mitch Miller Orchestra

Three Dog Night

Sara & Julia Wee